WOMEN’S CAUCUS FOR ART HONOR AWARDS 2015

HONOR AWARDS FOR LIFETIME ACHIEVEMENT IN THE VISUAL ARTS

Sue Coe Kiki Smith Martha Wilson 1

2015 National Lifetime Achievement Awards Thursday February 12, 2015 New York Institute of Technology Auditorium (NYIT)

Welcome and Introduction Brenda Oelbaum WCA National Board President, 2014–16

Presentation of Lifetime Achievement Awards Sue Coe Essay and Presentation by Stephen F. Eisenman.

Kiki Smith Essay and Presentation by Helaine Posner.

Martha Wilson Essay by Lucy Lippard. Presentation by Lorraine O’Grady.

Presentation of President’s Art & Activism Award Petra Kuppers Presentation by Brenda Oelbaum.

Foreword and Acknowledgments This year, the Women’s Caucus for Art honors three women, Sue Coe, Kiki Smith, and Martha Wilson, whose life and work are congruous with WCA’s mission of focusing on art, education, and social activism. Sue Coe has been a voice for the voiceless. Her work has spanned political and social concerns from AIDS to Apartheid. Coe has been a staunch crusader against the use and mistreatment of animals. Her work and research on the meatpacking and factory farming industry culminated in a series of drawings, Porkopolis, and was later published as Dead Meat. Coe also exposed the mistreatment of dogs in her graphic novel Pit’s Letter. Coe and her art has raised public awareness of the plight of all living beings and is a call to action for all of us. Kiki Smith’s artwork addresses the human condition, the body, gender, sexuality, and spirituality. Her early body art sculptures are analogous with the representations of women in art history and reveal the constructs of gender and identity. In Smith’s act of reclamation, the body becomes the receptacle for all our stories and is reclaimed from “patriarchy, medicine, religion, or any other form of institutionalized repression.” Smith’s current work focuses on the aspects of spirituality, and brings her and our shared journey full circle. Martha Wilson’s art and activism has spanned over

forty years. Her body is the canvas for her art and is made concrete through the use of photography and video. Wilson uses different personae, role playing, and costuming to deconstruct gender and identity to explore female subjectivity. Wilson’s creative energy led to the creation of Franklin Furnace in Lower Manhattan, New York, where cutting edge work was showcased for over 20 years. Today, Franklin Furnace is her online legacy as Franklin Furnace Archive, Inc. which focuses on funding performance artists, art education, and the online publication of experimental works. The work of these three women which we honor this year can best be described as altruistic, as in showing great concern for the welfare of others. Whether it is through exposing atrocities, deconstructing myth, or investigating our spirituality, they have educated and moved us through their art, words and actions. Altruism can also be applied to the many who put in long hours to make this year’s Women’s Caucus for Art Lifetime Achievement Awards possible. I would like to thank the Honors Selection Committee: Mary Jane Jacob, Amalia Mesa-Bains, Howardena Pindell, Melissa Potter, and Ruth Weisberg. Thank you to the essayists and presenters who were chosen by the honorees to tell their stories: Stephen F. Eisenman, Lorraine O’Grady, Lucy Lippard, and

Helaine Posner. Thank you Brenda Oelbaum and Priscilla Otani, current and past WCA Presidents. Thank you Elizabeth ‘Neko’ Pilarcik-Tellez for a great fundraