Half the Sky: Intersections in Social Practice Art

Half the Sky: Intersections in Social Practice Art

Exhibition And Cultural Exchange

Presented by the International Caucus of the Women’s Caucus for Art in partnership with LuXun Academy of Fine Arts

LuXun Academy of Fine Arts Shenyang, China April 15-30, 2014

About the Catalogue: This catalogue is documentation of Half the Sky: Intersections in Social Practice Art, a cultural exchange and exhibition created by the International Caucus of the Women’s Caucus for Art and in partnership with LuXun Academy of Fine Arts, located in Shenyang, Liaoning Province, China.

The exhibition ran at LuXun Academy of Fine Arts from April 15-30, 2014. The catalogue includes artworks, essays, and information about the WCA delegation and the cultural exchange with content in English and Mandarin.

Half the Sky: Intersections in Social Practice Art ISBN: 978-1-939637-03-1 Copyright © 2014 by Women’s Caucus for Art Published in New York, New York by the Women’s Caucus for Art Printed in the USA Editor and Designer: Sherri Cornett Cover Design: Priscilla Otani Image Editor: Alli Berman Text Editors (English): Virginia Maksymowicz, Sandra Mueller, Priscilla Otani, Jill Waterhouse Text Editors (Mandarin): Jing Deng, Mido Lee National WCA www.nationalwca.org P. 0. Box 1498 Canal Street Station New York, NY 10013-1498.

All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means without prior permission in writing from the publisher. Contributors retain copyright on writings and artworks presented in this catalogue.

Contents Project Overview Women’s Caucus for Art and its International Caucus

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LuXun Academy of Fine Arts

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Statement of the Director

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Statement of the Co-Director

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The Exhibition Introduction of the Exhibition and the Artists

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Statement of the Juror of WCA Artworks

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Statement of the Curator of Chinese Artworks

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Statement of the Co-Curator of Chinese Artworks

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Artworks

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The Essays Jurying of the Catalogue Essays

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Essays

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The Cultural Exchange WCA Delegation

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WCA Delegates’ Artworks

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Cultural and Community Interactions

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Acknowledgments

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About Women’s Caucus for Art

Priscilla Otani President Women’s Caucus for Art 2012-2014

Brenda Oelbaum President Women’s Caucus for Art 2014-2016

“Half the Sky opens the door for LuXun Academy and the Women’s Caucus for Art to share contemporary practices and trends in the arts. The process leading to the exchange is as important as the event itself. Half the Sky can only come to life through teamwork among women across two continents, their desire for awareness and sharing, and their deep, abiding faith in the value of global relationships. As a past president of the Women’s Caucus for Art, I look forward to visiting the LuXun Academy in Shenyang and participating in a cultural exchange that will inspire a creative revolution and build lasting friendships and goodwill among all participants.”

— Priscilla Otani The Women’s Caucus for Art (WCA) was founded in 1972 in connection with the College Art Association (CAA). WCA is a national member organization unique in its multidisciplinary, multicultural membership of artists, art historians, students, educators, and museum professionals.

The mission of the Women’s Caucus for Art is to create community through art, education, and social activism. WCA is committed to recognizing the contribution of women in the arts; providing women with leadership opportunities and professional development; expanding networking and exhibition opportunities for women; supporting local, national and global art activism; and advocating for equity in the arts for all.

As an NGO (non-governmental organization) of the United Nations, the Women’s Caucus for Art actively supports the UN Millennium Goals. WCA utilizes art as the universal language to engage artists, NGOs, and civil society on a broad range of issues such as gender equity and environmental sustainability.

As a founding member of The Feminist Art Project (TFAP), WCA is part of a collaborative national initiative celebrating the Feminist Art Movement and the aesthetic, intellectual and political impact of women on the visual arts, art history, and art practice, past and present.

The International Caucus maintains WCA’s involvement with the United Nations, develops art platforms to support UN Goals, and develops collaborative projects with other global organizations.

Learn more about the Women’s Caucus for Art (WCA) at nationalwca.org and about the WCA International Caucus at wcainternationalcaucus.weebly.com

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About LuXun Academy of Fine Arts

Wei Er Shen President

The predecessor of LuXun Academy of Fine Arts (LAFA) was the Yanan-based Luxun Arts College (LAC) founded, in 1938, by the pioneering generation of Chinese Revolutionaries including Mao Zedong and Zhou Enlai. Mao personally handwrote the Motto of LAC “Strenuousness, Seriousness, Diligence and Modesty.” The college was removed to Northeast China in 1945 and evolved to LuXun Academy of Fine Arts in 1958. President Jiang Zemin wrote for LAFA the inscription of “To play up the LAC tradition and to cultivate art talents for the prosperity of socialist cultural undertakings.” The historic legacy of LAFA contributes to its cultural richness and leading capacity in education.

With 73 years of history, LAFA has grown into a prestigious higher educational institution of domestic and international leverage featuring intensive teaching capacity and integrated programs, which endows it the leading status among colleges of the same kind. LAFA has under its operation two campuses, in the City of Shenyang and the City of Dalian, respectively. The Shenyang campus is situated on Sanhao Street, an agglomeration of high-tech functions and the city of Shenyang is political, cultural and economic hub in Northeast China. The Dalian campus is located in the fascinating Jinshitan Scenery Spot – a nationally recognized tourist attraction. The campus occupies 464,181 square kilometres. Its 10,887 square meters big library houses 540,000 volumes of books and 3000 pieces of authentic calligraphic and painting works, rubbing inscriptions and relics from different dynasties in Chinese history. Its art gallery and museum totals 23,796.77 square meters in size.

The academy is both a prominent institution of higher education and a base for art creation, design and studies. The academy tops the list of art academies in China in participation and awards at the various art exhibitions of the country.

China Art Gallery, China History Museum and China Military Museum all have collections of works by LAFA faculty and students. The academy is also a leader in the creation of large-scale works of historic themes. The panorama is a hallmark of its capacity in such creations. Designers of LAFA have made great contributions to the cultural life of the communities. Their efforts in the expansion of the Memorial of Nanjing Massacre and a great number of other museums are nationally recognized and eulogized. Thirty-five of the design projects LAFA has been involved in have been selected for the National Base of Patriotism Education by the CPC Central Publicity Department. In 2010, LAFA was awarded by the Ministry of Education as the Educational Base of Art Classics for Patriotism.

As the 21th century unfolds, LAFA continues to follow up the fine tradition of LAC and to foster an excellent environment and ambience for the cultivation of art talents. It will make a keen observation of our times, independently and critically. By blending the merits of Chinese and Western concepts of fine arts, it will create wonderful and distinguised condition for art education. And by doing so, LAFA will consolidate its ranking among the art colleges in China and will strive to attain the objective of an internationally prominent art institution.

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Statement of the Director Sherri Cornett

Half the Sky: Intersections in Social Practice Art is designed to include a diversity of women, art forms and perspectives.

It leaves room for the unexpected, for the opening up of connections and perspectives between all individuals participating in this project. In some small way, it may lead to a collective improvement in our larger communities and ripple out to regions, countries and the world as a whole. Getting the door open, through detente and diplomacy, can be an important first step towards evolution of thought on ALL sides of any question. We kept this tenet in mind when developing this project.

More than a side by side showing of works of women artists from different countries, this project as a whole is social practice art. It is a collection of collaborations, interactions, dialogue, performance, working groups, and community building that highlight social issues. It encompasses a delegation of U.S.-based artists and writers traveling to LuXun Academy of Fine Arts in Shenyang, China. It has interactive, participatory offerings created by these delegates to engage Chinese artists in ways that break through cultural and language differences. It is Chinese artists and the professors and students at LuXun Academy illuminating their art practices and methods. And, it is a myriad collection of art forms – from the traditional to the new – which expresses the unique perceptions of inner and outer worlds.

Diversity is seen in the women involved — women from across the U.S., China, Korea, Iran and Taiwan. It is seen in how the work was presented: from collaborators, from a collective, from individual artists, from a non-profit activism organization, and in the forms of art: installations, social practice art documentation, video, photography, painting, drawing, performance documentation, and sculpture. And in the foci of the works: storytelling, gender violence, environment, science, safety, homelessness, identity, peace, and community building.

We are carefully documenting this project. Preserving the legacy of self-identified women artists is a key focus of the Women’s Caucus for Art. As some question the continued need for women-centric efforts, others agree that our media and museums still lack enough feminist content to inspire women to act; and that these efforts, and their documentation, are critical to our future.

For years my work has focused on building relationships between the social and political worlds through development of art and correlating events that engage viewers to question, to consider, and to act. These provide opportunities for conversation as well as formation of connections. In my experience, each of us comes to these interactions with a history that colors the way we think. Given encouragement and support, we can recognize the socially embedded context within which each of us speaks, judges and acts. We can look for ways to see the desire for connection behind all of this and to leave room to identify with each other. As one of my participants shared with me, “It is ordinary women sharing their extraordinary wisdom that makes us stronger.” And that is how we, in this project, are holding up our half of the sky.

WCA is also an NGO (non-governmental organization) of the United Nations, which recognizes and encourages art that facilitates negotiation and that creates a sense that we all belong to the larger human community despite ethnic, cultural or religious differences. UN General Secretary, Ban Ki-Moon, and the former Head of UN Women, Michelle Bachelet, have supported the notion that we cannot succeed in global efforts to improve situations for all citizens until the

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wisdom and experiences of women are more largely included in our problem solving. We need to empower women and do it in ways that allow them to be effective in their own cultures. The UN sees art as an essential tool in this effort. This project is a manifestation of WCA’s response to these UN objectives. 目录册声明 - 雪莉∙科内特的话 半边天：是社会实践艺术的交会点，是设计给各类地女性、不同的艺术及意见。替未知留下空间并开阔了参与计划的每个 人相互交流与交换意见的可能性。半边天在细微点裡、在大社区中，引导着人类集体地进步，激起了与所属区域国家以外 人们的交流，世界合而为一。打开门窗，经过缓和外交，这将是进化所有问题重要的第一步。在执行这个计划桉时，我们 一直坚守着这宗旨。 当两个国家的女性艺术家并列展示着她们的作品，这个艺术桉才在真正地成为社会实践艺术。这是一个合作、交流、对 话、表现、工作团体、社区建设和社会问题之总集。其中涵括美国代表的艺术家/作家们巡迴作品至中国渖阳的鲁迅美术 学院。美国代表与中国艺术家互动提供参与创造机会去打破文化和语言的藩篱。中国艺术家和鲁迅美术学院的教授、学生 们将在此展现她们的艺术与技巧。這是一个五花八门的艺术总集 – 从旧至新 – 这沟通与表达了内在与外在独特的想法。 展览包含来自世界各地的女性们 –全美国、中国、韩国、伊朗、台湾...。作品由各种不同方式产生：合作、集体创作、独 自创作、非营利运动团体...。其中包含装置、社会运动艺术家档桉、视频，摄影，绘画，素描，表演艺术和凋塑。作品内 容包含：故事陈述、性别暴力、环境关怀、科学、安全、流浪汉问题、自我认知、和平，和社区建设。 藉由这个艺术桉，我们在建立起文档。保留自我识别的女艺术家遗产是全美女性艺术家团体的主要关注。有一些问题仍旧 需要女性集合努力，需要他人了解我们的媒体、美术馆实在缺乏足够女性主义相关内容以启发更多的女性主义运动，这些 努力及这些文档的保存对未来实为重要。 我的工作主要是关注建立社会与政治之间的关係和产生交会使观众们去想、去问、去行动；提供沟通的机会并建造联系。 在我的经验裡，来到这个交会点的每一个人都被过往的历史染色想法。在给予鼓励和辅助后，我们了解到自己的言语、判 断、还有行为都多少影响了整个社会。我们找寻方法并看见事情的背后人们希望沟通的慾望，并提供空间去让彼此认知与 了解。一个参与者与我分享这句话：“这是一群平凡的女人们分享她们过人的智慧，这使我们更加地强壮。”我们就是这 样子去扶持着半边的天空。 全美女性艺术家团体(WCA)是联合国的非政府组织，最近出版的文章裡形容着艺术有助于协商并建立一个更大的社区让 不同于所有不同人种、不同文化、不同区域的人都能参与。联合国秘书潘基文还有联合国妇女署前负责人米歇尔·巴切莱 特表示，我们无法成功地提升全球公民的利益除非我们提升女性的智慧及扩展她们的经验，也囊括她们一起解决问题。我 们需要提升女性权力，并让她们的智慧去影响她们所属的文化。联合国认为艺术是必要的工具。这个艺术桉是全美女性艺 术家团体对联合国这项声明的实体呈现。

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Statement of the Co-Director Jing Deng

I first encountered art work inspired by the American Feminism movement when I came to the West in the mid 90s. I can still remember the earth shattering impact these visual images had on me. I grew up in a China where the custom of my grandmother’s bound feet was replaced by a more egalitarian rhetoric, nicely captured by Chairman Mao’s words that “Women hold up half the sky.” And yet the weight of several thousand years of tradition was great, and the unequal treatment of women continued. What was worse was the silence women chose to maintain in the face of this situation. Taking in feminism through the visual art works made me realize how much we Chinese women had internalized traditional values and imagery and notice how much we accepted the status quo.

Now, two decades later, China has emerged as a global economic superpower. As the nation gains more international prowess, have Chinese women kept stride with their counterparts in other parts of the modern world? In America, feminism has broadened its role to offer women’s perspectives in such areas as protecting the environment and advancing educational opportunity for children in poverty. In addition to advancing basic gender equality, these issues should be of equal importance to a rapidly developing China.

Zhao Yin Ou (co-curator of the “Half the Sky” project) and I studied together as teenagers at the Secondary School attached to the Central Academy of Fine Arts in Beijing. As the daughter of a prominent artist at the LuXun Academy of Fine Arts, Yin Ou used to invite me over to her house on campus. I was quickly enchanted by the school’s ethos and its beautiful, tranquil surroundings. Named after one of the most influential writers in twentieth century China, LuXun has achieved a great legacy of nurturing progressive artists since its founding in the 1930s. For its part, the WCA (Woman’s Caucus for Art) has been deeply involved with the women’s art movement in America for the past four decades.

Last summer, when I reconnected with Yin Ou — who advocates via art for the rights of Chinese mental patients — we both felt that it would be exciting and natural to bring these two institutions together. We envisioned a cultural exchange between LuYi (LuXun) and the WCA to provide Eastern and Western female artists with the opportunity to dialogue through the language of art about issues that concern women deeply. 九十年代中期初到美国时,我第一次接触到了深受美国女权运动影响的艺术作品。时至今日我依然 记得这些作品对我的影 响。我成长在一个没有祖母时代的裹脚布,毛主席宣告了“妇女能顶半边天” 的中国。可是由几千年的历史和文化承传下 来的对妇女的不平等待遇依然处处皆是。更为可怕的是 女性在不平等面前选择了沉默。这些女权主义艺术作品让我认识 到作为新中国的女性,我们很多时 候其实是把传统文化给予女性的价值内面化,进而接受现实,没有异议。 在二十多年后的今天,中国已经成为了一个世界经济大国。随着中国在国际社会上地位的提高,中 国女性也像其他国家的女 性一样社会地位有所提高吗?另一方面,美国的女权主义的主张也扩展到 环境保护和教育机会平等等范围。除了争取基本的 性别平等以外,这些主张对正在高速发展的中国 社会也是非常贴切的。 银欧(“半边天”中方共同策展人)和我少年时代曾经一起在中央美术学院附中学习。作为一个鲁迅 美术学院著名教授的女 儿,银欧曾经邀请我到鲁迅美术学院的校园做客。我很快被这个美丽宁静的 校园吸引。这个以中国近代文学史上影响深远 的作家鲁迅命名的艺术学院自三十年代以来为新中国培养了无数进步艺术家。而WCA(全美女艺术家联盟)和美国女权主 义艺术史也有着深厚的渊源 。 去年暑假当我和银欧再次聚到一起时,我们很自然地把鲁迅美术学院和 WCA 联系了起来。我们梦 想通过这两者之间文化交流,为中美女艺术家提供⼀一个对话的机会。让中美艺术家通过视觉艺术探 讨女性共同关心的话 题。 8

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The Exhibition The variety of opportunities for artists and offerings by artists in this project is rich, thought-provoking, innovative and impressive. Alma Ruiz, Senior Curator at the Museum of Contemporary Art in Los Angeles, viewed much of this variety and narrowed her selections to thirty pieces. These will be displayed at the LuXun Academy of Fine Arts Gallery with works of Chinese women artists curated by Gallery Director and Curator, Wang Yi Gang, and Co-curator, Zhao Yin Ou. Artists will also facilitate interactive pieces and installations that will enable our WCA delegate artists and our Chinese hosts to cross cultural and language barriers in order to build community and understanding. A WCA delegates area of the gallery (and this catalogue) present artwork and statements focused on their participation in the cultural exchange.

Artists were asked to consider the following: Almost a half-century ago, Chairman Mao Zedong, who famously said “Women hold up half the sky,” believed women’s active participation in reform would solve China’s economic and societal challenges. More recently, women and men leaders across the world are calling for women’s voices to be heard in all decision making. The theme is now a movement, a documentary, a musical recording. Michelle Bachelet, former Head of UN Women, opened the UN Commission on the Status of Women 2013 conference by extolling the benefits of being 53% of the world’s population.,“Women do not need permission, they simply need to speak and act.” What does it mean to be the majority of the world’s population? What must women do to hold up their “half?” How do women from different cultures interpret this responsibility, this call to action? How do we encourage and support each other through art?

WCA ARTISTS A Window Between Worlds Susan Armington Suzanne Beutler Elizabeth Bisbing Jessica Burke Chan & Mann Sherri Cornett Laurie Edison Danielle Eubank Joanna Fulginiti Christine Giancola Sarah Beth Goncarova Guerrilla Gowns Maki Hajikano Aram Han Maxine Hess Kay Kang Louder Than Words Rosemary Meza-Des Plas Sandra Mueller Mary Neubauer Brenda Oelbaum Priscilla Otani Min Kim Park Min Kim Park Eva Preston Jaye R. Phillips Marjorie Durko Puryear Sinan Revell Wendy Simmons T’Alyne Virginia Tyler Marjorie Weir 10

CHINA ARISTS 从瓴萁 - Cong Ling Qi 冯淋 - Feng Lin 刘桦 - Liu Hua 刘知音 - Liu Zhi Yin 刘艳 - Liu Yan 唐钰涵 - Tang Yu Han 姜晓梅 - Jiang Xiao Me 宋卓然 - Song Zhuo Ran 张然 - Zhang Ran 徐丹 - Xu Dan 李一濛 - Li Yi Meng 李小诗 - Li Xiao Shi 燕思雯 - Yan Si Wen 王庆珍 - Wang Qing Zhen 王慧娜 - Wang Hui Na 田寒 - Tian Han 耿旖旎 - Geng Yi Ni 范晓妍 - Fan Xiao Yan 莫棣 - Mo Di 蔡世瞿 - Cai Shi Qu 袁佳 - Yuan Jia 赵银欧 - Zhao Yin Ou 邓菁 - Jing Deng

Statement of the Juror of WCA Art Alma Ruiz

Half the Sky: Intersections in Social Practice Art One of the best ways to create good will among peoples from different nations is to bring them together on a common project. An undertaking that allows people to open up to a culturally different group can be an effective ice breaker, giving everyone an opportunity to connect through a shared purpose. In the case of Half the Sky: Intersections in Social Practice Art, the endeavor that unites women from the United States and from China is art. In addition to having art as their common denominator, the women also share gender and politics. They are all concerned with making art that contextualizes their life experiences in a contemporary world.

The group of American artists was selected through images and an artist’s statement. The chosen artists reflect a crossover in terms of media and style. There is painting, sculpture, drawing, and photography, but there is also performance, art activism or social art, installation art, and object-making. Installation and photography seem to be the two most popular mediums, followed by art activism, painting, and sculpture. The exhibition, held at the LuXun Academy of Fine Arts, Shenyang, in the Liaoning Province of China, is a special opportunity for all the participants to forge new connections through shared art experiences and to dialogue with each other through their work.

Priscilla Otani, T’Alyne, and Virginia Tyler have chosen installation art as their mode of expression. Otani has created an installation, Wind Traveler (2013), in memory of a friend. Hanging from the ceiling, the 108 multicolored paper pods have been inscribed with a Haiku, a Japanese poetic form, which her friend had quoted in a letter to the artist before she passed away. A celebration of a life dedicated to writing about the accomplishments of women is a fitting contribution to the exhibition. What at first appears to be suspended fabric in T’Alyne’s Sunshine (2009) turns out to be rectangular forms made of fiberglass, varnish, and pigment. Creating a small enclosure, the four panels hang in close proximity giving the appearance of soft billowing forms that are in reality unbending and hard.

The photography included borders on photojournalism and documentary. Yet, the subjects represented display a poignancy that reminds us that despite people’s cultural or political differences, they share common values no matter where they come from or what their life experience has been. The quiet dignity and resigned look reflected in the eyes of Fumiko Nakamura, the Okinawan lady in Laurie Edison’s 2006 black-and-white photograph, reflects the struggles her generation has gone through and contrasts vividly with the more ambiguous expression in the face of Wendy Simmons’ portrait of an African woman in Kaokoland Region (Himba Tribe), Namibia (2012). While she embodies the exotic for the photographer, it seems that Simmons has herself become an object of curiosity for the sitter. Both women are represented in a straightforward manner with honesty and compassion.

Women and activism are a combination that frequently yields life-changing results. In Talking Suitcases, (n.d.) Susan Armington documents a social art project that provides an environment that helps women to reconnect to the cultures they have left behind by allowing them to share memories through objects placed in a suitcase, a symbol of their displacement. Sarah Beth Goncarova’s The Bird Feeder (2013) speaks to the tendency of women to self-sacrifice even to their own detriment. The artist sits motionless on top of a tree holding bird seeds in her hands for hours on end, regardless of weather, putting her safety and health in question. What woman has not done something like that? Goncarova’s action reflects a growing preoccupation among scientists and citizens as the survival of many plant and animal species are being threatened due to our changing environment.

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Ultimately, Half the Sky: Intersections in Social Practice Art is a mirror of women’s achievements, yearnings, and frustrations. Even though I’m not familiar with the work by the Chinese artists included in the exhibition, I can conjecture that theirs also reflect similar situations. The exhibition is an occasion to celebrate women, their talents, and contributions through the artistic expression of both American and Chinese artists.

—Alma Ruiz Educated at Middlebury College and Università di Firenze, in Florence, Italy, Ms. Ruiz has been with Museum of Contemporary Art, Los Angeles for 29 years. She has curated numerous exhibitions of contemporary art including Lynda Benglis (2011) at New Museum, Suprasensorial: Experiments in Light, Color, and Space (2010) at Museum of Contemporary Art, Los Angeles and Basquiat (2005) at Brooklyn Museum as well as art biennials in the United States and Latin America including the V Biennial de Arte de Panama 2000, the Tamayo Biennial in Mexico City, the Second Exhibition of Central American Emerging Artists in San Jose, Costa Rica, and Women Artists on Immigration, a 2007 WCA exhibition at the Korean Cultural Center, Los Angeles.

She has served as a panelist for The Paul & Daisy Soros Fellowship for New Americans and Creative Capital Foundation in New York and is a member of the Advisory Committee for the Cisneros Fontanals Art Foundation in Miami, Florida.

半邊天：社会实践艺术交會點 希望让来自两个不同国籍人们之间产生善意，最好的方法是让他们一起合作一个计划。一个任务使人展开心胸打破缄默并 接受来自不同文化的其他族群；藉由分享这一个目标给予每个人联繫的机会。在半边天中我们争取到二十九位来自美国女 性与二十四位中国艺术家。除了艺术为相通基底外，这些女人们同时共享性别和政治上的意见。她们替当代艺术增添了许 多与自己生活意见息息的艺术作品。 美国的艺术家是经由她们的影像及理念去挑选的。我们所选取的艺术家所用的媒介及风格都呈现着一个接点。这裡有着油 画、凋塑、素描、摄影，当然还有表演艺术、行动主义艺术、社会艺术、装置艺术、成品创作。装置及摄影被用为两个最 流行的素材，行动主义艺术、油画、凋塑也很受欢迎。这个展览将在中国辽宁渖阳的鲁迅美术学院展出。这是一个特别的 机会，藉由分享艺术经验和作品之间的对话，这将施与参与者们一个难忘地全新地沟通桥樑。 大谷.普希拉、T’Alyne和弗吉尼亚∙泰勒选择了装置艺术作为她们经验的总集。普希拉的作品风的旅人(2013)是一份纪念 友人的装置艺术创作。从天花板垂下108片彩色的纸豆荚上刻着俳句－是一种日式的诗词。这俳句是其友人生前一封写给 艺术家的信中所引用的句子。这作品是普希拉对她一生致力于描写女性成就的友人所给予讚贺；这此展览是适合不过的贡 献。T’Alyne的作品阳光(2009)勐然一睹以为是悬挂的布条，才发现原是用玻璃纤维、清漆和颜料所组合的直角三角形 所拼装凋塑。四块悬挂看似柔软随风飘逸的形体，却是坚硬且无法弯曲的。 摄影作品包括新闻摄影和写实记录摄影。其中内容沉痛，提醒着我们就算文化政治想法上不同，不管人从何处来，或经历 怎样的经验，人都是平等的。在劳丽∙爱迪生2006年的黑白照片裡，一位冲绳女性，中村美子(音译)，眼睛裡反映着安静 的尊严和服从，反映着她那年代所经历的挣扎。这与温迪∙西蒙斯在非洲卡奥科兰地区（辛巴族） 纳米比亚（2012）的女 性肖像形成明显的对比，她的人物呈现暧昧不明的表情。当她对摄影师展现异国风格，西蒙斯自己似乎成了一个表现好奇 的物件。但这两张女性肖像都呈现直接了当的诚实及和蔼的举动。 女性和行动主义者一起合作往往呈现一些转化生命的结果。在一个会说话的手提箱计划桉裡苏珊∙阿明顿记录了社会艺术 计划桉，这计划桉让女人在旅行箱裡放置分享她们回忆的物件，一个可以象徵她们流离失所的东西，这桉子提供一个帮助 女性重新连接她们遗失文化的环境。萨拉∙贝丝∙康克罗马的作品喂鸟器（2013）展现了女人自我奉献的柔情即使造成自我 毁灭。艺术家坐在树上守盛着喂鸟种子，不畏风雨的静坐了好几个小时，甚至将自己的生命及安全摆至一边。哪个女人不 曾这样付出？康克罗马的行为反映了科学家提出了当务之急，大环境的改变下许多物种灭绝，而人类的生存岌岌可危。 终究，半边天：社会实践艺术交会点，是一张反映女性成就、所得及挫折的镜子。就算我不清楚在这个展览裡中国艺术家 的作品，我猜内容大概反映着一样的问题。这个展览是一个用艺术表答来庆祝美国和中国女性的才华及贡献的场合。阿尔 玛∙鲁伊兹

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Statement of the Curator of Chinese Art Wang Yi Gang

“Let us quietly feel the extraordinary powers of perception found in these women artists' response to their environment. In this endeavor to bring together the art of two cultures, may we appreciate both the difference and common ground found in the vision of American and Chinese female artists.”

In the 1950’s Chairman Mao proclaimed, “Women hold up Half the Sky.” This slogan was intended to raise women’s social status and encourage independence among Chinese women. At around the same time, in Europe, Simone de Beauvoir declared in her book Le Deuxième Sexe, “One is not born, but rather becomes, a woman.” As a book often regarded as the Bible for the western feminist movement, Le Deuxième Sexe has influenced a generation of women’s interpretation of their experience.

Throughout her life, Simone De Beauvoir wrote about feminist existentialism. She searched for the meaning of human life that is brought into this absurd world, especially from a woman’s perspective. In recent decades, feminist thinking has become much more prominent, while feminist art has gradually emerged as its own independent genre. These trends are illustrated in China by the “Iron Lady” ideal of women from the 1950’s to the 70s, images of women’s involvement in Chinese history from the 80’s and 90’s, and 21st century books dealing with the female experience in the form of the cartoon story. Recent works such as Witness Growth by Yu Hong and Your Body by Xiang Jing present their own diverse ways of capturing complex female thinking and contradictory emotions.

Women’s lives are defined by more dramatic physical changes compared to their male counterparts. As the journey from menstruation to menopause includes both life-giving power and loss, the emotions from these experiences permeate many women’s art, whether or not they consider themselves feminist. As the Mexican artist Frida Kahlo wrote after a car accident left her largely immobile, “To thoroughly paint my life, I believe, is the best art.” Having learned how to observe herself in a mirror, and to express her vulnerability and fiery fear, painting to her was like a self-comforting hand that healed pain through its spiritual therapy.

During a large contemporary international art exhibition at the New York Museum of Modern Art in 1985, the Guerrilla Girls’ art group was the first to point out that of the 169 artists in the exhibition, only 13 were female. Perhaps best known for their gorilla-headed nude poster with the caption, “Do women have to be naked to get into the Met?” the best response to their challenge is to let the talent of the women’s art movement speak for itself.

Today, we may at last be approaching the stage of real social and artistic gender equality. The wide world of women’s artistic vision translates into diverse and bold artistic expressions. Let us celebrate the talent assembled in this EastWest exhibition of women’s art, as we explore their response to their environments. In this act of combining the art of two cultures, may we appreciate the play of difference and common ground to be found in their Chinese and American visions.

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观看女性艺术 20世纪50年代毛主席提出“妇女能顶半边天”。确定了中国女性在社 会中的独立性与社会身份。此时的欧洲, 法国作家波 伏娃在 中也提出了:“我们并非生来为女人, 我们是成为了女人。”这样的口号, 这部被认为是西方女性“圣经”的作品影 响了一 代女性存在和独立意识。 波伏娃终其一生推广 存在主义, 她提出一系列的问题, 探讨人类如何在无法选择出生的荒谬世界中找到生命的意义,特 别是 女性存在的意义。 女性艺术伴随着女性主义思潮而越来越多的在公众面前出现, 在艺 术界,女性主义艺术逐渐形成一个独立的流派, 从中国五 十年代到七十年代的“铁姑娘”形象, 八九十年代女性的自我凝视及作为历史参与 者的叙述、复制的“自我”形象, 到21 世纪卡通时代的女性体验等相关命题也在作品中呈现。喻红《目击成长》向京《你的身体》等充满女性体验的作品则以更 为多元的方式描述女性个体的思考, 她们好像是一个人独处时陷入惊 恐的回忆或某段情感的矛盾之中。 女人的个体生活史中,一直发挥着她的女性功能, 依赖生理学的命运程度, 要比男人大的多。女人命运的发展曲线, 也要比男 人更不规 则, 缺乏连续性。女人生活中的每一个阶段都是相同而单调, 柔弱而 敏感的,从一个阶段到另一个阶段的转折,又极 其突然而危险。这些 转折所显露出的危机(青春期、性启蒙、停经,绝育)比男性更具有 决定性。男人是逐渐衰老的, 而女人 都是在突然的某一天夺走了她的 女性特征。 这种情绪在大多数女性艺术家的作品中都能够感受到, 他们大部分作品包含了女性身体,个人的经验, 和家庭生活的想法,即 使艺术家 并没有明确女权主义标签。 “我画中的信息就是痛苦, 彻底的画出我的生活, 我相信这就是最好 的作品。”墨西哥女画家弗里达用灵魂的痛苦来铺设 绘画的生涯。 上帝似乎有意要这样跟弗里达开玩笑——让她备受痛苦, 却又给了她发泄痛苦的方式。绘画对她来说是一种手淫似的自我 慰藉, 一种转移 病痛折磨的精神疗法。她从中学会了如何在镜中观察自己, 学会了如 何表现自己的跃动、炽热、无畏和脆 弱。一位朋友注意到, 车祸使弗里达变成了一个“成熟而又忧郁的女人”。 回到二十世纪早期现代主义运动乌托邦式的理想, 女性主义艺术家试图通过他们的艺术来改变周围的世界, 着眼于干预既定 的艺术世 界, 艺术史的经典, 以及日常的社会交往。艺术家苏珊娜·拉齐宣布, 女性主义艺术的目标是“影响文化态度和改 变成见。”当有人说“公共的 男人是政治家, 公共的女人是娼妓”以尊崇男人、贬抑女人的方式控制女人, 进而达成对公 共空间的支配时,1985年纽约现代艺术馆举行的一次大型当代国际艺术回顾展期间, 游击队女孩艺术团体首次以示威方式发 表意见。她们指出,在参展的169名艺术家中, 只有13名女性, 充 分说明了社会和艺术界对于女性的偏见和不公正态度。从 那以后, 她们便不断的通过海报、广告和宣传册子等形式抗议艺术界的性别主义和种族主义。在她们的作品中, 最为人所知 的是1989年创作的招贴海报《女人一定要裸体才能进入大都会博物馆 吗?》。 游击队女孩以通俗的媒介和明确的语言介入公众生活的最具代表性的女性主义艺术家群体。由一群匿名女艺术家、作家和 电影制片人组 成, 公开露面时身着短裙、长袜和高跟鞋, 头戴猩猩面具, 至今也很 少人知道她们的真实身份。 女性的弱势, 被动,以及她屈服于个人情绪的倾向似乎是每一位女性艺术家的共性。在今天我认为没有必要去划分女性艺术 和男性艺术, 女性也承载着等同于男人的社会职能, 拥有她自己独特大胆的表现方 式, 我们对于艺术家的判断应该是从作品 本身的好坏去判断而不是性 别。让我们静静的感受在女性那敏锐的世界里, 不刻意强调, 也不回 避它给我们带来的思考。 或许当我们试图去关注女性这部分真实的面 貌时,也开启了我们反思父权社会构造的旅程。

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Statement of the Co-Curator of Chinese Art Zhao Yin Ou

As artists, we are in dialogue; open to communication between different languages and in search of connection to both past and present; making our roadmaps of feeling ever more open and complex. 我们在对话，是设法敞开不同语言之间的交流，是设法建立过去和现在的对话，使得我们感受力的地图更加开阔和复杂。

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A Window Between Worlds

I CAN: Requiem for I Can’t 2012 Video, 5:52

A project by performance artist Barbara T. Smith, installation artist Nina Jun and founder of A Window Between Worlds Cathy Salser. Harnessed to domestic objects, Smith leads participants dragging bags filled with shredded “I CAN’T” statements from interpersonal violence survivors. Shreds are released on a flaming burial mound while “I CAN” words adorn a second mound in Jun’s installation at SPARC in Los Angeles. At performance conclusion, Smith passes her legacy bringing awareness to social issues through art to Salser.

世界之窗 尼娜·军， 凯西·邵瑟＆芭芭拉T·史密斯 我可以:一首关於我做不到的安魂曲 2012 视频, 5:52

这个项目是由表演艺术家芭芭拉·T·史密斯, 装置艺术家尼娜·军和世界之窗创办人凯西·邵瑟, 以家为出发点，史密斯 带领参与者拖着袋子，里面盛装的是从家暴受害者所写的”我做不到...”句子的碎纸片。碎纸被拖到燃烧的古坟上，另一 个土堆上装饰着“我可以”的纸条，这是军在洛杉矶SPARC所呈现的装置艺术。在表演艺术结束之後，史密斯将她以艺 术警醒社会议题的多年付出递交给了邵瑟。

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Susan Armington

Talking Suitcase Project

2013 to Present Photographs, video, wall statement

Talking Suitcases is a social art project designed to evoke “deep talk in a diverse world.” It brings together community members to create simple art objects and tell personal stories about issues. In its fullest form, participants create and display objects in a suitcase and tell their stories in a public performance. The short form focuses on a single issue and results in a participatory community forum. The story-sharing circle process has its roots in feminist consciousnessraising groups of the 1970s.

苏珊∙阿明顿 一个会说话的手提箱计划案 2013 - 现在 摄影、视频、藝術理念

一个会说话的手提箱计划案是一个社会艺术项目希望引领出”多元世界里的真诚的谈话”。它汇集了社区成员创建简单样 式的艺术品，其与个人故事问题相关。在其最後的形式， 参与者制作一个展示品并放置於手提箱内，在一个公众的表演 场合中他们述说着自己的故事。这个社区参与的简短的表述形式只专注于一个问题及一个解决方式。故事分享及交替是 1970年的女权意识组织的开端。

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Suzanne Beutler

Hope for India

2011 30 x 40 in Oil paint on canvas In my India series of paintings, I used information from pictures I took in Pune and Bangalore, India. I have scenes of homeless people in makeshift shelters by the side of the road, along with Rotarian supported schools where I took pictures of enthusiastic students. I believe education is the hope for the many poor in India. I plan to show this hope with the school children in juxtaposition to the street scenes.

苏珊娜∙博伊特勒 印度的希望 76 x 101 cm 油画

我的印度的画作里,我在浦那和班加罗尔拍下照片,并用照片里的讯息创作。我就像无家可归的人一样, 住在路边,热情的扶 轮社学校的学生也和我一样,我们一起留下了照片。我相信教育是许多印度穷人的希望。我计藉由街景与学童的画替他们 带来梦想。

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Elizabeth Bisbing

Metamorphosis

2013 Stop motion animation, 2:49 My work deals with the concept of the child through fantasy and play. This work centers on the character Little Betty Jane — a little girl who stoically faces many unexpected dangers and calamities. She represents my self as a small child, but more than that, she represents the vulnerable in all girls and women as we face the world of the unexpected throughout our lives. In Metamorphosis she rollicks freely through nature eventually becoming part of it in the form of flower petals. In this way she triumphs over her fears.

伊丽莎白∙賓士冰 变形记 2013 停格动画，2:49

我的作品涉及发挥孩子的想像力及游乐。这个作品中的小女孩贝蒂∙珍妮 - 一个坚忍面临着许多意想不到的危险和灾难的小 女还。她代表我孩童的一面，但她也同时代表着所有女孩及女人所面对的世界意想不到的一面时的脆弱，在变形记中, 最 终她欢愉地蜕化成花瓣的形式, 并克服了她的恐惧。

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Jessica Burke

Vanessa as Darth Vader of the Empire 2013 37 x 24 in Graphite on Arches HP

This work is part of the Pop Portrait series that explores the influence of popular culture on identity.

杰西卡∙伯克 凡妮莎裝成 达斯维达大帝 63.5 x 94 cm 石墨水彩紙

这作品是流行文化塑像的一部份, 该作品探讨了流行对文化的影响。

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Cai Shi Qu 蔡世瞿

In the Spring River Photo Print

Guy Debord believed that the world had already been shot by a camera. The spring river has already deceased, and the newly built landscape is someone else’s view at a certain point in time.

春河里 摄影

居伊德波认为世界已经被拍摄。春河里，春河里，春河里，作为已逝的又新建立的景观，也是时间轴上存于某一点的谁的 景观。

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Chan & Mann

Myths of Rape (2012) Video, 3:25 minute loop Photographs 19 x 13 in

In 2012, Chan & Mann (Audrey Chan and Elana Mann) collaborated with artists Suzanne Lacy and Leslie Labowitz-Starus to reinterpret Labowitz-Starus’ Myths of Rape (1977), originally part of Lacy’s influential Three Weeks in May (1977). Myths of Rape (2012) featured thirty diverse performers, including women and men. The performers enacted compelling tableaux and spatial interventions, wearing presentation boards featuring current myths and facts about rape.

奥黛丽∙陈 &伊連娜∙曼 强暴的迷思(2012) 视频，3:25分钟循环 照片，48.3cm x 33cm

在 2012年, 陈与曼两位艺术家和苏珊娜∙拉齐,还有莱斯利∙拉博维茨丝∙多拉丝一同重新诠释多拉丝1977年的作品强暴的迷 思, 其为苏珊娜∙拉齐 1977年作品五月的三个礼拜的一部份。新版强暴的迷思(2012)，特邀三位不同的表演艺术者，有男有 女。 制定了引人 注目的舞台造型和空间措施为特色,穿着演示着目前对强暴的现实与迷思。

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Cong Ling Qi 从瓴萁

In order to prevent the loss of vision--“My Roommate” 2010 New Media installation 140 x 35 x 25 cm

We invited the blind Li Feng to describe the image of a person (her roommate) whom she is familiar with, and carved the Braille translated from her descriptive languages on the surface of a runner. The head-plates at the side of this runner would let out sweet sounds because of the plucking of the denticulations of Braille. Then the sound would be recorded by audio software in the computer and turned into abstract waveform animation constructed synchronically into sketch lines and projected onto the wall

为了防止视觉流失--“我的室友” 新媒体装置 2010 140 x 35 x 25 cm

作品过程: 请盲人李葑描述了她熟悉的一个的人(她的室友)的形象, 将描述的语言写成盲文刻在转轮的 表面, 转轮侧面的琴 片由于突起的盲文浮点的拨动可以发出悦耳的音阶。再将发出的声音收入 电脑中的音频软件, 并实时的转化为素描线条所 构成的抽象动画的波形投射在墙面上。

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Sherri Cornett and Sandra Mueller

Points of Many Connections

2013 6.5 ft x 12 ft in diameter Tent poles, canvas floor, parachute, organza, cord, yarn, fabric, pens This participatory installation offers a personal and communal framework for reflection and connection. Created as a collaborative project, it draws on the dome as a sacred structure from ancient Rome to today’s geodesic versions.

Covered by a translucent parachute with colorful woven intersections and painted shawls, participants can take refuge in this welcoming space to create a Journey Marker, symbolic of the many points of connection needed for women to “Hold Up Half the Sky.”

桑德拉∙穆勒＆雪莉∙科内特 2013

一个多重连结点 198 cm 高x 366.5 cm 直径寬 帐篷杆，画布地面，降落伞，纱，线，布，钢笔 这个特别的装置提供个人的且沟通性的框架，功能为反映即连结。以共同合作为出发点制作的个项目。这个圆顶连接了古 罗马的架构到现代测地线拱顶，形成一个神圣的结构。这个结构以透明的降落伞丶彩色的羊毛线交合纺织，以及上色的披 襟覆盖；参与者可以在这个温和的空间里记录旅行中继点，这个象徵着许多人来自个地去支持女性“撑着半边天”的艺术 案。

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Jing Deng 邓菁

Uploading: Chinese Education Oil on Canvas

Uploading: Chinese Education was created from my memory of a TV story. These children were the offspring of Chinese migrant workers, who moved to the city from rural China to take on physically hard and dangerous jobs in pursuit of better living. Their children, however, are denied access to the city school system because they do not have city resident registration. The Chinese characters on the left corner of the painting read “Chinese Education,” the name of the TV channel. I tried to create a distorted visual effect, symbolizing the distorted Chinese Education system.

加载中：中国教育 布面油画

“加载中：中国教育” 的创作灵感来自于一个电视节目。画中的这些孩子是从中国农村来城市打工的民工的孩子们。这 些孩子却不能在城市里享受和城市孩子一样的受教育的机会因为他们没有城市户口。左上角的“中国教育”字样是电视频 道的名字。我试着把这个场面画成正在加载中的电视画面，因此而扭曲了一些局部，隐喻当下的教育制度。

25

Laurie Edison

Nakamura Fumiko

2006 11 x 12 in Archival digital print

I met Fumiko Nakamura through Okinawa Women Act Against [US} Military Violence. In my Women of Japan suite, I combine my artistic sensibility with my commitment to capture the person in the photograph: cultural, personal, environmental, and physical cues, what is and is not said or communicated. Centrally, I collaborate with the person in the photograph, who makes many aesthetic choices. Combined with extensive community work, this approach encourages communication across cultural boundaries. Fumiko Nakamura, filmmaker and peace activist, retired after 40 years as a school teacher to found non-profit Ichi Feet to document the horrors of the battle of Okinawa and the subsequent suffering.

劳丽∙爱迪生 中村美子(音译)

27.9 cm x 30.5 cm 数位典藏印刷

我在冲绳女性对抗美军暴力中心遇见中村美子。 我在日本女性宿舍里，结合了艺术感受和对拍摄肖像摄影的执着...文化丶 个人丶环境丶还有生理上的影射，有什麽还有什麽是不能说或沟通。我确实和这些人共同创作摄影，这些人替我做了许多 美学上的编辑。附加的社区工作鼓励我跳脱文化隔阂与其女性沟通。中村美子制作电影同时也是个和平运动推广者。从四 十年教职生涯退休後，她创立了Ichi Feet 非营利组织去记录所有在冲绳抗争中所经历的恐怖还有接连的苦难。

26

Danielle Eubank

Mozambique IX

2011 60 x 72 in Oil painting on linen As the majority of the world’s population, it is incumbent upon women to be guardians of the future. We need to look after our people, our natural environment, and our water. I am making a statement about the unifying preciousness of water by documenting it all over the world with my paintings. China is the world’s largest water user and contains 20% of the world’s population so I am especially interested in collaborating with socially engaged Chinese women on how to best safeguard the safety and availability of water.

达尼埃尔∙尤班克 莫桑比克IX 2011 152.4 cm x 182.9 cm 亚麻布油画

妇女生为世界的大多数,应当站出来监护未来。妇女需要照顾人们丶自然环境丶还有水资源。我用我的油画记录并提出声 明：我们需要一统世界珍贵的水资源。中国是世界上最大的用水户,其含有世界20%的人口。我特别对与中国妇女社会运 动者合作感兴趣，希望好好地维护并保障可用的水资源。

27

Fan Xiao Yan 范晓妍

Difficult problems-02 Sculpture

In my work Difficult Problems-02, I use buttons and thread to represent things that women are good at. However, my bottoms and threads are made of stainless steel, in contrast to the ordinary buttons and soft thread we find in daily life. The women in my work can handle hard stainless steel wires, making exquisite objects and perfecting every job.

Similarly, buttons and threads are representative of difficult circumstances faced by women. Buttons are like walls or barriers that can block roads and directions. Threads represent thorns in life’s journey. Only the women who dare to challenge such obstacles can overcome difficulties.

难题-02 雕塑

我的作品“难题-02”用扣子和线这些代表女性擅长的事情，表现女性在自己热爱的事情上也是游刃有余，随心所欲的。 我将扣子，线全部替换成不锈钢材质，原来很柔软的线变的钢硬冰冷，然而钢硬的不锈钢线在她们手中也变的柔顺听话， 她们用自己辛勤的双手，细腻的做工，认真坚韧的态度勾勒出美丽的图画，完美的去完成每一件事情。同样，扣子和线也 是困难坎坷的代表，扣子像一堵墙，一堵拦住去路和方向的屏障。线可能就是人生路上的荆棘。只有敢于挑战不怕困难的 人才能迎面冲破它，战胜它并且很好的利用它 。

28

Feng Lin 冯淋

Of the Missed Calls

Mixed Medium Installation “I’m here, you’re not” is a neutral phrase. Neatly writing this on a door can eliminate the suspicion of advertising or graffiti. This will lead people to think about people they have met or events that have happened recently. A person with marital problems may think this was from the lover of his or her spouse. A business owner may think this message has something to do with his or her business. A landlord may think that a potential tenant came to see the house. A lonely bachelor may think this was for sexual service. A corrupted official may think that bribery acts were discovered. A timid person may think of being robbed. A person who offended others may think this was about revenge. A young student may think this is the beginning of a romantic relationship. No one replies to the incoming calls, but the phone has always been on.

未接来电

混合材料装置 “我来了，你不在”是一句很中性的话，用粉笔工整的写在门上又排除了广告和破坏的嫌疑。所以不同的人看了都会从最 近的人和事情反想一下，家庭关系有问题的人，会想到是夫妻一方的情人，小老板会想到是不是来批发货物的，房东也许 会想到是不是有人来租他的房子，寂寞的单身汉可能会想到性服务者，贪官可能想到有人发现了他的受贿行为，胆小的人 可能以为是小偷，得罪过别人的人可能以为有人来复仇，年轻的学生可能以为是一段浪漫感情的开始等等 , 但是这个电话 永远打不通，永远没有人回复，却一直都是开机状态，成为他们心中的一个谜 。

29

Geng Yi Ni 耿旖旎

Falling Yellow Ball

Oil on Canvas

In my latest paintings, I attempt to get away from the narrative expression of my past work, by limiting myself to only the most representative visual elements. This camera-shot style imagery becomes the overall background of my paintings. These background scenes are seemingly empty but have actually gone through a rational omission of plot, characters and contents. What remains is only the most flamboyant imagery. I then add some irrelevant objects to the scene in a strong rough painting manner. The absurdity resulting from overlaying contradictory and even diametrically opposed objects brings viewers unique visual experiences. This is a deliberately created random reaction.

下坠的黄球 布面油画

在今年最新作品的尝试中，我试图摆脱以往那种叙事性的表达方式，从故事的长线中敏锐捕捉最具代表性语言的点，也就 是类似于镜头碎片似的截图，作为创作的整体背景。通过看似空无一物、实际上却经过理性删减掉更多情节、人物、内 容。仅存留奢华、浮夸的场景作为背景，再用绘画感较强的强硬的方式将一些不相干，甚至突兀的事物覆盖在这种离我以 往生活环境相去甚远的背景之上，获得一种相对概念。这种相对概念来自于那种不相干的背景与主体物叠加所产生的荒谬 结果，有的甚至来自矛盾、截然相反的事物对接后意外带给观者的奇特的感受。这种结果不是一种唯一特指，而是故意制 造出来的一种随机反应。

30

Christine Giancola

Eighteen Years Later 48 x 36 in Photograph

These are portraits of women taken in Beijing China during the 4th U.N. World Conference on Women. Women from over 180 countries came together to improve basic human rights of women globally. This experience was life changing while creating a deep sense of responsibility and collective empowerment. Eighteen years later we still struggle for the same basic human right to control our own bodies and to keep them from harm. Until all women have this right, none of us are free. We continue to hold up our Half of the Sky.

克李斯提安∙詹科拉 十八年后 45.7 cm x 91.4 cm 摄像

这些都是在联合国第四届世界妇女大会在北京中国妇女的肖像。来自 180多个国家的妇女集合在 一起，提高全球妇女的 基本人权。这是一个转变生命的经验，同时提升责任感和人民集体的权力。在十八年后,，我们仍然在努力提高控制我们 自己身体的权利，以免让她们受伤的基本人权。直到我们让世界所有的妇女都能有这个权利，女人的身体并不是赠品。我 们继续扶持有我们的半边天。

31

Sarah Beth Goncarova

The Bird Feeder

2013 10 x 8 in each Four photographs

In The Bird Feeder, I sat in a sculpture made of bittersweet root suspended in a tree, holding birdseed either in my hands, or when it was too cold, a bowl on my lap. This piece is layered with meanings, but most importantly it is a reflection on the expectation of a woman to be endlessly selfless and giving, even when it means contributing to her own detriment.

萨拉∙贝丝∙康克罗马 喂鸟器

2013 20.3 cm x 25.4 cm 共四张相片 喂鸟器，我坐在悬挂在树中的苦甜根做的结构，手里拿着喂鸟的种子，当天气太冷时，我把它放在我膝盖上的容器里。这 件作品有多层的涵义。其中最重要的是，它反映一个女人无止尽地给予及牺牲，即使伤害自己也在所不辞。

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Guerrilla Gowns

Guerrilla Gowns: Orange County’s Ghostly Performance

2012 Four pages of an art review for KCET’s Artbound

Guerrilla Gowns is a performance founded in the roots of relational art utilizing the elements of surprise performances.

It’s about women: women as dreamers, women as powerful creators. We engage femininity with a contemporary approach emphasizing a quieter aesthetic. In this performance, in which artists are clothed in bridal gowns, we create a metaphoric event that symbolizes a woman’s ability to manifest dreams transforming our past, present and future by tapping into a liminal state between thought and action.

游击队礼服 游击礼服：奥兰治县的鬼魅表演艺术 2012 四页KCET艺界报导

游击队礼服是一个表演艺术。以艺术关系为基底采用惊奇地表演艺述。这是一个关於女性的作品:女性是梦想家，是一个 强烈的创造者。我们用现代手法连接了女性味化并强调安静气质。在这个作品里，艺术家们穿着婚纱，这创建了一种比 喻，其象徵着一个女人能力将过去丶现在丶未来转化成一个在思想和行动间转换的阈限状态。

33

Maki Hajikano

Accumulation #1 C

2010 4 x 6 x 4 in Cast glass

The advances of science have given us a new perspective of the body. My piece suggests various cell forms and mutation processes, which was inspired by the introduction of iPS cells. Through the phallic nature of this work I challenge and play with people’s notions about form and sexuality. A particular goal of art is exploring new perspectives and provoking discussion, which I attempt through this work. It not only provides for commentary concerning its subject but also shows how sexuality and sensuality are attached to the object.

初鹿野真纪(音译) 积累#1 C

2010 15 cm x 10 cm x 10 cm 玻璃 科学的进步带给我们对人体的一个新的视角。我的作品提出不同的细胞形态和突变的过程,它的灵感来自于引进的iPS细 胞。这项作品藉由其原有的类阴茎性质，挑战观念丶形式丶性向。艺术的主要目的是探索新的视角和发人深省的讨论。藉 由这项作品我希望不止提供与其主题相关的评论，同时物质与性/感性之间的关系。

34

Aram Han

Grain of Truth

2013 10 x 6 x 6 ft Installation of digital C-prints, wedding dress, rice I make slow work; I hand-stitch. Though tedious and often futile, I dedicate myself to patiently build a line, image, and surface, stitch by stitch. I achieve a slow rhythm of my hand piercing the cloth, pulling the needle up, piercing the cloth, and pulling the needle down. The core of these movements is an instinctive process, by which I become lost in a musical tempo. I work with an innate repetition, which expresses itself in each stitch. The spirit of the work is the labor of my hands.

亚兰∙汉 伙食的真相

2013 1.8 m x 3 m x 1.8m 数码打印相片.米和棉线编制衣 我总是以缓慢的速度创作；我手缝我的布料。藉由这些徒劳繁琐的工作，我决定我自己一针一线的制造一条生产线丶形象 及布料。我用一种缓慢的韵律手工穿制衣物，拉针引线。这些动作的中心是直觉性的处理，我陶醉于其中的韵律。我与生 俱来知道如何重复地一个动作，这在美个缝线中都看得到。劳动是我中心之魂。

35

Maxine Hess

A Binder of Women

2013 Installation of video (19:52) and corset I consider my work to be visual sociology. My intent is to get women to share their stories with each other and to recognize connections and commonalities in their life experiences as they work towards their personal fulfillment.

Through my art I seek to expose sexual violence and the exploitation of women and how women’s self-perceptions can be influenced by societal/cultural norms. This body of work tells a story of rape and restriction through fabric collages and film. Both media involve my collaboration with other women.

玛克辛∙赫斯 妇女档案夹

2013 视频裝置(19:52)和紧身胸衣 五个不同的女性利用紧身胸衣为象徵替那些仍旧被外部社会丶文化和传统印象影响的女性们。我是一个视觉社会学家。我 企图让女人们彼此互相分享故事。在实现个人价值的同时，让她们互相连接并了解生活中的共同点。藉由我的艺术，我希 望揭露性暴力和对女性的剥削；还有社会/文化规范是如何影响女人的自我认知。这整套作品使用布料拼贴及影片诉说有 关强暴和社会规范的故事。容括两个介质呈现女性之间的合作。

36

Jiang Xiao Mei 姜晓梅

Prosperous World

Sculpture & Installation Creative concepts: the Prosperous World series is made from ancient Chinese coins, using transparent fishing line to tie bronze coins together and form an image of either a chair or clothing. A chair symbolizes a position of power. Clothing symbolizes beauty and splendor. The work, being sealed in a transparent protective shield, gives an impression of grandeur and prosperity. However, the overall shape is very fragile. If each individual coin changes position, the chair and clothing can be easily destroyed. The sense of instability represents the relationship between money, power and prosperity.

盛世

雕塑，装置 盛世一系列作品，采用中国古钱币的造型，用透明的鱼线将单个的铜钱编织起来，将每个个体重组成一个形象——椅子或 衣服，椅子象征着位置和权力；衣服象征着美丽和荣华。作品整体造型给人富丽堂皇，盛世繁荣的景象，被封存在透明的 保护罩内，然而，整体的造型很脆弱，当每个个体的铜钱改变了位置，整体形象就会改变或者毁掉，沉重的铜钱好像悬浮 在空中，有一种不稳定感。我在思索金钱、权利、繁荣之间的关系。

37

Kay Kang

It’s A Girl!!

1999 82 x 55 x 70 in Acrylic, charcoal, hemp ropes, door jams and red chili peppers It’s A Girl!! is a celebration of the birth of a girl, which has been neglected too often in Korean customs. The piece is an altered representation of the Korean custom of announcing births. Traditionally in Korea, when a female is born, charcoal is attached to a hemp rope and hung outside the front door. In contrast, when a boy is born, red chili peppers, signaling joy, are hung in celebration. I speak in a voice which talks directly to the Asian feminine identity, and the experience of female submission in a male dominated society

俞敬爱 这是女孩!

1999 208 cm x 140 cm x 178 cm 压克力,木炭,麻绳,门框 红椒 这是女孩! 是一个庆祝女孩出生的作品，女孩的出生在韩国传统里总是被忽略。这个作品是另一种对韩国宣告男性出生这 种传统的诠释。韩国传统中，当女婴出生时他们用麻绳绑木炭块并悬挂在大门外。相对的，当家里有男婴时，他们会悬挂 红椒以表示愉悦庆祝。我直接地呈现与亚洲女性相关的议题，还有我在男重女轻的社会里生为女性就得服从的经验。

38

Li Yi Meng 李一濛

Cat Head Skin Mixed Media

My sculptures use fabric as the main material. The cloth itself is rich in texture, glossy and colorful. It gives me more room to play in the creative process. Of the Heads series is my interpretation of Chinese traditional folk gods.

猫头. 皮 混合材料

我的雕塑作品以布料为主要材质。布料本身具有丰富的质感、光泽和颜色的变化，给予我在创作中更多的发挥空间。《头 像》头像系列是对中国民间传统诸神的诠释.

39

Li Xiao Shi 李小诗

Doll’s Changing In order to become their own, people should welcome chaos beyond itself, restart the power, and be acceptable to all aspects of the unalterable past. Accept now that everything is uncontrollable and accept all future unexpected consequences. When people are faced with a mirror, they see the most familiar. We can not change the authenticity of the exterior mirrored image, but we can change with respect to our inner selves.

作品自述 偶变

“为了成为自己,人们不仅应欢迎混乱,超越本身和那种重新启动的权力,而 且应该接受过去一切不可变更的方面,接受现在 一切不可控制的方面,并接受将来 一切出乎预料的后果。”当人们面对一面镜子的时候,看到的是最最熟悉的自己。 我们无法改变镜中成像的真实性,却可以改变镜子之外相对于自身的变化。我们无 时无刻地陈述着自身转变的概念。就自 我本身而言,时间是变化的载体,是成长的 长河,在岁月无暇顾及的空隙,我们苟延残喘,等待产生蜕变的勇气,然而这是多 么 的微不足道。当我们走进周而复始的时间黑洞,便埋葬了自己;以求窥探生命本 源的一丝光线,给灰暗的周围一点奢侈的救 赎。时间的畸变与混沌的思维吻合,在 它渐渐清晰的同时,沉默不得不伴随而来,迎接佛陀普渡众生,脱离苦海。颠沛流 离的 生活让人们变得疯狂,是谁在那莫名的海岸剥去白昼的外衣,让黑夜拉开帷 幕?是谁在我们的心灵种下干涩的果实,等待不寒 而栗的收获季节?当心已沉入死 海,为什么要挣扎着坠落波涛翻滚的长河。无法正视那永恒的墓志铭。曾经寻找过 可以收 藏灵魂的器皿,曾经畅想过缝合碎骨的黑线,曾经憧憬过杳无人烟的荒原。

40

Liu Hua 刘桦

Light Dust

Oil on Canvas In real life people always hope to be understood. This is tiresome. A painter can paint to release herself, gazing at the transparentness and brightness after clearing all the blocks between oneself and the surrounding environment. The visual language born in the process reflects the condition of our existence.

轻尘

布面油画 现实中人们总希望能被人理解，这很累人。好在可以通过画画这件事沉到幽深之处来松开自己。看看融解块垒释放出雾霾 后自我究竟会有多大程度上的通透和明亮。所有这些形成的画面形式语言，体现了我们的存在状况。

41

Liu Yan 刘艳

The Waste Land Series Oil on Canvas

In this series, I painted many wastelands and burned down places, whether it was an abandoned factory or a deserted stage. They are all full of memories of a long gone past. Deeply dark tonalities and empty, blurry spaces form a memory channel. In this I found my spiritual home: away from the bustle and noise of the city, a quiet ruin and an abandoned past.

废园系列 布面油画

作品以废园和烟葬系列做为创作主线，无论是废弃的工厂，还是空寂无人的舞台，都是一个远逝的往事记忆。灰暗低沉的 调子，空旷模糊的空间，它更像一个记忆通道，是我寻觅到的精神家园。在远离喧嚣和嘈杂的都市，寻觅一个清静的地 方，清静的地方是一片废墟，一个被遗弃的过去。

42

Liu Zhi Yin 刘知音

Born After 1980

Sculpture

As the first generation born under China’s one child policy, we grew up alone, in our own mental world. Our creative works are based more on personal experiences and feelings, but we also incorporate a number of popular visual elements, symbols found in fashion or cartoon. I blend all these ingredients together and use a cartoonish visual schema to describe life, capturing the souls of my generation and emphasizing a kind of self-analysis and individual experience.

My work looks pretty even though it vaguely reveals sad feelings. In a metaphorical way, I want to present the loneliness, uncertainty and dullness felt by the born-after-80s generation, behind our prosperous material life style.

八零后 雕塑

青春，不管是美好还是苦涩的，都是我们记忆中极为重要的一段经历。在当下，追忆业已逝去的青春成为非常时髦的话 题。然而，每一代人都有他们专属的青春经历和记忆。作为中国第一代的独生子女，八零后的我们，与过去“呼朋引伴” 的时代不同，我们从小独自在自己的精神世界里长大。所以我们更多的还是根据个人经验、感受去创作，作品具有明显的 个人化元素，但也融合了一些当下流行的语言，比如时尚语言、动漫因素等，我们把这些内容都糅合在一起。作者更强调 以一种自我分析、自我经验、自我感受的方式进行创作。作者在运用卡通化的视觉图式来叙述生活，显示这代人的心灵图 景。作品表现得虽然比较优美，但是隐约流露着哀伤的情绪。作者希望以隐喻的方式来呈现八零后幸福物质生活背后孤独 的精神世界，生命里的不确定，隐隐的孤独感以及少年伤怀青春时光的流逝。

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Louder Than Words

Actions Speak: The Tyranny of Violence

Video projection, 2:30 minute loop

Gender-­based violence is unrelenting and Actions Speak: The Tyranny of Violence focuses on the connections between brutality and public policy, and reconsiders the ongoing social problems of men’s violence against women and domestic violence. This video projection by S. A. Bachman and Neda Moridpour asks viewers to reconsider the ways silence amidst a discourse of brutality (whether state-­sanctioned, media-­driven, or personally inflicted) disconnects us from the individuals (living halfway around the world or in our own neighborhoods) whose bodies and lives are affected.

此胜于言 行动表示：暴力的暴政 视频投影，2:30 分钟循环

以性别为出发点的暴力是无情的。行动表示：暴力的暴政主要专注于残暴和公共政策的关系，还有重新思考男性对女性施 暴还有家庭暴力。此视频希望观众重新思考沉默是对在暴力议题(无论是国家批准的,媒体驱动的,或个人生命中的)中身体 及生活被影响的人们的隔离(不论是在远处或近距离的)。

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Rosemary Meza-DesPlas

Cry, Die or Just Make Pies

2013 15 x 12 x 2 in Human hair

In the 21st century women have commandeered popular culture. Maternity and sexuality coexist with violence in an uneasy alliance for survival. The embroidery needle in my hand becomes a weapon to wield as I create these images.

My artwork depicts the resilient, adaptable nature of woman to survive under patriarchal-contrived socio-cultural conditions. In my world woman is not only holding up half the sky but is protecting her piece of the pie.

罗斯美丽 梅萨达斯布拉斯 哭把，死吧，不然就做派吧 2013 38 cm X 30.5 cm X 5.1 cm 头发

在二十一世纪女性已雄踞于流行文化。怀孕和性欲和暴力同时从在於一个不寻常的求生联合。我手中的绣花针引导我创造 这些影像。我的作品描绘了女人的弹性，适应自然宗法-并需要在这做作的社会文化条件下求生存。在我的世界里，女人 不只是撑着半边天而是保护她们的这一块派。

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Mo Di 莫棣

Art School Graduates Photo Prints

I provided a brief, which describes an imaginary scene. I sent it to a few people with different identities and background. They each took a photograph according to the brief, based on their own understanding. This showed the difference between individuals, in their understanding, perception and perspectives of our society.

美院毕业生 摄影

用一段文字，描述了一个特定的虚幻的场景。用手机发给身边不同身份的人。 他们依据这段文字来拍摄出各自的理解。 以此反应了不同身份的人对社会和生活现象在理解上，观念上，以及关注点上的差异。

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Mary Neubauer

Data Visualizations

2013 Each piece: 2 x 2 x 2.5 in to 3 x 3 x 4 in Installation: up to 30 x 60 in Cast bronze and iron Fifty small cast metal sculptures, their surface textures driven by streams of data, are three dimensional portraits of numerical information addressing environmental cycles, geophysical trends, and urban statistics. They represent a visual and tactile way of understanding global and metropolitan functions over time. The originals, output as rapid prototypes, were editioned as multiples with distinct patinas and finishes. Together, they become still-life arrangements of ephemeral information, artifacts of our surroundings.

玛丽∙纽鲍尔 可见数据

2013 5 x 5 x 6.5 cm - 7.6 x 7.6 x 10.2 cm, 總面積：76.2 cm x 152.4 cm 铸造青铜和铁 五十个小型雕塑，数据流驱动的表面质感，是对环境循环，地球物理的发展趋势，以及城市的统计数字讯息所做的三维肖 像。这提供了解全球和城市功能随着时间推移一个视觉及触觉的途径。最先的快速模组以各种不同的铜绿完工，各成一 色。统结一起，这呈现了死寂的静物装置，人工地环绕于我们四周。

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Brenda Oelbaum

The Sky is Falling

2013 Installation: Video (3:49), paper back diet books, wooden base, wire, fasteners 10-12 ft x 12 in x 12 in How can we women hold up our half of the sky if we are busy worrying about the numbers on a scale? “Dieting is the most potent political sedative in women’s history” — Naomi Wolf. There is so much hysteria about fat that women today in the United States obsess about their bodies and what they eat to the tune of 66 billion dollars a year. Dieting is not only counterproductive, making a dieter’s body better at storing fat, but it also dulls the mind so that we have little energy to do more than count calories. How can we hold up our half of the sky when we are busy worrying about the numbers on a scale? Scales are for fish!

布伦达∙欧班 天落下了

2013 视频（3:49），纸作封背的减肥食谱，木制底座，线材，扣件 3m-3.5m x 30 cm x 30 cm 女人哪有办法边撑着半边天边注意体重机上的数字？ ”减肥是对女性发声政治议题中最有效的一锭。”-- 直美沃尔夫。 美国的女人歇斯底里的担心自己的身材这造成对经济每日造成660亿美元效应。节食其实造成反效应，这使减肥者的身体 更容易储存脂肪，也使心灵便钝，让我们没有足够的能量去好好计算卡路里。女人哪有办法边撑着半边天边注意体重机上 的数字？只有鱼是拿来秤重的！

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Priscilla Otani

Wind Traveler

2013 10 x10 feet Installation of 108 pods: joss paper, calligraphy paper, ink, string Wind traveler is an installation in memory of a good friend and journalist who died of untreated breast cancer. She documented works of obscure but brilliant women artists and artisans in remote corners of the world. Though hard-pressed financially, she never let the lack of funds stop her from traveling and writing about interesting people. This work is based on her article about the breast festival in Tono, Japan. The calligraphy is Basho’s last Haiku, which my friend quoted in a letter near the end of her life.

大谷.普希拉 风的旅行者

25.4 x 25.4 cm 香纸,书画纸,墨,线 风的旅行者是为了纪念我一个很好的记者朋友死于乳腺癌。她记录片纪录着偏远地区无名但聪慧的女艺术家。虽然总是捉 襟见肘,她从来没有让穷困停止她的旅行和写作。我的作品是有关於日本远野市的传统乳房节。里面的书书我的朋友在死 前引叙的芭蕉俳句。

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Min Kim Park

Zummarella Maggie

2012

30 x 30 in Inkjet print Zummarella is a caricature about women who have it all. The work deals with the status of empowered women in a rapidly globalized world. It depicts the mores of the contemporary women who battle to be super women. The challenges facing these women are heroic in proportion, whether it is self imposed or imposed from the outside even though the women are empowered. This work examines the tragicomic situations of contemporary women unable to escape from a self-made predicament and social mores in the land of entitlement.

朴敏金(音译) Zummarella Maggie

2012 輸出 76 cm x 76 cm

Zummarella是一种对拥有一切的女性的丑化。我的作品是在处理强化快速全球化社会里女权的议题。这描绘了现代女性 挣扎变为女超人的情形。这些女性英雄式地处理问题，无论是自己附加的丶外界强加的甚至是其他有权女人硬丢来的。这 个作品检视现代女性无法逃离这种自我束缚的困境和权力地域里社会习俗。

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Jaye R. Phillips

Composing

2013 18 x 16 in Archival inks on pigment paper My image Composing is part of my ongoing montage series which arose from my photography of books . . . books as vessels containing traces, messages, shards, openings, awakenings, and voices. The construction site raw space worked as a concrete canvas, a stage for moving characters through a story. The words juxtaposed are from a personal journal and may be read as runes of a long lost civilization. Through deconstruction and reconstruction of figures in spaces, I am exploring what endures and what thrives .

洁∙R.菲利普斯 构成

2013 45.7 x 40.6 cm 颜料纸与典藏油墨 我的影像构成是我目前正在进行的蒙太奇系列，此源自于我的摄影书；书就像血管一般含有痕迹丶讯息丶碎片丶起端丶警 语还有声音。施工现场的空地就像一张水泥的画布，一个感人地故事舞台。并列的文字是从我的日记里取列出来的，可以 被认作是失落的文明表徵。藉由分解与合成空间里的人物，我探讨着哪些事内缩哪些蓬盛。

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Eva Preston and Joanna Fulginiti

Ties That Bind

2013 56 x 37.68 in Mixed media collage, digital photograph Physical, mental and emotional ties bind a woman to her trafficker and commercial sexual exploitation. We claim that we are not part of the problem, but our judgments of her strengthen these ties. How can she escape when she is bound by so many? When a society ignores the suffering of its weakest in an age of instant interconnectedness, unspeakable acts that have been contained in corners overflow into our homes. Our ties to each other cannot be removed. Do you pull her ties tighter or embrace her beauty and strength?

伊娃普∙雷斯顿和乔安娜∙付劳君妮第 绑紧那束缚 2013 数码影像及混合材料拼贴 142.2 x 95.7 cm

身体,心理和情感成了妓女和嫖客之间的约束，也成了期待商业化性交易的连接点。我们声称这不是我们的问题，但我们 的意见却加强了这些束缚。当她被这麽多人约束着时怎麽能逃跑呢? 当这个互相连结的社会忽略他最弱的一环中的苦痛，在我们的家园的角落已经被拒绝言语的行为所感染了。我们彼此互相 约束无法挣脱。你也是绑紧她的束缚的其中一人吗？或是接受她美丽和勇敢的人？

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Marjorie Durko Puryear

Ancestry: Address Book 2

2007 43 x 45.5 x .75 in Textile Collage: cotton, polyester, rayon, silk, digitally printed transparent fabric images My trompe-l’oeil digitally woven, hand-collaged textiles are symbolic of the often-undervalued importance of searching and interpreting personal heritage and preserving family. A link to past generations is often missing among families whose ancestors immigrated to far reaching countries as children or young adults, forfeiting their homeland for hopeful but unknown futures. As a woman, mother and grandmother, I encourage knowledge of family background as an essential and deep-rooted need that defines one’s reason for being.

马乔里∙ 德可∙珀伊尔 祖先：第二本通讯录

2007 109 cm x 115.6 cm x 1.9 cm 纺织拼贴：棉，涤纶，人造丝，真丝，数位印刷的透明织物图像 我所制作数位视觉陷阱纺织丶手组合的布纹反映人经常忽略搜寻和演绎个人遗产和保存家族史的重要性。有些幼小/青少 年时就来移民开垦的上辈历史经常被现代家庭给遗忘，忘记了他们的家园并对未来感觉无力。生为一个女人丶母亲及祖 母，我鼓励了解家族史是必要是深根蒂固的，是定义个人存在的理由 。

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Sinan Revell

Vamp/Goddess

2012 40 x 24 x 2 in Archival print with lenticular lens, acrylic dibond frame on aluminum with wood backing A teenage vampire’s alter ego is a young Kuan Yin goddess in a lenticular fabrication. Transmigration refers to the passing of the soul into another body after death. My lenticular photos combine two images of the same person in different incarnations. This implies the transmigration of beings across time, space, cultures in an imaginary context. The pictures fuse times, cultural icons and aesthetic ideals. The lenticular technique gives the illusion of depth and motion using magnifying lens set at different angles. The metaphorical implications collides ideas, appearances, control and history.

思南∙雷维尔 女妖/女神

2012 61 cm x 101.6 cm x 5 cm 典藏摄影表框 青年吸血鬼的另一个自我是在透镜产生下的观音。轮回是指死後灵魂进入另一个身体。我的镜头下的照片结合一个人的上 下辈子。这个影射到轮回在幻想的内容里包含着时间丶地点及文化。这个摄影技巧使用透视镜极不同角度替幻象制造深度 及动态感。隐喻意涵冲击着想法,表象,权力和历史。

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Wendy Simmons

Kaokoland region (Himba tribe), Namibia

2012 16 x 24 in Digital C-print

My photographic style is mindful, quiet, honest, compassionate and straightforward. I strive to maintain the integrity of the original scene – nothing is orchestrated, no one is posed and there are no alterations or embellishments to my photographs. My belief is that it is this simplicity that allows the true soul of the subject to be revealed.I aspire to convey an authentic, intimate and revealing view of the subject – its energy, spirit and personality from a different point of view.

温迪∙西蒙斯 卡奥科兰地区(辛巴族) 纳米比亚

2012 61 cm x 40.6 cm 數位彩色印刷

我的摄影风格是熟虑丶文静丶真诚丶同理心及直接了当的。我努力保持最原始的状态，没有做任何更改－没有装饰丶没有 人摆样子，我的相片中没有做过任何变化或装饰。我的信念正是这种简单让真实灵魂自我显示。我渴望传达的真实，亲 切，揭示主题 - 其中不同角度的能量丶精神和个性。

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Song Zhuo Ran 宋卓然

Good Dream

Video Installation Anxieties and myths often appear in my works. Images are poetic reproductions of reality. Their timelessness, inclusiveness and randomness deeply attracts me. In my work, I convert a point in time and a certain place into a special context. The world itself is complex and changeable, yet we live our daily life in a constrained and highly artificial space. Boundaries between real and virtual worlds become more blurred. I grew up along with Disney animation and toys, which inspired me to perceive the world and social orders. On the other hand, they allow me to envision another inner space, where I feel weak and powerless against reality.

好梦

投影装置 不安和荒诞经常出现在我的作品里，影像本身就是一种诗意的再现。它的时间性，包容性，随机性是让我非常感兴趣的部 分。在我的作品中，时间和地点被我转换成一种特殊的语境和环境。世界本身是复杂和多变的，每天每个人都置身于一个 高度人为和规则的空间中，现实与虚拟之间的界限也变得更加模糊。我们伴随着迪斯尼动画和玩具长大，这些启发我们认 知世界，玩具也是一个缩小的社会形态，他让我们可以去设想另一种内心空间，也可以说是一种内心的感受，是对现实的 虚弱和无能为力。

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T’Alyne

Sunshine

2009 8 x 4 x 4 feet Fiberglass, varnish, pigment In physiology, body water is the water content of the human body, approximately 60%. Each day humans must consume a certain amount of water to survive. The unique qualities and properties of water are what make it so important and basic to life. The cells in our bodies are full of water. The excellent ability of water to dissolve so many substances allows our cells to use valuable nutrients, minerals, and chemicals in biological processes. Water is a precious resource that we all need to protect.

T‘Alyne 阳光 2009 24 x 12 x 12 m 玻璃纤维，油光漆，颜料 在生理学上，人体中的水的含量约 60% 。每一天,人类必须摄取定量的水才得以生存。水独特的质量和特性使其如此重 要。在我们的身体的细胞理都盛满了水。水溶解特质让我们的细胞能够使用营养丶矿物质丶生理所需化学物质。 水是宝 贵的资源，我们都需要维护水资源。

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Tang Yu Han 唐钰涵

Almighty

Sculpture & Installation I was born to parents who had very high hopes for my future success, and to a mother who is a feng shui fanatic.

According to a traditional Chinese fortune-teller, my father lacked the vital element of water, so my parents asked me to create a feng shui-inspired “water wall” for their home. On Chinese New Year’s Eve in 2010, I installed this water wall sculpture on the north wall of my parent’s new home. It is designed to bring my father prosperity and good fortune.

Although feng shui culture, traditions and methods continue to play a part in people’s lives today, feng shui sculpture has remained essentially unchanged for thousands of years. Today, it has been relegated to the role of a traditional handicraft. Through this experiment, I hope to incubate and foster artworks suited to our contemporary aesthetic needs.

万能

雕塑，装置 我出生于一个望女成凤，母亲又是一位对四柱八卦与中国风水着迷的家庭。父母从小培养我画画，供我读中央美院。以前 没有条件对我要求些什么，现在却在他们乔迁新居以后一面希望我能给家里做点雕塑，一面却不希望我将来做全职艺术 家。我应邀给八字缺水的父亲做了一面水珠绽开的浮雕墙，2010 年春节前夕安装到了新居北墙。没想到亲戚朋友都拿这 个当背景墙照相，还跟我索要。他们都是最普通的人，不懂什么是艺术，更不知道什么是当代艺术，但却被这个补水招财 的雕塑吸引。去博物馆、画廊看当代艺术展的中国人，除了内行，有的是爱好者，有的是跟风，还有的是好奇。其他大众 就被完全排除在当代艺术之外了吗？当代艺术难道就应该是小众化的，就应该不被普通人理解，就应该离生活经验很远 吗？历史环境所造成的这种局面难道不是艺术家应该来解决的吗？中国风水的文化，风水的方法论被当代人传承沿用，可 是几千年前为风水创造的雕塑却没有任何的发展，反而成了当代的工艺品。没人把这种神秘深奥的文化当成艺术来看待， 也没人觉得艺术品能与风水有多大关系。我却希望通过这次实验，从风水文化中孕育和衍生出适应当代社会审美需求的艺 术品，以一种新的可能性来呈现人与文化与艺术之间的关系，同时也给艺术提供一种新的可能性。 58

Tian Han 田寒

You Know My Pain Acrylic Paint on Paper

Between 2012 and 2013, most of my works have been based on images that already existed in magazines, newspapers, books and so on. I break these images down into different elements, and reconnect them according to my own feelings.

Many unexpected visual conflicts and contradictions will appear on the canvas. My recent works are gradually moving towards the fragmentation of structures, as well as decentralized contents, to embody a diverse set of creative angles.

我的痛你知道 丙烯画

2012至2013的大部分作品其实是在既有的视觉载体上进行的多次再创作，如杂志、报纸、书籍等等。有时我会将这些视觉 载体打碎，然后再根据自己当时的感受重新组合它们并结合粗糙的手绘，所以经常在画面中会出现很多意想不到的冲突和 矛盾。我的近期作品逐渐趋向于创作结构的拼贴性和零散性以及创作内容的’去中心化’等特征，希望能够体现出创作视 角的多元化。

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Virginia Tyler

Ten Hours’ Work for Abena Duffee 2007-2013 5 x 4 x 3 feet Gravel, photo

Abena Duffee is a girl in Ghana, West Africa, who breaks granite stone by hand using a small sledgehammer. At 14, she is expected to break approximately 480 lbs. of gravel every day. Abena’s family is proud they kept her in school as long as they could. She is a bright girl, as you can see from her photo. Sadly, when she became strong enough to break stone, they needed her to work to help feed her younger sisters and brothers. Her grandmother was just too tired to go on breaking stone.

弗吉尼亚∙泰勒 帮阿班娜.多分工作的十小时 2007 - 2013 1.5 m x 1.2 m x 0.9 m 花岗岩砾石,照片

阿班娜.多分是一个住在西非加纳的女孩，她每天的工作是用一个小重锤敲碎花岗岩。在她十四岁时，她被要求每天敲打 480磅的花岗岩。阿班娜的家庭非常自豪他们能尽可能地送她去学校。你可以从照片里看到她是个非常聪明的女孩。可惜 的事，当她够大的时候，她就必须去敲石头以养活她的弟妹，因为她的祖母实在是敲不动石头了。

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Wang Hui Na 王慧娜

She Came from History Print

I aim to create work that brings the past and the present together, restoring old images and finding contemporary elements in them. The process makes me lose the sense of passing time. The changing scenes and stories gently bundle together, becoming everlasting emotions.

她从历史中走来 版画

感受图片,使过去和现在汇聚于一起.将那些物象复原,创作出具有视觉艺术的图象.它使我感觉不到时间的推移.不同的景物 和故事,轻轻地走来,聚合在一起,成为流逝不掉的情感.

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Wang Qing Zhen 王庆珍

Creature 4

cotton, veins, buttons, beads, cocoons, pistil 60 X 60 cm The creative inspiration came from the pure feel of women’s clothing materials. The weaving process of these materials is like the complex life process of a woman. From a women’s perspective through my work, I try to present the sensitive nature of a female body. In Creature 4, I used the dotted decorations and upward lines to represent the growth law in accordance with the tenor of life.

生灵4

材料棉布、叶脉、扣子、珠子、蚕茧、花蕊，规格 60 X 60 cm 来源于对女士衣饰材质的单纯感触，并编制出复杂的生命联想，又总是在女性身体的片断意象中渗透出细腻的女性感受和 性别视角，该幅作品有其鲜明的特点。《生灵4》密布的点状装饰手段，向上的生长状态流动的线条，规矩中不乏突破,意 旨生灵皆是按照一定生长规律并按照其本意自由发展的自然状态。

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Margi Weir

Antimacassar 2

2012 84 x 88 in Vinyl

Using adhesive-backed vinyl, I group images of related things or repeated objects in stacked rows that suggest tapestries, rugs or Southwestern Pueblo pottery decoration. This stacking of unranked layers of mirrored imagery is a visual metaphor for the way that bits of information are thrown at us daily, with only occasional in depth coverage. I piece together these fragments of imagery relating to a topic that is important to me such as ecology or politics with the hope that the viewer can make personal meaning.

玛姬∙维尔 椅套2

2012 2.2 m x 2.1 m 乙烯基 我用胶背乙烯组合有着相关内容的图像或着是重复的内容并堆叠成排。让其看起来像是挂毯丶地毯或西南部普韦布洛陶器 装饰。这镜射堆叠未排序的图层是用视觉去象徵每天接受的资讯。我集合着对我来说是重要的讯息碎片：像是生态与政 治，并希望观者能在此找到个人的看法。

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Xu Dan 徐丹

Echoes of a Fantasy World

8*10 handmade pinhole cameras Litho Film

We all feel the power of the latest technology. But if we strip away all these 21st century aids then what is the photographer left with? Why do we take photographs, and how does this act inspire people to explore and discover the world? These questions puzzled me. Abandoning the machinery, science and technology that come along with hightech cameras and using direct pictorial language, I try to explore the essence of photography. Equipped with black and white litho film of low sensitivity and 2-5 minute long exposures, I used a handmade 8*10 pinhole camera to explore the visual experiences of different races and cultures. I also wanted to document the process by which a female becomes self aware, and the conflict, resistance and contradiction one feels along the road. I enjoy the slow-paced feel in the way photography enchanted humanity originally, and in the way a Chinese woman experiences western culture. “ 幻想世界的回音”自拍 8*10 手工针孔相机胶卷 Litho Film 受益于高科技武装的机械相机和数码相机，我感受着不同类型摄影的力量和震撼。如果抛却摄影的社会性和功能性，抛却 物质上的辅助工具相机，摄影是什么？我们为何而拍，这种行为是怎样打动了人类去不停的探索和发现？因为这诸多困 惑，我在那个阶段迷恋上“针孔相机”。摒弃机械相机和数码相机等科技力量带给摄影的辅助功能，利用直接的摄影语 言，试图探索摄影本质。低感光度的黑白Litho Film, 2-5分钟长时间曝光，我用一部手工制作的8*10针孔相机视觉探索在 不同种族和异国文化的体验中，女性在自我认知过程中的冲突、抵抗和矛盾，以及女性本体在成长过程中人生观的打破和 再建立的真实状态。在那个阶段，我在慢节奏的，原始的拍摄方式中感受着摄影最初带给人类的感动，放慢节奏去探索和 挖掘东方女性体验西方文化的过程。 64

Yan Si Wen 燕思雯

The Sandstorm 2013 Neon tube, wood

The picture was taken at Niagara Falls, on the boarder between two countries. As I stood in United States territory looking at Canada, I felt confused by another scene from childhood memory . . . The vapor from the waterfall reminded me of the early spring in my hometown. I live in a windy and dusty place in northern China. The sandstorms make people feel suffocated and blind their vision. It gives me a sense of melancholy and romance, which may have come from a child’s fantasy. I remember feeling longing for an unknown and mysterious world . . . I turned to red neon signs as an extension of my childhood fantasy and my teenage emotions.

沙尘暴 2013

霓虹灯管、木板 作品拍摄于美国与加拿大交界处的Niagara Fall，当我站在美国领土遥望另一个国度的时候，我有一种难以阐述的困惑 感。我想，这种困惑可能是源于对童年的回忆……瀑布所产生的水气似乎是在为我制造一个我所熟悉的梦境，就像一个即 将到来的“春天”。我所生活的“春天”是一个多风、多沙尘的北方地区，那种风沙所带来的窒息感使人看不清周围的一 切。从很小的时候我就经历过沙尘暴，漫天的黄沙和灰红色的天空。也许是儿时这种经历，使我并不抗拒这种沙尘天气， 反而会带给我一种莫名的忧伤与浪漫，这种浪漫可能来源于儿时的幻想，也或许是少女情怀对未知的向往，也可能是那灰 红的天空所带来的神秘。这一切都交织在一起，让我的梦境变得吸引人而又不可预知。我把红色霓虹灯幻化成梦境的延 伸，它们不是符号，而是真实的少女情感的载体，承载了每一个梦境。我所呈现的一切，即使沙尘暴所带来的真实，也是 沙尘暴所带来的幻象。

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Yuan Jia 袁佳

The Prelude of Resurrection Sculpture

In my work, modeling and shaping wood is not the point. The mastery of the texture and characteristics of wood as a medium is not of much significance to me. The desire that leads me to realize a certain feel for a piece of work comes from my love for decorative structures that can only exist in the virtual world of wood in my memory. Through the paradox and the emotional dislocation felt in my work, I try to convey something dramatic that resembles an experience of sudden acquisition of a noble sense of purpose.

复活的前奏 雕塑

在我的作品中，对于木头的造型和塑造并不是要点，木头的质地和性质也不是我要拿捏的关键。一种心里的对于具有修饰 性的虚假拟真结构的朦胧的认同感及对于木质材料的温暖的记忆，构成我对于作品形态感觉及实现渴望。荒谬性和情绪的 错位性直接导致戏剧的效果出现，逼近一种具有生活和生存意义上的崇高感。

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Zhang Ran 张然

Goddess

Oil on Canvas “Expressing” and “describing” is far less important than “feeling” and “experiencing.” All art forms, as I understand them, are the result of converting individual artists’ experiences into forms. Therefore, even though describing and rendering one’s experience is difficult, these are the tasks that artists have to take on during the creative process. At times, adding elements and forms on the canvas can mislead the viewer. I am always afraid of not being understood, so I keep “telling,” even though I started wanting to describe less. Often even the best “conversations” are still inadequate to express our inner selves. .

女神

布面油画 “抒写”和“描述”，远远没有“体验”“感受”和“经历过”更重要。无论是绘画还是写作，人们都希望能把经由体验 而得的感受与心理变化通过各种形式表现出来。任何一种文字形式、绘画形式或音乐形式，在我的理解，都是在通过对这 些由个体已得的体验和感受的“转化”，而得出的艺术作品。描述和呈现是一种很难的方法，但在创作中又必须要去做的 方法，即使你的创作是一个“去文学性”的作品。然而有时，不停地在画面上补充添加一些形象及含义，总怕被观看者误 读，不被理解，不停地述说，以至于让人产生一种反感厌恶的情绪，在别人的心中变成一个“话痨”。这就又变成另一种 局面了。遗憾的是，最优秀的“译文”也都没有人们内心真正的潭深谧静或波涛汹涌更神奇美丽，我们都在努力传递内 心，努力做到准确，但这是件难事，我们只能努力。

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Zhao Yin Ou 赵银欧

I’m always trying to get close to that disturbing reality Always looking for what will take me to a place of no hope A place where I’m helpless On an inner path to feeling inferior, to self-torturing Myself forging, shaping myself And for the burning, using a substance that can’t be put out -From “Notes & Thoughts” Translated by Robin Setton 我一直想接近这个令人不安的真实， 总是找一些把我带到绝望中的境地， 让我力不从心的地方， 在通往自卑和自古的内心之路， 自己铸造自己， 用无法熄灭之物来燃烧。 －创作笔记节选

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The Essays Essayists were asked to consider the following: Are there any remaining and defining boundaries to women's art practices and how does this relate to a definition of art as a whole? Are there still niches of art practice particular to a woman's perspective? What are the roots of Social Practice Art in relation to women's art history? How are Social Practice Art academic programs shaping the work of women artists? This art and cultural exchange project with its opportunities for building community and common understanding, collaborative art creation, and dialogue is, in itself, a piece of Social Practice Art. How are such works critiqued? How do we put Social Practice works in context with other art forms? Which women artists in the United States are creating excitement in today’s art marketplace and/or influencing art practices? Essayists were also invited to submit essays about their collaborations with community organizations and other aritsts as well as their relationship to aesthetics, documentation practices and social interventions.

Essay juror and art historian Terri Weissman, whose own scholarship focuses on the visual culture of protest movements, selected four essays that offer vivid accounts of deploying art to address with environmental concerns, violence against women, control of women’s voices and gender equity. Special thanks to Mido Lee for her skillful translations to make the written thoughts of the essayists accessible to all participants. The essays published in this volume include: “Betsy Damon: Knowing Water” by Betsy Damon “Pearls of Wisdom — A Personal Account” by Sandra Mueller “To Belie the Dragonfly: Elisabeth Subrin’s Rhetoric of Silence” by Natalie E. Phillips “Celebrity and Gender in Graphic Design” by Sheryl Saunders

Essay Juror Terri Weissman

Terri Weissman is Assistant Professor of Art History at the University of Illinois, Urbana-Champaign, where she teaches Modern and Contemporary Art, and the History of Photography. She is the author of The Realisms of Berenice Abbott: Documentary Photography and Political Action (2011), and the co-curator (with Sharon Corwin and Jessica May) of the exhibition American Modern: Abbott, Evans and Bourke-White. Her articles “Detroit’s Edible Gardens: Art and Agriculture in a Post-Environmental World,” published in Third Text (Online), and “Freedom’s Just Another Word,” in the collection Contemporary Art: 1989 to the Present, are part of her current project on the visual culture of protest movements.

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Betsy Damon

Betsy Damon: Knowing Water Water is a human right, an earth right. Water is the right to life. Water ripples, splashes, soothes, sings, meanders, pounds and thunders. Water is perhaps the most aggressive creative force on earth. It is the foundation of life.

Knowing Water For nearly 30 years, water has been at the heart of my art practice that now spans continents. It began during a cross-country trip in 1984 when I saw the beautiful and disturbing dry riverbeds of Utah. They inspired my first major project "A Memory of Clean Water,� a handmade 250-foot paper cast of the Castle Creek riverbed in Utah. At the end of a day of casting the river, I noticed that the patterns of the stars mimicked the patterns of the stones in the dry riverbed. With this, I realized that everything is patterned by water.

I discovered that in this sparsely settled valley, the waters were polluted from mining and agricultural runoff. Immediately I recognized this as a crisis. At that time I knew nothing about water. So I resolved to learn everything about this substance and our relationship to it.

I read books and went to conferences. The predominant issue that people focused on were about pollution and the chemicals used to clean water. I wanted to understand water at a fundamental level. How does the water molecule function? How important is water quality to the quality of life? What is living water and how do we keep our waters alive? I knew that water and life are inextricably connected and that water has a biodynamic relationship with nature. I wanted to understand this phenomenon.

It occurred to me that people who lived close to nature would have a deeper understanding of water, thus I looked towards indigenous American groups. Unfortunately the loss of oral histories made this knowledge difficult to find.

Nonetheless, I discovered several water sites that held special meaning to local Native American tribes. The headwaters of the Sacramento River, located on Mt. Shasta in California, are a site protected by the tribe that lives in the mountains.

Havasupai Falls in Arizona was kept secret by the local native tribe, but is now a tourist destination. In San Antonio, the Blue Hole was a site visited every spring by indigenous people.

In 1991, I visited my son who was a college student in China. By sheer serendipity, I met a biologist who had just completed research on a Tibetan water site called the God Water. Here, the waters help heal digestive problems and tumors.

Chinese medicine is often prepared with water, and traditionally the source of the water was important. Particular water sources were known to enhance the healing properties of certain herbs. Water quality was inextricably linked to health.

Two years after this meeting, I attained a grant to visit the God Water site. When I drank the water, I felt the cells in my body open. So, this is “living water,� I thought. At that time, a bottling company was sourcing from the God Water to sell the water for its healing properties. This endeavor failed as the water lost its medicinal value in plastic bottles and glass bottles were too heavy to transport. Consumers rarely know what happens at water-bottling sites or who else may depend on that water source. The water-bottling efforts at the God Water site failed, and it was returned to the local Tibetan groups who still use it for health. Although this site is not officially protected from overuse and abuse, it is still protected by those who collectively have the rights to use the area.

Living Water Garden Shortly after being at the God Water sacred site, I attended the first environmental conference in Chengdu, Sichuan Province. Remarkably, along with engineers, Qigong experts attended. This epitomized the interconnection the Chinese culture found between the environment and health. This conference was a stepping-stone to my collaboration on several large-scale public performances on water quality with Chinese and Tibetan artists. It also led to an invitation to design a park that would teach people how nature cleans water.

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The Living Water Garden, a six-acre (2.4 ha) public park located on the Fu and Nan rivers, was the first inner-city ecological park with water as its theme. It includes an environmental education center, several water features and a refuge for wildlife. Each day, 200 cubic meters of polluted river water moves through a seven-stage wetland-based treatment system and emerges clean enough to drink. Although this amount of water does not affect the quality of the nearby rivers as a whole, it serves as an effective demonstration project. The entire park is in the shape of a fish, a symbol of regeneration in Chinese culture. I was the Director of the project, however, everyone who worked on the Living Water Garden was encouraged to take ownership. Many people on the team have gone on to do sustainability work near Chengdu.

After the Living Water Garden, I worked on a design team for the Olympic Park in Beijing. The Living Water Garden had demonstrated the public value of wetlands in China. This initiated a national dialogue on the benefits of designing using natural systems. Our design team was able to integrate an extensive urban wetland system into the final design of the Olympic Park.

ReSources: Saving Living Systems In 2007, I began “ReSources: Saving Living Systems,” a collaboration with a Tibetan media artist. In the Eastern Himalayas, Sichuan China, we have documented nearly 40 sacred water sites and their accompanying local stories. Much like the indigenous people in the United States, the Tibetans also attributed cultural value to their waters. The Tibetans know which water sources have medicinal properties. Some are said to be good for your heart, others for your kidneys.

Each source has a distinct medicinal function. In some villages, knowledgeable doctors will prescribe water from particular springs to cure illness, and many monasteries in this region are founded on such medicinal sites. People make pilgrimages to certain springs in the summer time. While some of these sites are easily accessible, others require travel into remote areas with few paved roads.

Most of these water sites have a founding story, directions for using the waters and strict rules for protection. One story I particularly like surrounds the site called the Butter Water. In this narrative, a weak and starving slave is walking to her next master. When she declares she can’t go on, her three-year-old son suggests she drinks from the spring, the Butter Water. Despite her doubt, she drinks the water, and gains remarkable strength. Today, a nearby monastery protects the Butter Water site.

Many sites have unique forms of protection. One spring has a sign warning people not to bathe on threat of getting arthritis. Another site has a painted red symbol on a large rock, and people know not to graze their cattle or cut down the trees. Trees play an important part in maintaining a water source. I visited a monastery where the springs dried up after a nearby forest was harvested during the Cultural Revolution. The head monk chuckled when I asked what brought back the waters. He answered that they had replanted the trees. These stories and precautions represent a whole-system understanding of the impact of human interference.

While researching for “Resources: Saving Living Systems,” I would stay in villages and monasteries where we learned of water shortages caused by extensive river damming and nearby urban development. These sacred water sites and the culture surrounding them are threatened by globalization and industry. Documenting these sites is one step towards learning about a water culture that is disappearing. When it is gone, what can we replace it with? If there is no replacement, what is in store? This traditional culture must make adaptations, start to collect rainwater and find ways to recycle their wastewater.

Living Waters of Larimer: A Fresh Infrastructure Today, I am working in Pittsburgh, PA on a community project called the “Living Waters of Larimer: A Fresh Infrastructure.” It places rainwater as the foundation of a community’s redevelopment and empowers citizens to imagine what is possible.

Larimer is a predominately African American neighborhood that has suffered decades of disinvestment as Pittsburgh’s economy shifted away from steel. It’s situated on a plateau, surrounded by two rivers buried by urban development.

As I spent time talking with people in the neighborhood and local businesses, I came to see how bankrupt the system is that purports to serve challenged communities. I asked people what they imagined for their community, what they wanted to happen there.

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I didn’t come to solve housing or economic problems. I was there to think about their water infrastructure. But these problems are not distinct. Urban planning often considers storm or rainwater as waste not a resource. Nearly 80 million gallons of rainwater fall on the Larimer Plateau each year. It seeps into the ground, flows along roads, overflows the sewer systems and overruns Pittsburgh’s antiquated water infrastructure. The rainwater could be an asset, a chance for people to live off their own footprint and have access to a resource without charge.

I try to be honest about the role I play. I am a white woman, who is not from Pittsburgh. My role is to give information and foster community participation to open the possibilities to what can be done. I find local experts. I search out people who are interested in organizing and contributing, and I support their leadership.

I asked eco artist Bob Bingham, a professor at nearby Carnegie Mellon University, and two community groups, the Larimer Green Team and Kingsley Association, to collaborate. The community groups saw the opportunity that rainwater provided and asked how it could help fuel businesses, jobs and community projects. They have created plans for self-sustaining urban and medicinal gardens, papermaking businesses, hydroponics, and public water features.

Rainwater as a resource provides a flexible and resilient foundation for future development. Larimer can be a model of water self-sufficiency.

“Living Waters of Larimer” is the community's project. Four people attended our first workshop. Nine months later, we had 40 attendees. We are headed towards doing a comprehensive infrastructure plan with the community as fully involved in planning and design as possible. It will face many challenges. Yet, even if 50% of the plan is implemented, it will be 50% more than any other Pittsburgh neighborhood.

In Larimer and elsewhere, the destruction of our water systems is familiar news. Rivers are constricted, dammed and diverted. Water is a commodity. We are in a struggle to save life on earth in the face of human greed. Linear thinking and planning has created inflexible, unsustainable infrastructures. My work as a social practice artist is to find an alternative relationship with our water that will allow us to build sustainable infrastructures that are so deeply needed.

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贝茜·达蒙:认识水 人类有权享用水资源，地球也是；世上万物都有权利使用水资源。水波涟漪，水花喷溅，水声轻唱，水流蜿蜒，雷霆万 钧。水是地球上最有生命力的源头，乃生命之泉。 认识水 行近30年，水是我的艺术创作重心，现在它延伸到国际。这是从1984年一趟环美的旅行开始。当我看到犹他洲美丽的河 床乾枯时我十分担忧。这个经验导致我创作了我的第一个大型的企划案：“ 净水之忆 ”－我用纸包覆犹他州的城堡溪 (Castle Creek) 7.62公尺长的河床。在一整天以纸铺设河床後，我发现到在乾枯地河床上星星的痕迹彷佛沿照着石头轨迹 移动。以此，我了解到其实所有的轨迹都是由水刻画出来的。 我发现就算在这个人烟稀少的溪谷里，水也都被矿工业和农业给污染了。马上我就了解到这是一个危机。那时我没有任河 与水相关的知识，我便去学习所有与水相关的事物还有人与水的关系。 我努力研读也参加了许多的会议。人们优先考虑的问题是水污染和清净水质的化学药剂。但我想要从基础去了解水。水在 分子上的根本是？水质的重要性与生活的品质有多少相关之处？什麽是活水而且我们要如何让保持水活？我知道水和生活 有密切的关系而且与自然有影响生物动力。我想要彻底去了解这个现象。 了解到与自然习习相关的人们对水有比较深地认识，以此我希望能与美洲原住民团体一起合作。很不幸地，口述历史的失 传让我很难找到与水相关的历史。但是我发现到有许多原住民部落对水都有特殊的感情。在加州沙斯塔萨克拉门托河的水 源头是一个由山中部落保护之地。在亚利桑那洲的哈瓦苏瀑布原本也是由当地部落隐藏着，如今却变成了观光客目的地。 在圣安东尼，蓝洞原本也是每个春天原住民的参拜之地。 在1991年，我拜访了我在中国念大学的儿子。靠着纯粹的运气，我碰到了一位生物学家，他才刚结束一个西藏人神泉水址 的研究。在此地，水可以治疗消化不顺和癌症，中药也大多是由水炖煮。传统上水是很重要的。好的水质会增加草药的疗 效，水质与健康也有直接的关系。 在这个机会後的两年，一个艺术补助金让我得以拜访神泉。在我喝了水後，我觉得身体里的细胞都打开来了。我想：所以 这个就是“活水”。在那个时候，有一个公司将神泉装售并作为医疗用途。这项工作因为使用塑胶瓶而破坏了水的医疗效 用。而改用玻璃瓶却又因为玻璃太重而无法运输。消费者很少能知道有关瓶装的过程，也不知道还有谁依赖此水源生活 着。这个装神泉的举动失败後，水源由当地西藏人收回了。虽然神泉并不是正式地被保护着，但它仍旧被当地人去使用， 以免他人滥用及破坏。 活水公园 在拜访神泉短暂待的时间後，我在四川成都参加了我第一次的生态保育研讨会。异如往常 地，气功师和工程师一起参 加。这强化了中华文化环境与健康的关系。这个研讨会一个让我与其他许多中国和西藏的大型公共表演艺术家或是水质艺 术家一起合作的垫脚石。之後也代领我一个参与公园的设计案的机会，并教导民众如何清净水源。 活水公园，座如其名。一座在府南河旁六英亩(2.4公顷)的公园。是第一个建设於都市里的生态园区。公园里包含着环境 教学园区丶水景丶还有野生保育区。每天有200立方的水经过7层湿地过滤系统然後涌出足以生饮的水。虽然说这个水量 并不足以影响所有附近的水质，但它却形成了一个很好的示范。整个公园设计成鱼的形状，鱼在中国文化里具有再生之 意。我身为项目住任，我鼓励每一个参与活水公园的人都应该自由发展长才。许多在团队里的人都继续留在成都附近持续 重事永续发展的工作。 在活水公园计划案之後，我在北京奥林匹克公园做设计师。活水公园更证明了在中国里湿地的公用价值。此开启了全国利 用自然系统的议题。我们的设计团队最後更进一步地在奥林匹克公园里建设一个大型的都市湿地系统。 回复资源：拯救活水系统 在2007年，我开始了与西藏的媒体艺术家合作 “ 回复资源：拯救活水系统 ” 企划。在西马拉雅山东边，中国四川，我们 记录了40组神圣的水址并收集当地传说。就像美国的印第安人一样，西藏人也认为水是他们文化之一。西藏人知道哪个水

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源有医疗效果。有些对心好，有些对肾好。每个水源都有其特殊的医疗用途。在某些村落里，医者会指示饮取特殊水源以 治疗病痛，在这个地区里有许多水源因其医途而在一旁设立寺庙。在夏天里有许多民众会来此朝圣，有些地点容易到达， 有些地方则需要走一段路。 这里大部份的水源都有自己的传说丶方向导览和严格的管制。有一个故事我特别喜欢叫做“黄油泉”。在故事里一个饥饿 的奴隶在她的主人身旁伺候。当她累到走不动的时候，她3岁的儿子叫她去喝那个黄油泉，虽然她很疑惑，但她仍旧听了 她儿子的话喝了那水，後来获得了无比的力量。现在，在这水泉旁也有寺庙守护着。 许 多位置都有独别的保护方法。一个水泉上面注明着关节病痛患者请勿洗澡，另一个泉址上则有一块涂着红色的标识的 巨石。人们也知道水源处不可以放牧或砍树材。树是保护水资源中重要一环。我拜访了一个寺庙，他们的水源在文化大革 命时因为砍收树林而乾枯。当我问住持要如何重新活化水源时他只是抿嘴一笑。他说他们必须重新种树。像这样的故事和 注意事项呈现着人类影响整自然环境。 当我们研究 “ 回复资源：拯救活水系统 ” 时，我学习到水源的短少是因为广河筑坝还有都市发展所造成的。因此我们同 夥只居住在村落和寺庙里。这些神圣的水源和文化却被全球化与工业化所威胁。记录这些事情迈向了学习水文化消失原因 的一小步。当水消失了，我们要用什麽来替换呢？如过没办法替换，那我们未来将何去何从？传统文化必须有所调节，学 习收集雨水并寻找回收废水的方法。 拉里默的活水：新的基础建施 现今，我在宾夕法尼亚州的匹兹堡从事 “拉里默活水：新的基础设施” 社区计划。这计划案 主要是将雨水收回作於社区 重设用途，并赋予公民权利去实现梦享。 拉里默是非裔美国人社区，十几年来因匹兹堡钢铁业的撤资而遭遇经济衰条。拉里默是一个被两条河川包围的高原，其为 都市所掩盖。当我与当地居民和商家谈话後，我发现对社区营造挑战的主要是经济破产。所以我寻问当地居民，他们想要 怎样的社区丶有什麽愿望。 我不是来解决住屋或经济问题的，我来这里主要是为了水的基础建设。但这些问题并没有明显的分隔线。都市规划通常将 暴风雨及雨水视为废水而不是资源。每年都有将近8千万加仑的水下在拉里默。这些水渗入地底丶淹没道路丶泛滥地下水 道，超出匹兹堡里的老旧水道设施限制。雨水是可使用的资产，是时候人们活在自己走过的轨迹并使用免费的资源。 我试着诚实地面对我自己所扮演的角色－我是个白人女性，也不是匹兹堡的当地居民。我是提供消息和促进社区参与并开 阔可能性的人。我找到许多当地的专家。找到当地喜爱组织和堆动建设的人，而我做主要协助。 我询问生态艺术家鲍勃·宾汉姆丶在附近卡内基-梅隆大学教书的教授丶两个社区团体丶拉里默的绿色团队丶以及金斯利 协会一起合作。社区团体发现雨水所提供的可能性，并查询它如何能帮助燃料业丶工作机会和社区计划。他们设计了自给 自足的城市计划丶药用花园丶造纸工业丶水耕及公共水景。雨水提供了灵活和弹性未来发展基础。拉里默可以变成水自足 的表范。 “拉里默活水”是一个社区计划。在第一次的工作营里有四个人参加，九个月过後增加到四十位成员。我们朝着实行全 面性的基础设施，如果可能希望包含全面性的社区设计和参与。这将会面临许多挑战，但是，就算只有50％的计划被执行 也等於说有50%多的设施可以被匹兹堡的居民所使用。 在拉里默或其他区域，水源被破坏是很常见的。河流被压迫丶截流及改道。水被拿来贩卖。我们在人类的贪婪中试着拯救 地球的生命。直线性思维及计划制造出硬性及非永久性的建设。身为实践性的社会艺术工作者，我的工作是找到水和人类 关系的替代方案，这让我们能够建造一个我们真正需要地永恒发展设施。

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Sandra Mueller

Pearls of Wisdom — A Personal Account Portraying a two-year, multi-partner collaboration with an internationally renown social practice artist and an emboldened nonprofit celebrating it’s 20th anniversary as an activist art project is challenging. More challenging, however, is attempting to depict, the brave spirits of the women and children who participated, let alone account for the sheer ingenuity and hard work of the artist and the project team.

The artist was Kim Abeles, the non-profit was A Window Between Worlds (AWBW) and the community engagement project was “Pearls of Wisdom: End the Violence.” It was based on the powerful metaphor of pearls as treasures that form inside an oyster in response to a hurtful irritant.

The project included 70 workshops with survivors who spoke six languages, extensive media documentation (audio, video and photos), public programs, an online curriculum and blog, multiple exhibitions and a four-color catalogue.

Women, children, pre-teens, advocates, and shelter leaders across California participated. By the project’s end, more than 800 unique spherical pearls and pearl discs, measuring three to six inches in diameter, were fully documented and displayed at the Korean Cultural Center in Los Angeles during March 2011 in celebration of the 100th anniversary of International Women’s Day. The core premise was to share the “urgent wisdom” generated by women who moved away from domestic violence toward a safer community. Their “pearls” ranged from the practical (“Always keep spare keys””) to the poignantly truthful (“Real love can be felt in the heart, it cannot be pounded onto our bodies”) to the hopeful (“You will open your wings when you’re ready.”).

I served as project chair for the collaboration, co-wrote the James Irvine Foundation grant, attended most of the workshops, co-edited the catalogue and organized the public programming. Which meant there were many hats to wear and much to learn especially from both Cathy Salser and Kim Abeles on producing a major social art project.

We began each workshop with Abeles showing images of her installations and artwork on issues from smog to AIDS. Participants saw how art can help instigate change and learned that their pearls would be part of forming a community vision to end domestic violence and inspire action.

Documentation was a key project element from the start. Participants often took the photos and videos of the artmaking process themselves with care taken to exclude faces to ensure their safety. They also learned to use plaster, pliers and rasps that tapped into the potency of sculptural tools and complemented Abeles’ belief in their strength — “These women are not survivors, but rather, they are champions in the athletic and spiritual sense.”

The audio text of their shared words of wisdom was transcribed by Abeles herself unless it required translation. Reading again and again the gut wrenching stories prompted Abeles to write this poem: The irritant, the abuse, the assault slipped into my oyster, my home, my soul.

I could run or I could look to myself, to my stronger core. My story is worthwhile if it helps others avoid the traps and the violence.

I’m not sure how my stories may end violence, but I am willing to speak and be part of the chorus that sings to the masses, I find a place for my story so that is does not become an impoverished chant, repeated over and over to silent ears. I will replace my pity, my role as victim with empowerment and guidance for all.

Like a doctor treating bones, I will mend my breaks with plaster and my scars will make me stronger.

I share my words, as I would wish with my younger self, if only someone had done this for me. I am not looking for comfort, I am looking for action!

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This poem entitled “Pearl” along with selected images became a print for the exhibition and the catalogue. Along with her artist statement, it gives insight into Abeles’ intentions for the project. She declared: “I wanted to exhibit the pearls made by women, children and male advocates against domestic violence with such beauty that even the abusers would see the beauty.”

Delivering to that standard involved more steps than anticipated especially for the “Handbook for Living” section of the catalogue. We quickly gleaned that some participants created captivating artworks and others compelling words and the rare person did both. Eventually, we realized that the ‘common narrative’ permitted images of pearls created by one survivor to be echoed by the words of another. Honoring their creations also meant re-shooting the selected pearls to keep the light and backgrounds consistent.

Just as writing the original grant had set in motion planning for the workshops with 800 survivors, preparing the catalogue meant finally fleshing out what was meant by community engagement, as it’s a term much easier to use than to execute.

Project advisors Suzanne Lacy and Barbara T. Smith contributed essays to add historical context on the role of feminist artists in addressing domestic violence. Similarly, co-editor Suvan Geer’s “Lessons” essay placed AWBW in the tradition of non-profits founded by artists to sustain social change while I wrote the “Call to Participation” to drive future involvement. And, AWBW programs staff created a list of resources for the public — warning signs of abusive relationships, emergency contacts and action steps.

Both Kim Abeles and Cathy Salser contributed statements as well as descriptions of their art practices including a description of ongoing AWBW programs. Abeles also created a conceptual diagram that gave insight into how the many project stages related from workshops to funders, exhibitions to documentation. Suzanne Lacy said of their collaboration: “As an artist, she [Cathy Salser] intuited that art could not only support healing of the women and their families, but it could serve a public education function. That is why an artist of the caliber of Kim Abeles wanted to work with Salser and why Salser welcomed the demanding methodologies of a Kim Abeles community project.”

The collaboration resulted in a stunning installation at the Korean Cultural Center of Los Angeles. Abeles created clusters of pearls — a wall of 600 pearl disks that ran the full span of the gallery interspersed with survivor’s words of wisdom as well as 200 spherical pearls each tied to one another, an apt metaphor for community along with a shelf of children’s pearls. A sculptured table with videos and large projections amplified the artmaking process, as did a participation table where visitors could create their own pearl of wisdom on parchment paper.

A “Public Conversation” featured museum director Suzanne Iskin, artist Nathalie Sanchez as well as Lacy, Smith, Abeles, Salser and myself. More than 1,000 individuals including 300 school children engaged with the exhibition or attended a related program.

It also resulted in invitations to travel the exhibition. The Skirball Cultural Center wanted “Pearls of Wisdom” as the companion show to their upcoming “Women Hold Up Half the Sky” exhibition that was inspired by the Kristof /WuDunn book of similar title. Set to open in September 2011, Abeles created a custom installation for their public gallery space near the auditorium and visitor’s desk for Noah’s Ark children’s area. This meant that more than 300,000 people saw it during its 9-month exhibition run— an enviable figure for any exhibition.

“Pearls of Wisdom” was also featured in the 2012 “Breaking in Two: Provocative Visions of Motherhood” exhibition in Santa Monica, CA. The exhibition ran during the 2012 conference of the Women’s Caucus for Art in Los Angeles when Cathy Salser received a WCA President’s Award for Activist Art and Suzanne Lacy, a WCA Lifetime Achievement Award. It also generated an unexpected opportunity —which was a permanent installation in a newly completed headquarters of a nearby multi-national company.

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On a personal note, both Abeles and myself had art included in the “Breaking in Two: Provocative Visions of Motherhood ” exhibition with mine sited near the “Pearls” installation. I loved toggling between these two aspects of my own practice — one rooted in personal expression and another rooted in social commitment. It was also sweet in that the original synergy for connecting Kim Abeles with AWBW had come from our mutual involvement as community project advisors for the “Breaking in Two” as a film project.

The catalogue also had it’s own trajectory of generating community involvement. Copies were distributed to participating shelters, funders, advisory board members and key volunteers as well as women’s studies programs at universities and colleges throughout California.

As shared by one participant: "We are all responsible for the good of the community. Neighbors should care for each other. Women should help each other and be welcoming to those who need our help.”

I continue to serve as a community engagement advisor to AWBW and their ongoing collaborations with social practice artists, several of which are cited in this volume — Cheryl Bookout’s video of a Barbara T. Smith performance and S.A. Bachman and Neda Moridpour’s wall projections. “Pearls of Wisdom” continues to travel and is featured online with a downloadable curriculum and blog at awbw.org.

Note: All quotations are excerpted from the exhibition catalog “Pearls of Wisdom: End the Violence, A Community Engagement Project” copyright 2011 by AWBW, Venice, CA.

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智慧之珠 — 個人的資產 Pearls of Wisdom 桑德拉·穆勒 去揣摩和一位知名的社会运动艺术家去共同筹办一个多方资金丶两年准备的非营利组织20年周年庆及社会运动艺术创作研 讨会是极度困难的。甚至说去描想参与活动的女性和孩童们勇敢的精神丶纯粹的独创性及努力。 这位艺术家的名字是金·白杨丶这个非营利组织是名字是世界之窗(AWBW)丶而这个社区参与研讨会的名字是 “智慧之 珠:阻决暴力” 。着个名字里的珍珠是源取自於牡蛎壳里的珍珠宝藏，以及采取珍珠时所产生的伤痛。 研讨会包含了70个不同的工作营，集结了六个不同语言的家暴生还者，完整地媒体转播(音频丶录像丶照片)丶公共项目丶 在线课程丶博客丶多种展览及彩色目录。参与者有女人丶小孩丶青少年丶倡导者还有全加洲收容所的领导者们。当研讨会 结束後，有超过八百个不同的圆壮珍珠丶珍珠盘，大大小小地从三英寸到六英寸，我们在洛杉矶韩国文化中心完整地展示 和记录这个活动。此展览举行於2011年的3月以庆祝国际女性节的百年年庆。 此研讨会的重点前提是去分享女性逃离家暴走向安全社区的个选择中“紧急应变的智慧”。 她们分享的“智慧之珠”包 含一些实际的经验，例如：“永远都要准备被钥”；一个心酸的真相：“真爱是动心，而不是动手”；一直到她们心中的 希望：“当你的心准备好时，就是起飞的时刻”。 我身为项目主席，主要承办合作项目，联合申请詹姆斯欧文基金会奖助金，并参加大部分的研讨会，还有共同编辑目录和 组织公共编程。这份工字表示我许多不同地身份要担当，也有很多要学的。尤其是有两位重要的艺术家凯西·邵瑟和金· 白杨一起制作着个重要的艺术案。 在每个研讨会的一开始，白杨会展示她艺术装置的照片，各式的内容有从烟雾到爱滋病。参与者可以意识到艺术激起改 变，同时也学习到她们所制作的珍珠可以帮助树立一个鼓励终结家暴的社会。 从一开始，记录的资料就是研讨会重要的一环。参与者都小心翼翼地自己将艺术制作的过程用手机或影片记录下来，以确 保自己的安全。白杨更加钦佩於她们学会了如何使用石膏丶钳子和锉刀，并且发掘了雕刻器具影藏的潜力。“这些女人不 是受害生还者而是运动和精神力的冠军”。 她们分享所有的故事都由白杨转化为文字，除了需要翻译的语言。一遍又一遍阅读这些惊心动魄的故事使白杨写下了这首 诗： 刺痛丶虐待丶突击，刺进了我牡蛎的壳，我的家，我的灵魂。 我曾可以逃脱，我曾可看清我的核心，看近我那坚强的心。如我可以帮助他人以回避暴力的陷阱，那我的故事也值得 了。 我不确定我的故事能如何去结束暴力，但我愿意站出来告诉大家，对大众齐唱。 我找到这份故事的所属之地，所以这故事不会沦落为贫穷的咏叹词，一次又一次地对噤默之耳诉说。我替所有的人寻 找力量提供方向，以取代我的哀伤，以及被害者的身份。 就像是医生对待断骨般，我会用石膏补救，而我的伤疤将会使我更加强壮。 分享我的故事，就像是对年轻的自己说：如果有谁敢这样对我，我要的是采取的应该是行动而不是寻求安慰。 这首诗的名字是 “珍珠” ，这首诗与精选照片做成展览宣传打印及目录。和她的艺术理念一起阅读时，观众会更了解阿 布拉斯办展的意图。她声明说：”我希望这展览的珍珠们是由女人小孩及男性倡导者的手制作以打击家庭暴力。如此的美 甚至连施暴者都可以感受到。“ 在目录中”生存手则“这一部分需要更多程序才能够达到标准。我们很快就发现到一部份的参与者能够制作美丽的艺术作 品，但其他人写出吸引人的文字；很少人能同时参与艺术品制作及写作。到最後我们终於了解到一个被害者制作的珍珠与 另一个人的文字能互相呼应并产生一个“平常的陈述“。以同样的光及背景重新拍摄这些珍珠是一种重新表扬他们创作的 表现。 79

就像在在当初陈写补助金申请後，陆续促发了八百人规模的工作营；而在撰写目录的过程中，我们终於得以阐释什麽是真 正的 ”社区参与“，因为社区参与是一件说时容易做时难的事情。 合作主编苏凡·格尔的论文 ”课题“ 将世界之窗(AWBW)纳入艺术家设立之非营利社会进步组织，而我的论文 ”呼吁参 与“ 则希望带领更多的人重视此议题。在活动的最後，世界之窗的工作人员们提供了一份社会资源的名单丶暴力性关系 的告示牌丶紧急联络人与紧急救难步骤。 金·白杨和凯西·邵瑟两人都提供了一些说明以介绍她们的艺术工作内容。其中包含世界之窗的还在进行的一些项目。白 杨也同时制作了一个概念图，给观众一些内部的资讯，看他们在许多程序中从工作营到出资者，展览到记录都是息息相关 的。苏珊·拉齐这样形容他们的合作： “身为一个艺术家，她（苏珊·拉齐）指出艺术不只是能替家暴生还者与家属提供疗伤的机会，但也能为教育社会大众。 这就是为什麽一个像金·白杨这样的一位艺术家愿意与邵瑟工作，而邵瑟又为什麽愿意接受金·白杨为社区运动提出的这 些刁难要求。” 在洛杉矶的韩国文化中心的合作案，最後的成果是惊美的艺术装置。白杨制作了成组的珍珠盘 - 一整面墙布满了六百个珍 珠盘夹并附上家暴受害者的文字和慧语，两百个相连的球形珍珠。还有一个架子专放小朋友制作的珍珠，以此象徵团结。 在一个雕刻过的桌子上播放着制作珍珠的过程。并给参与者使用另一张桌子，让他们用羊毛纸创作自己的珍珠。 “与公众对话” 里特别介绍美术馆馆长苏珊·伊斯肯，艺术家纳塔莉·桑切斯，当然还有拉齐丶史密斯丶白杨，邵瑟和 我自己，一千多位参与者其中还包括三百名学童来欣赏整个展览。 除此之外我们还收到一些巡回展的邀请函。斯科伯尔文化中心希望 “智慧之珠” 作为日後 ”女人撑起半边天“ 的副展， 这个展览和克里斯托夫/吴丹的书是有相连的名称。”女人撑起半边天“将於2011年9月开放。白杨替附近的公共礼堂画 廊空间还有诺亚方舟的孩子展区旁的游客服务台特地客制了一组装置作品。表示在这九个月内将有超过三十万人的流量， 人数之多令人羡慕。 智慧之珠在2012年加州圣莫尼卡的 ”破两半：母亲挑衅愿景“ 展中被选入合展。在2012年洛杉矶美国女性艺术协会的会 议期间，凯西·邵瑟获得美国女性艺术协会会长颁发的荣耀奖项，苏珊娜·拉齐则获得美国女性艺术协会的终生成就奖。 同时这也引发一个偶发的机会让智慧之珠得以在附近的一家新落成的国际公司总部作为常设展。 在我的私人笔记中记录着我和白杨都把自己的艺术品加入於 ”破两半“ 的展览内，其中我的展品放於靠近珍珠装置的地 方。我的作品一部分根植於自己的私人经验，另一部份则根植於社会承诺。我很喜欢我的作品在这两者之间交换。原本只 是请白杨丶邵瑟为顾问把 ”破两半“ 制作成一个电影企划的事情竟然发展成跟世界之窗的共同合作案。 目录也安排制为与社区参与导向性质。将目录分发至安置所丶资助者丶顾问会成员及主要的自愿者，当然还有许多加州大 学的女性研究中心。 以下是一位参与者的话： ”每一个人都对社区的进步有所责任， 邻居应该互相照应， 女人们应该互相帮助， 而我们应该为需要帮助的人张开双手。“ 这个企划仍然在进行中，您可以在网路上下载展览相关的表格丶博客，网址为 awbw.org。 注：所有的资要来源都是取自於”智慧之珠：阻决暴力，一个社区共同合作企划案“ 智慧财产2011世界之窗，威尼斯，加州

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Natalie E. Phillips

To Belie the Dragonfly: Elisabeth Subrin’s Rhetoric of Silence Elisabeth Subrin’s video The Fancy (2000) is an interpretation of the life of the artist Francesca Woodman. The video explores the ways in which Woodman’s work and her artistic voice have been kept tightly controlled by the artist’s estate since her tragic suicide in 1981. Rather than exploring Woodman’s work through traditional biographical tropes and representations of her photographs (which are under strict copyright protection), Subrin instead uses narrators to describe the photographs at length, and features filmed recreations of Woodman’s work using contemporary women.

A narrator in the video relays a haunting story that Woodman’s father told her as a child, claiming that “a dragonfly would sew a girl’s lips together if she ever lied.” This singular statement reveals much of the thematic concerns of The Fancy, and Subrin’s body of work in general. She poignantly explores throughout her films and videos the silencing of women’s voices and their desperate struggle to be heard. Woodman’s father does not proclaim that the dragonfly will sew a child’s lips together, but more specifically, a girl’s lips, making the story of the dragonfly an all-too-familiar exhortation. Women should be seen and not heard; their voices must be controlled.

But Subrin defiantly gives women back their voices. Her work deals with women’s personal desire to find their voice (both literally and metaphorically) and acts as a protest against the suppression of women’s voices by all manner of patriarchal authority. As Subrin notes, “Almost everything I make that deals with feminine language has been a metaphor for power. Not being able to speak is both a pathology, but also a form of resistance to patriarchal forms.”

Subrin, an artist and filmmaker, considers three of her works—Swallow (1995) , Shulie (1997) , and The Fancy—to be a trilogy of sorts, dealing with women and “speculative biographies.” Shulie is a shot-by-shot remake of a 1967 documentary about Shulamith Firestone (fig. 1). Originally created by four male filmmakers, Subrin co-opts their voice as her own thirty years after the original was made. Then an art student at the Art Institute of Chicago, Shulie would soon explode onto the feminist scene as a radical leader and author of The Dialectic of Sex. But the moments shown in the film are before Shulie develops the voice (both oral and authorial) that would make her so famous.

Shulie’s ability to speak is consistently stifled throughout the film. Though clearly intelligent, her bumbling speech makes her appear unsure of herself, particularly when her work is critiqued by her professors at the Art Institute.

Surrounded by an intimidating, all-male panel, she is vigorously interrogated. Even while insisting she answer their questions, the instructors simultaneously interrupt her and offer patronizing feedback. They repeatedly call her “so young!” in an effort to invalidate her voice and experiences, and when she briefly hesitates to say whether a painting is finished, an irritated professor interjects by stating “it’s not a difficult question.” Despite some half-hearted protests, Shulie eventually resigns to the panel in defeat. While this scene is disheartening in the original version of the film, the viewer of Subrin’s 1997 re-interpretation is comforted knowing that Shulie’s voice will not stay suppressed for long.

In The Fancy, and virtually all of Subrin’s work, allusions to mental illness in women are frequent, particularly Freud’s linkage of women with hysteria. Women diagnosed with hysteria could not be heard, only discredited and viewed as sick. The Victorian props used by Woodman in her photographs seem to consciously harken back to the heyday of Freudian hysteria diagnoses. Subrin captures the “psychological, dormant, and dark places” where Woodman’s photographs originally took place, and has contemporary women re-enact and repeat them. In Freudian terms, the compulsion to repeat is a means to deal with trauma, further alluding to Woodman’s psychological turmoil. Subrin notes: “When you look at her work, it’s so clearly about her suffering and she keeps repeating the same idea….If you imagine the physical actions she was using to make the blurry, beautiful moments in her photos, they look completely hysterical.

I have people enacting those gestures and when they repeat the same kinds of tremoring and twitching as Woodman, they all look very troubled. There’s a lot of subtext alluding to mental illness there that isn’t really dealt with properly.”

The symbolic role of silence in Subrin’s video is further reiterated by several references to Ronald Reagan in The Fancy.

The viewer hears a voiceover of Reagan giving a speech and Subrin notes that Woodman’s suicide took place on

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January 19, 1981, the eve of his inauguration. Reagan’s relentless policy of silence in regards to the AIDS crisis is wellknown andwas viewed as a blatant betrayal of leadership. The AIDS awareness organization ACT-UP adopted the slogan “Silence=Death” in response to Reagan’s refusal to acknowledge the crisis. Reagan’s own muteness parallels both the silencing of Woodman’s voice via her suicide, but also her father’s story regarding the dragonfly and the suppression of the female voice.

Swallow is the story of two young girls dealing with depression and anorexia nervosa. Anorexia can be linked to language disorders, and the inability to interpret certain non-verbal cues can make communication difficult. Subrin believes that “so much of anorexia from the theoretical standpoint is about your relationship to your mother—being fed—but also, not eating and denying the body has a certain resistance to language.” The idiosyncratic camera techniques, disjointed cuts, and long periods of silence used in Subrin’s work helps the viewer understand the mental confusion of the characters and the ways in which language becomes problematic for them.

In one scene from Swallow, a girl is shown taping a magic marker to the end of a gun and using it to slowly write the words “Dear Mom and Dad.” The power—and also danger—of language is visible in this one act, making the gun both an empowering tool and a phallic interjection on the girl’s words. She is shown multiple times in the video pushing a microphone ever further away, a self-denial of voice mirroring the self-denial of food in anorexia. But gestures such as these are also left ambiguous- is this a defiant, rebellious act, or dangerous self-censorship?

Earlier in the video, the same girl is shown using white-out to cross through words in a large stack of books. The difficulties of language are further referenced by the dictionary that appears unopened on the girl’s desk. As she meticulously counts her calories for the day, the noise of the pencil is exaggerated, almost deafening. Typewriters and telephones are shown, but she is never able to use them to communicate. She tries to type with a pen held in her mouth, and even by clumsily banging a hammer on the keyboard. Subrin herself is shown screaming into a microphone, but you cannot hear her no matter how vigorously she yells. The narrator of the piece yells the words “she wore brown corduroys and a blue sweater in the middle of July!” She repeats the phrase incessantly at different volumes and with different inflections, yet the implication is that her words are never heard.

Books, toys, and even a drawing of a woman’s uterus are clearly labeled in Swallow. The girl’s need for archival organization is a desire for knowledge and control of language. But that very archival system symbolically omits women from the power of language. Like the uterine drawing, women are there only to be studied and examined by the patriarchal authority of the archive.

Subrin openly declares herself a feminist artist, without feeling limited by the term. Yet she understands that many contemporary women resist the feminist label and associate it with radical, militant practice. “What’s so sad about that definition,” decries Subrin, “is that it’s from the position of men. It’s feminism as defined by men.” When asked what young women artists today can do to help de-stigmatize the word, Subrin replied simply, but powerfully: “Just use it. Just use the word.”

Subrin’s statement reiterates the power of language and the need to metaphorically “belie the dragonfly.” It is imperative that these dictates used to control women’s voices by those in positions of power (such as Woodman’s father) are exposed as false and damaging. The compulsion to repeat can go beyond its Freudian associations with trauma. The repetition of language itself can be transformative, reinforcing its own power through each and every repeated utterance, if only that language is not suppressed. _________________________ Elisabeth Subrin is represented by The Video Databank. For more information, visit elisabethsubrin.com.

Works directed by Elizabeth Subrin that are referenced in this essay include: “The Fancy” (2000), video. 36:00; “Swallow” (1995), video. 28:00 and ‘Shulie (1997), super 8/ 16mm. 37:00.

The author interviewed Elisabeth Subrin on Oct. 23, 2013 and she cited an article by Nancy Zucker, et. al., “Perception of Affect in Biological Motion Cues in Anorexia Nervosa.” International Journal of Eating Disorders vol. 46 no. 1, Jan. 2013.

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遮掩蜻蜓：伊丽莎白·沙柏林对沈默的修辞 To Belie the Dragonfly 娜塔莉E·菲利普斯

伊丽莎白·沙柏林的录像作品 “幻想“ 主要是解述艺术家弗兰瑟斯卡·伍德曼的一生並探讨伍德曼的家人压抑着她的艺 术创作及展览的行为。在1981伍德曼自杀身亡之後，她的家人仍旧全权掌控着她作品财产权。因此，沙柏林并没有辦法 使用伍德曼的摄像。她最後只好利用现有的女演员及详细的表述去重新呈现伍德曼的艺术作品。 影片里，沙柏林讲述了一段小时候伍德曼父亲告诉她的恐怖故事－“说谎的人嘴唇会被蜻蜓缝起来。”伍德曼的爸爸并不 是说蜻蜓会将小孩的嘴唇缝住，他强调着说蜻蜓会将“女孩儿”的嘴唇缝起来。他把这蜻蜓故事转化成恐吓小孩的教条－ 女人要的是外表好看不要多话，还有女人的想法、声音是应该要被控制的。 这一小段话严苛地现出女性的声音是如何被 堵绝，还有女性希望被聆听的挣扎。这是幻想一部片的中心，也同时是沙柏林个人作品的重心。 沙柏林将女人的声音还给了她们，她的作品体现了女人希望寻找自己的声音的愿望。（不论是字面上表述的，或象徵的） 她抵制了男性主权欺压女性的情况。沙柏林指出:“几乎我所有的作品都是呈现重整女性主义的声音，而这个是女性主义 力量的象徵。”不能表达自己的声音虽然是一种病症，但也同时一种希望阻止重男轻女的现象。”

沙柏林说她的三部片：吞咽(1995), 舒莉 (1995), 还有幻想 可视为一组三部曲，这三部曲探讨着女性议题及”假想 式的传”。 舒莉是一部录像重新逐格拍摄1967年有关於舒勒蜜丝·费尔斯通的纪录片（解1）。纪录片原本是由四位男性 制作的，在三十年後沙柏林选择使用他们的声音来诠释自己的想法。舒莉，一个芝加哥艺术学院的学生，跻身成为激进女 性主义反动首领，并写下了性的辩证一书。在影片中出现的却是展现舒莉在找到她自己的声音（写作和言语的声音）之前 的模样，但这也是使她有名的原由。在整部片中，她持续使用着这种断断续续的方式演说。虽然她的演说聪明易懂，但她 迟缓的说话方式让人觉得她不清楚她自己要得是什麽；尤其当她的作品被艺术学院批阅时，卻被一群不友善的男性團审 问。她的指导教授在逼问她答案的同时也打断她的回话并给她相当私人性的回馈。他们不停的说她还太年轻。以此，打断 她的话并否断她的的个人阅历。当她犹豫不决去回答是否她的油画已经完成时，一位生气的教授又打断她说这又不是个很 难的问题。舒莉的争论只有一半被听到，而终究她也被打垮了。在原版电影里，这场景实在的是很令人沮丧，不过在沙柏 林1977的重新拍摄版本观众总算可以放心了，因为她的声音并不会被埋没太久。 在幻想丶以及大部分沙柏林的作品中，她总是采用佛洛伊德学说里对女性歇斯底里的研究并以此阐述女性患有精神疾病是 常见的。当女性被诊断有歇斯底里时，她们却当作只是生病而没有被重视。在伍德曼的摄影作品中，她经常使用维多利亚 时代的物品。似乎希望不断地重视佛洛伊德地歇斯底里症。沙柏林佛洛依达的的学说来算，她这强制性地，不停的重复的 行为隐射了伍德曼精神上的不稳定，也是为了处里心中的伤痛。沙柏林注说： “当你看到伍德曼的作品时，很清楚的看到她的挣扎，还有她那不停重复的同一个想法。想像她在创作那些模幻，美丽的 刹那时她的精神状态，那些影像全是歇斯底里的。”当那些女人们在重复模仿伍德曼的那打顫和抽搐的姿势时，她们每个 人都看起来都像疯了。其中这里有许多对精神病的间接暗示都不是很完整。伍德曼的双亲一直也都严谨的守着着她的精神 问题的秘密。“

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沈默是沙柏林的片中的一个要点。沈默将故事延伸到对雷根总统的重新审视。影片里可以侧听到美国雷根总统的演讲，而 伍德曼就选择1981年1月19日雷根就值典晚傍晚自杀。雷根对爱滋病严重的危机取以沈默无情的政策，这被视为他对领导 权的公然背叛。爱滋病意识组织 起义 决定使用“沈默代表死亡”口号抗议雷根总统不该忽视爱滋病的危机。伍德曼自杀 所产生的沈默与雷根的失语同时在影片里播放，之後也在伍德曼父母亲抵制发行她的艺术遗产时互相呼应。 吞咽是关於两个年轻女孩处理忧郁症与厌食症的故事。因语言失调症或无法解读某些特定的肢体语言所产生的沟通障碍是 可能导致厌食症。沙柏林相信：“有许多的厌食症起因从理论上来说是跟患者与母亲的相处有关－被母亲喂食；但同时进 食不足或人身体反应对语言沟通之间的抵触也会造成厌食症。”沙柏林使用特质摄像技法丶分离剪接法丶还有长时间的死 寂画面，这些电影技法去让观众更接近有精神混乱症的人的想法，也呈现了为何语言会对这些患者造成为问题。 在吞咽中有一个镜头：一个女孩将迈克笔用胶带捆绑在枪的一端慢慢地写下”亲爱的妈妈和爸爸“。语言的力量及其危险 性是在这个行为里变得清晰可见，在着女孩的话里，枪转化为充满力量的道具，像阴茎般的插入物。她在片中好几次都将 麦克风推开，这个自我否定的行为就和厌食症者否定食物的行为一样。这种强行为已经不再是模凌两可了，这行为是一种 挑衅？反叛？或是危险的自我省察？ 在电影里的前面，同一个女孩用涂白液划除一大堆书里的文字。在书桌上有一本没有打开的字典，用这个字典用以加强引 申使用语言的困难。过於夸张的噪音，刻写铅笔的噪音与她仔仔细细计算每天吃的热量的画面同时播放。虽然有拍到打字 机或是电话，但她却从不用它来沟通。她用着嘴巴咬着铅笔来试着打字，甚至还使用锤子笨拙地在打字机上敲打。沙柏林 自己对着麦克风尖叫，但不论她如何惨叫，都听不到她的声音。电影里叙述的声音尖叫着“她在七月中穿着咖啡色灯芯绒 还有蓝色的毛线衣！”她一直以不同的音量和语调重复着同一句话，这行为含义着她的声音从来没有被听到。 在吞咽里，女孩将书，玩具，还有甚至女性子宫的素描都做好清楚的文字标示。女孩希望清楚整理物品的欲望是因为想要 了解与控制语言与文字。在这个清清楚楚标示好的系统下，却把女人从语言的力量里排除了。就以女性子宫的素描为例， 女人只是用来被男性建立的档案库研读和检查而已。 沙柏林公开地表示她是女性主义艺术家，且不觉得自己被女性主义这个词所束缚。但同时它也了解许多当代女性主义艺术 家拒绝被贴上女性主义的标签，而采用较激进丶好战的做法。“让人难过的是词的定义 ”沙柏林说“是男人的角度去替 这个词下的定义。女性主义居然是由男人来定位的。”当问沙柏林现代女性艺术家要如何替女性主义着个词去掉污蔑的成 分？她简单并强有力地的回答说: “就是用，就是去用女性主义这个词。“ 沙柏林的声明重申了语言的力量，还有为什麽需要暗喻上地“相信蜻蜓”。这是为什麽要迫切地展示这些限制女性表达的 规定是错的丶是负面的。这种强制性的重复行为已经超出弗洛伊德理论的创伤学说的范围。只要语言是不被限制住的，这 些重复不止言语是可以被转化的，是可以藉由每次的重新表达去加强的自己的力量。

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Sheryl Saunders

Celebrity and Gender in Graphic Design The concept of “celebrity” has developed into an important aspect of the graphic design profession. A small percentage of notable designers have been able to develop successful careers where they create award-winning work, speak at events and become a source of inspiration for other practitioners in the field. These designers inevitably become part of the graphic design canon and will be remembered for years to come. The problem with this model is the majority of designers reaching celebrity status are men. It is time to reflect critically on these implications.

Graphic design has been a male dominated field since the profession began in the industrial age. In the late twentieth century, many women entered the field, and the demographics of the discipline shifted. Today, more women than men graduate with degrees in graphic design, and the National Endowment for the Arts estimates that fifty-four percent of the design field is women. The professional association for design, the AIGA, similarly reports that membership is approximately fifty-five percent women, and they predict that number will increase in the near future.

In 2006 at a panel discussion in NYC called "The Art of the Book: Behind the Covers," a notable incident sent a strong message to female graphic designers. The panelists included well-known male graphic designers Milton Glaser, Chip Kidd and Dave Eggers; the panel was moderated by renowned designer, Michael Bierut. The incident happened during the Q&A where questions were submitted ahead of time to the panel. The question posed was: "Why do you — all three of you [Glaser, Kidd and Eggers] — suppose there are so few female graphic designers — or at least so few female 'superstar' graphic designers? Is there a glass ceiling in graphic design?"

Glaser, born in 1929 and most famous for his “I heart NY” logo, responded that the reason there are so few female superstar graphic designers is that "women get pregnant, have children, go home and take care of their children. And those essential years that men are building their careers and becoming visible are basically denied to women who choose to be at home." Glaser continued: "Unless something very dramatic happens to the nature of the human experience then it's never going to change." In response to the query on whether alternative forms of child care like day care and nannies, could help to provide greater opportunities to women who have families and want to further their careers, he said, "None of them are good solutions."

Although originally presented at a design event, Glaser’s comments were later published in Bierut’s article on the Design Observer website, “The Graphic Glass Ceiling.” Bierut’s article thoughtfully reflects on Glaser’s comments, acknowledging his own discomfort at the question of gender disparity. Bierut accedes that although there are many great female designers, few ever reach celebrity status stating: “It’s depressing for a profession that’s more than half female to keep putting up 100% male rosters. Celebrity is good for certain things. It puts the butts in the seats at [design events], for instance. But it’s not the only thing, and based on the reactions of those people in the audience [at the event ‘The Art of the Book: Behind the Covers’,] it might be time for something more.”

Although there has been much discussion centered on the topic of gender disparities in the field of design recently, research shows many young female designers do not feel prejudiced by their gender. Gerda Breuer and Julia Meer, co-authors of Women in Graphic Design (2012), found many of their female students felt the conversation concerning male superstar designers irrelevant even as their research indicates that in terms of numbers of designers reaching celebrity, women remain behind. The authors define star designers as figures with a public persona, artists who speak at industry events and author their own work. Breuer and Meer argue, “Even today, the stars of the design scene are predominantly male… while many other design fields are either marginalized or occupied by women who perform basic task work.”

It is difficult to pinpoint precisely why men continue to occupy the role of celebrity designer at such a disproportionate rate to women, though one reason seems located in the field’s predominantly male canon which provides male designers a readymade arsenal of role models with whom they can identify and emulate.

A graphic design canon developed at least in part out of the need to legitimize the discipline within fine art, architecture, and industrial design. And, taking cues from these traditionally written histories, graphic designers and design historians mirrored established formula—the art historical canon—and proceeded to identify and describe the work of prominent “great” graphic designers. Early in the development of graphic design history, then, in the attempt to find 85

the masterworks of graphic design, there was a clear absence of female practitioners. In her 1991 article, “Is There a Canon of Graphic Design History?” Martha Scotford develops a set of criteria by which to evaluate graphic design history, and then lionizes eight male designers, all born before 1920, though she later amended and expanded the list to include six women out of a total of 63. This early creation of a canon, Scotford warns, presents some serious challenges to the study of graphic design. But Scotford warns that a canon, like the one she exposes, poses serious challenges to the study of graphic design: “If we narrow the field now, it will take much longer and be much more difficult to properly study and understand our cultural and professional heritage. For students new to the study of graphic design, a canon creates the impression that they need go no further; the best is known, the rest is not worth knowing. This is unfair, dangerous and short-sighted.”

As a professor who stresses the importance of graphic design history to students, I seriously consider my role in this problem: how does a history based in celebrity exclude women? By adhering to the history of graphic design as it has been presented in textbooks, I must now evaluate whether I perpetuate a perception of male dominance the field of graphic design.

Current trends in graphic design show that the field is simultaneously shifting and staying stubbornly the same. On a promising note, the web provides alternative paths to success and helps many women achieve notoriety. For instance, designer Jessica Hische effectively used her web presence to elevate her professional status, and she is now sought out for speaking engagements throughout the world. I have no doubt that as the graphic design canon expands, Hische will become a major player in defining today’s graphic design aesthetic. But progress for women in graphic design remains slow. In a recent article posted on the Graphic Design USA website, Paula Scher was the only female designer noted in the “top ten most influential graphic designers working today.” Expanding the list to include 50 designers allowed for only 18 out of 50 female designers. Paula Scher has come to represent the female voice in graphic design, and more voices need to be considered.

As more women reach celebrity status, they too speak as female representatives for the field of graphic design. When asked the question, “Have you ever found gender to be a barrier in your career?” prominent UK designer, Sara De Bondt responded: “Being a woman does not automatically grant me privileges from which to answer these questions. I find it particularly difficult to answer them because I feel that by asking me—as a female designer—about my gender instead of my work, your questions reinforce the stereotype of women as outsiders and men as neutral, objective norm.”

Female celebrity designers, unlike their male counterparts, have to speak for an entire gender, a responsibility that is potentially unwanted and to some degree impossible to fulfill. In order to remedy this problem it is not necessary to ignore the canon in graphic design. Instead, we need to expose the myth that the male super star designer achieves his success alone, and we need to find ways to complicate and critically address the narrow scope that many students bring to the idea of celebrity in design. Instead, it may be best to emphasize the collaborative nature of graphic design. What gets glamourized and perpetuated with the male super star designer stereotype is the idea that he achieves his success alone. By focusing too much on this one model, students will be set up for failure in the work place. Collaboration is an essential component of the design process and all graphic designers must learn how to work this diverse and evolving field.

The following sources were referenced or cited in preparing this essay: “AIGA | What the U.S. census says about the design workforce,” accessed February 1, 2013, http://www.aiga.org/what-the-us-census-says-aboutthe-design-workforce.

Gerda Breuer and Julia Meer, “Women in Graphic Design: 1890-2012,” Berlin: Jovis, 2012 “The Graphic Glass Ceiling: Observatory: Design Observer,” accessed January 8, 2013, http://observatory.designobserver.com/entry.html?entry=5017 “Most Influential Graphic Designer Currently Working - 50th Anniversary Survey - January 2013 - Graphic Design USA.,” accessed January 8, 2013, http://www.gdusa.com/issue_2013/january/most-influential-designer-current.php.

Scotford, Martha. “Is There a Canon of Graphic Design History?.” AIGA Design Journal 9, no. 2, 1991 Adrian Shaughnessy, “How to Be a Graphic Designer Without Losing Your Soul.,” 2 ed., New York: Princeton Architectural Press, 2006..

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雪利·桑德斯

在平面设计中看名流与性别 CELEBRITY AND GENDER IN GRAPHIC DESIGN 名流观念在平面设计业里是被认知为是重要的一环。如果平面设计师设计创作出得奖的作品丶公开演讲丶或成为其他设计 师的灵感来源时，这一小部份设计师便能享有成功的职业生涯。这些设计师适必成为设计经典的一员并会名流世纪。在这 个形态下，问题出於大多数成名的设计师都为男性，是时候去批判和思考这个问题。 自从工业革命开始平面设计就一直是男性主流的行业。在二十世纪末期，许多女性加入了平面设计，人口分布上开始有偏 移的现象。现今女性毕业於平面设计的比例比男性更高，美国国家艺术基金会估算大约有54%的设计业被女性包办。国家 艺术赞助基金会(NEA)丶设计专业协会(AIGA)也提出相似的报告，大约55%的成员为女性，他们也预估未来女性的人数将 会持续成长。 2006年在纽约专家小组研讨会 “书的艺术：藏於封面之下” 里，意外地对所有的女性设计师发表一项强烈地声明。此专 家会成员包括米尔顿·格拉泽、齐普·基德及戴夫·埃格斯，并由迈克尔·布鲁特主持。这个意外发生在专家Ｑ＆Ａ，而 问题甚至有事先给给委员审核。问题如下： “(格拉泽丶基德丶埃格斯)为何你们三人认为这行并没有什麽女性 — 至少你们觉得觉得没有几位有名的女性设计师？是 说平面设计这行里都是玻璃的天花板吗？“ 格拉泽生於1929年，以” I ♥ NY” 的标志成名。他针对这个问题回答— 有名的女性设计师较少的原因是因是 “女人怀孕 生产之後生小孩，回家照顾孩子。而那些年的空档，男人就可以专注於发展自己的事业并使自己成名。以此夺取了选择待 在家中妇女的机会。” 格拉泽接着说：“除非人类的本质改变，不然这个状况不会改变。” 观众回应他的评论说育幼班 丶安亲班或奶妈是否能帮助有家庭的女性，并让她们追求她们希望的职涯？格拉泽说, ”这些都不是很好地办法。“ 虽然原本事情是发生是在会议期间，但格拉泽的对话之後被刊登在观察者设计网站上布鲁特的文章 “ 设计中的玻璃天花 板 ” 里。布鲁特缜密地呈现格拉泽的回应，表示说格拉泽在对性别差异的问题上感到不自在。布鲁特同意说虽然有许多 杰出的女性设计师，但是很少数得到声望：”要让职场里一半以上的女性持续抗争全为男性主导的领域真的是很令人沮 丧。而且成为名流对於某些事情是有帮助的。比如说：这让你的屁股(在设计场合)有椅子坐。但这不是必然的，以那些观 众(於书的艺术：藏於封面之下)的反应来看，应该是时候去接受新的东西。“ 虽然最近在设计业里常有有关性别差异的议题产生，研究显示年轻女性设计师并不觉得她们的性别使她们受到不平等的对 待。格尔达·布鲁尔还有朱莉娅·米尔，共同书写了 ” 平面设计中的女性(2012) “ 一书。她们发现许多女性学生觉得去 担忧只有男性平面设计师成名的问题其实是可有可无的，就算研究显示说出名的女性设计师人数明显不足。 作者们认为 所谓出名的设计师可成为公众人物丶是可以在工业设计场合中演讲的艺术家并出自己出书的人。布鲁尔和米尔争论说 “ 就算是现在，在设计业出名的也都是男性...在其他的设计领域中有些女性被排斥，一些则全由女性员工包办基层工作。” 要针对一个原因去探讨为何男人仍旧在平面设计里占有大部分名流的位置而女性所占的比例却不相称是很困难的。但其中 有一个原因为，在大多数都是男性为标准的领域里去提供各式各式各样不同的男性榜样，那後者就可以去鉴定与效仿。 整个平面设计脉络的发展中，他们希望平面设计能被其他像是艺术丶建筑丶还有工业设计等主门所接受，这是其中一个影 响他们挑选名人的原因。如果从传统书面历史里找线索，平面设计师和设计历史学家相辅相成自己的一组 “艺术历史守 则” 以其选择并描写所谓地“杰出”平面设计师。在平面设计发展史的早期，在追求杰作过程中很明显地并没有女性的 参与。玛莎·斯科特佛在她1991年的文章里“平面设计的历史里有理可寻吗？”开发了一套标准并以其评定平面设计史。 她尊耀八位1920年後出生的男性设计师，之後她还将名单修订和扩充到63位设计师，其中有六人为女性。斯科特佛对她在 研究早期平面设计史理时受到地严重挑战提出警告： “如果我们现在去精简我们的领域，会比我们想像中地更花的时间，很难正确地研读和了解我们的专业文化和遗产。对新 研究平面设计的学生们，这些教条使得学生得到一种只要学到现有的知识就好并不用更进一步去研究剩下的印象。这是不 公平的丶危险并且短视的。” 自己身为一名教授，平面设计史对学生的重要性我是知道的，因此我倍感压力。我认真的思考自己在这个问题里的角色： 为何一个充满有名设计师的历史里要特地排挤女性呢？在秉承平面设计史教科书之後，我必须评估自己是否要延续这种男 性主导的平面设计领域。

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目前平面设计的潮流显示说这个领域在转变的同时其实也墨守成规。网路提供了一个契机，以其提供女性一条通往成功与 成名的替代方案。就以设计师洁西卡·荷希为例，她有效地利用网路去提升她的专业地位并到世界各地演讲。在当平面设 计的领域扩张的这个时代，我毫无疑问地相信荷希将会成为定义当代平面艺术美学的主要参与者。但平面设计对女性包容 度依旧缓慢。在最近美国平面设计网站上的文章里，宝拉·谢尔是 “ 最有影响力的十大平面设计师 ” 中唯一的女性。 名单扩张後女性人数从50人里有18名女性设计师。宝拉·谢尔出来作为女性平面设计师代表，但这里有一些更多值得我 们注意的声音。 当有更多女性达到名流的阶段，她们也一起为女性平面设计师发声。当问她们这个问题：” 妳可曾感觉到妳的性别在你 的职涯里造成阻碍吗？” 有名的英国设计师莎拉·德邦特回答说： “我用这句话回答这个问题：“ 身为一个女性并不提供我任何特权。“ 我觉得你光是问我这个问题就让我感到困扰。你 在乎的是我的性别而不是我的作品,你的问题更加强了身为女性就是外来者，男性就是应该的刻板印象。” 不像是她们的男性对手，着名的女性设计师没有权利替所有的男性女性说话。某个程度来说她们背负着不必要的责任而且 她们也不可能去完成它。为了补救这个问题，并不是去忽视现有的保守平面设计条规就可以改变的。与其来说我们需要去 揭发男性明星设计师独成功的迷思，我们也需要找到办法去复杂化丶去严厉评判学生们对设计名流狭隘的想法。相对来 说，去加强平面设计的合作性可能是最好的办法，因为美化并延续男性设计师他们超级明星的刻板印象就是从他一人独自 作业的这个迷思来的。这种范本让学生们在职场里面对失败。合作在设计业中是必不可缺的主要成分，所有的平面设计师 都必须去学习如何在这个多元化而且进步的领域里工作。

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WCA Cultural Exchange Delegation At the outset, LuXun Academy of Fine Art officials asked WCA to bring a delegation of U.S.-based artists to Shenyang to interact with Chinese artists, professors and students during the first days of the exhibition. Hence, participating artists who wished to join the working delegation went through a rigorous selection process. Each delegate has actively contributed their skills to this expansive project. Both the formal and informal opportunities for community building, dialogue and interactive projects will be fully documented as a core element of this social practice art project..

Alli Berman

Project Documentation Director, Photographer Adjunct Associate Professor Webster University christinegiancolaphotography.com Florissant, Missouri

Chan & Mann

Project De-installation Coordinator Painter, print maker and mixed-media artist artspan.org/artist/kaykang San Francisco, California

chanandmann.com Audrey Chan Project Documentation Artist and writer audreychan.net Los Angeles, California Elana Mann Project Documentation Artist elanamann.com Los Angeles, California

Sherri Cornett

Kay Kang

Mido Lee

Sculptor and video artist Project Director WCA International Caucus Chair sherricornett.com Billings, Montana

Project Assistant to the Director Project Essay Translator Project Catalog Text Editor Photographer, video artist and installation artist midolee.com San Francisco, Califiornia

Jing Deng

Louder Than Words

Project Co-Director Project Catalog Text Editor Project English Translator Painter jingdengart.net Lawrenceville, New Jersey

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Christine Giancola

Project Publicity Co-Director Project Catalog Photo Editor Interactive installation, public, and durational performance artist AlliBerman.com Woodmere, New York

louder-than-words.org S. A. Bachman Project Documentation Social practice artist Senior Lecturer, Otis College of Art and Design sabachman.com Los Angeles, California

Louder Than Words

louder-than-words.org Neda Moridpour Project Documentation Social practice artist nedmorid.com Sherman Oaks, California

Rosemary Meza-DesPlas Project Installation Director Artist, poet, writer Art instructor, El Centro College rosemarymeza.com Dallas, Texas

Brenda Oelbaum

Project Exhibition Installer WCA President 2014-2016 Artist brendaoelbaum.me Ann Arbor, Michigan

Priscilla Otani

Project Human Resources Director WCA President 2012-2014 Mixed-media artist mrpotani.com San Francisco, California

Katie Morton

Project De-Installation Coordinator Project Liaison with LuXun Academy Painter Beijing, China

Sandra Mueller

Project Events Director Project Catalog Text Editor Social Practice and Mixed Media Artist, Editor, Facilitator scwca.org/profile/sandra-mueller Malibu, California

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Delegate Art Each WCA delegate was given the opportunity to exhibit a piece in the delegate section of the exhibition to show solidarity between delegates as well as to explain the intention and purpose of the delegation as a whole and its individual members.

Alli Berman

“PathWays to Protection or Destruction — Please Choose Wisely” PathWays to Protection or Destruction — Please Choose Wisely is a performance-based photograph that is both a warning and a map for women to follow to safely “Hold Up Half the Sky.” It was based on a 700’ interactive installation of suspended paths (see inset) fabricated from astroturf, spandex, painted mylar and bubblewrap that filled a 50’ x 50’ x 36’ deep space. Berman photographed the installation for more than nine months while running, leaping and ducking to simulate actions women must take in the world to protect themselves.

Chan & Mann

Still from Chan & Mann's New Fantasy (The Video) 2013 13 x 19 inches Pigment on paper It is vital to form bonds between women artists in the United States and China who are working for causes of equality, justice, and social change. The women involved in this exchange share strategies of social engagement, and social practice, which will enrich the dialogue and the artwork that each of them will produce in the future.

Cultural exchange can be enormously powerful in adding another layer to the relationship between citizens and culture.

Sherri Cornett

"Ancestresses & Wise Women" 2014 36 inches x 36 inches Photograph My Ancestresses & Wise Women series of life-sized sculptures are symbolic representations of women who have mentored me. Within the circled sculptures, I facilitate conversations where women share experiences and perspectives and co-create deeper understanding of each other and themselves. My desire to build community and strengthen connections between otherwise diverse individuals has underpinned much of my work as an artist and advocate, including Half the Sky: Intersections in Social Practice Art. 92

Christine Giancola “Half the Sky” 13 inches x19 inches

I took this photograph in the Forbidden City eighteen years ago during the 4th U.N. World Conference on Women in Beijing China. For me as a photographer, this image has always represented the beauty, potential, hope, and future of China. Today, I envision these little girls as grown women, strong and empowered with children of their own. It is now their turn to hold up Half of the Sky. I am committed today, as I was then, to women’s issues and to the importance of cultural understanding and exchange among all people of the world. I am honored to have been given this opportunity to return to China as a delegate and artist.

Kay Kang “Junwhan"

By coming together and sharing our experiences through conversation, we can learn from each other and hopefully inspire each other. I am convinced that Chinese culture has many commonalities with Korean culture, especially preferring to have son over daughter, so I am looking forward to interacting with Chinese woman artists. My works like “It’s A girl!!” and “Jungwhan(For The Girls)” are tributes to many women who were given male names at birth by their families, in hope that their mothers would bear sons instead of daughters in the future.

Mido Lee

“My Litte, Little Wish” I still remember 19th June 2006. That was the day I lost my son; that was the day that I realized there was no such thing called choice.

Everything in the scene was eerie beautiful. The weather was nice, and the clouds floated in the blue sky. Even now I close my eyes, I can still see the swishing of curtains; and smell of white sheet.

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Rosemary Meza-DesPlas “Shoot at Blue Sky”

Shoot at Blue Sky references a hunting phrase which aims to keep the hunters safe from friendly fire. The origins of my imagery in this particular work lie in nostalgic television from the 1970s; the imagery is fast-forwarded into the 21st century to ultimately be regurgitated as images of complexity and cognitive-duality. In my world woman is not only holding up half of the sky but she is protecting her piece of the pie. The correlation between this phrase, ‘women hold up half the sky’, and my artwork lies in my depiction of the resilient, adaptable nature of women to survive under patriarchal-contrived socio-cultural conditions..

Katie Morton “The Bridge” 71cm x 80cm Oil on Canvas

Within The Bridge, two different views of the sky are reflected in the river—the salmon pink of the sunset, and the brilliant blue of the evening sky. Having lived in China for the past three years, I find that much of what I do is alien to those around me, and vice versa. What brings us all together, however, is that despite the apparent difference between the salmon pink and the brilliant blue, we are all reflections of one sky on one body of water.

Sandra Mueller

“Tara Triumphant” 2013 24 inches x 28 inches Archival Digital Print Half the Sky suggests global efforts to end poverty, empower women and seed justice — work that would please Tara, a Buddhist "mother of liberation” goddess.

Presented as a triptych, Tara Triumphant offers a female shadow that reaches skyward — yet, also exists on the horizontal plane of the earth where we live and work.

Similarly, this WCA and Luxun Academy cultural exchange invites artists and public alike to reach high and connect wide while inspiring one another in known and to be discovered ways.

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Brenda Oelbaum

“Falling Out All Over” 4' x 6' Photograph As President of the Women’s Caucus for Art and a delegate, I represent our organization. My art illustrates my passion in helping women feel empowered. Women worldwide feel pressured to conform to cultural standards that are physically, emotionally and spiritually confining. My work shows my fearlessness in a culture that is fat phobic and obsessed with a very limiting definition of beauty; a definition that carries powerful symbolism of appropriate feminine behavior which truly sedates us.

Priscilla Otani

“Sustaining Our Environment” Sustaining Our Environment is a montage of 365 postcards mailed from all over the world by artists, students and members of civil society. Made of recycled materials, the cards represent the power of shared voice, through art, on a topic of concern to all humanity.

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Cultural and Community Interactions Community interactions are integral to exploring the intersections of social practice art with social change across the two cultures. Spearheaded by delegate Sandra Mueller with support from a team of talented producers and translators, the diverse offerings include a collaborative art making session with Alli Berman and a participatory ritual with Sherri Cornett and Sandra Mueller to place golden fabric markers, begun by WCA members, inside their “Points of Connection” dome. Mann and Chan will offer a “People’s Microphone” session and Louder than Words will have a short presentation to call attention to the roles that women and men can play to end gender violence, a global phenomena that is addressed in multiple artworks in the exhibition as well as in a catalogue essay. Additional formal and informal events including an opening reception with official remarks as well as informal artist exchanges will be offered.

Common Threads: Intersections in Line and Time — ­ A Durational Performance Alli Berman “Common Threads” is a performative installation that takes place over time. It begins with Berman adding color and line to four inch interlocking squares that were then hand colored by WCA members in Chicago and later cut into quarters. During the cultural exchange in Shenyang, participants will add their own vibrant colors to create a communal quilt of 1,200 squares that connect to one another, yet can be viewed on their own. They will sit atop a base of hand-sewn, ripped paper on the gallery wall where some stitches are seen clearly while others are covered over — akin to how women’s work still “holds up half the sky” even when it recedes from sight.

Journey Markers — Participatory Ritual Sherri Cornett and Sandra Mueller The “Points of Connection” participatory installation invites reflection and creative exchange. Cornett and Mueller will ritually place 100 golden markers created

by WCA members to initiate connections with Chinese artists. Sitting quietly inside the dome, participants can simply hold the soft cloth marker, add a drawing or phrase or start a new marker. The Journey Markers are symbolic of the many modes and points of connection it takes for women across the globe to “Hold Up Half the Sky."

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People’s Microphone Session Elana Mann and Audrey Chan Artists Elana Mann and Audrey Chan will lead a bi-lingual (English and Mandarin) call-and-response People's Microphone session based on their Myths of Rape (2012) performance to bring awareness to issues around rape and sexual assault. The myths and facts about rape address commonly-held preconceptions and misconceptions about rape in the context of society, relationships, and global conflicts.

These Walls Can Talk Presentation S.A. Bachman and Neda Moridpour Women are more likely to be brutalized or die from male violence than from cancer, accidents, and war combined.

LOUDER THAN WORDS’ installation addresses domestic abuse and alludes to domestic space by the juxtaposition of wallpaper, photographs, and a TV screen. The wallpaper design incorporates a number of common objects that are frequently used to inflict injury: fists, knives, belts and more. Conversely, the TV presents men reciting Jackson Katz’s 10 Things Men Can Do To Prevent Gender Violence.

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Acknowledgments This project would not have been possible without all who generously donated their time, creativity, skills and funds.

CATALOG — Sherri Cornett, Editor & Designer Alli Berman, Jing Deng, Karen Gutfreund, Mido Lee, Virginia Maksymowicz, Sandra Mueller, Priscilla Otani, Amanda Rogers, Jill Waterhouse CHINA — 韦尔申－Wei Er Shen, President, LuXun Academy of Fine Arts, 王易罡－Wang Yi Gang, Curator, 但壮 华-Dan Zhuang Hua, Gallery Staff, 柯佳杉-Ke Jia Shan, Gallery Staff, 蔡茉莉－Cai Mo Li, Gallery Staff, 余晓春-Yu Xiao Chun, HTS Volunteer, 赵大钧-Zhao Da Jun, HTS Volunteer, 仲光平－Zhong Guang Ping, Foreign Affair Office, 芦杰－Lu Jie, Foreign Affair Office, 李萌－Li Meng, Foreign Affair Office, 易鹤同－Yi He Tong, Foreign Affair Office.

COMMUNICATIONS — Virginia Maksymowicz, Director DOCUMENTATION — Christine Giancola, Director S. A. Bachman, Audrey Chan, Mido Lee, Elana Mann, Neda Moridpour CULTURAL and COMMUNITY INTERACTIONS — Sandra Mueller, Director S. A. Bachman, Alli Berman, Audrey Chan, Sherri Cornett, Christine Giancola, Kay Kang, Elana Mann, Neda Moridpour, Katie Morton FUNDRAISING — Alli Berman, Director Sherri Cornett, Krista Jiannacopoulos, Sal Sidner INSTALLATION — Rosemary Meza-DesPlas, Director S. A. Bachman, Alli Berman, Audrey Chan, Jing Deng, Kay Kang, Mido Lee, Elana Mann, Neda Moridpour, Katie Morton, Sandra Mueller, Brenda Oelbaum PUBLICITY — Alli Berman and Jill Waterhouse, Directors Sherri Cornett, Krista Jiannacopoulos, Kay Kang, Rosemary Meza-DesPlas, Sandra Mueller RESEARCH & ADVISORS Tanya Augsburg, Kieran Collins, Diane Ding, Krista Jiannacopolous, Bonnie MacAlister, Meng Tang, Wanxin Zhang DONORS Helen Abelman Michelle Andrade Marcia Annenberg Ulla Barr Kyra Belan Ronna Berliner Alli Berman Rosalind Bloom Maureen Burns-Bowie Barbara Carson Kieran Collins Cory Cornett Kevin Cornett Sherri Cornett Jing Deng Liz Dodson Alice Dubiel Yale Epstein Christine Filippone Merion Gibb 98

Karen Gutfreund & Scott Vouri Marilyn Hayes Cindy Hue Sandra Hunter Patty Izzo Louise Jane Kirk Jiannacopoulos Krista Jiannacopolous Mido Lee Linda Lemire Rona Lesser Kay Kang Carole Richard Kaufmann Joan M Kelly Leonardo and Simone Kestelman Meg M King Kesa Kivel Helen R. Klebesadel Susan Kraft Ikie Kressel

Emma Kriner Collin Kriner Nancy Kriner & Barry Kolbert Steve Kriner Rona Lesser Kelsey McDonnell Catherine McDonough Virginia Maksymowicz Elizabeth Moss Negin Moss Amanda Moyer Sandra Mueller Janice Nesser Brenda Oelbaum Beth Olds Carolyn Ostby Priscilla Otani Margaret Parker Cheri Redlinger Barbara Reid

Krishna Ribeiro Cecilia Rossey Ann Rowles Cathy Salser Ruth Segaloff Karen Schifman Ellen Schillace Sally Simmons Doni Silver Simons Athena Tacha Spear Doris H Statler Robin Taylor Bonita Tabakin Jeane Vogel Louise Jane Wannier Lise Webb M. Bibi Wolke Sandy Yagi Stella Zee

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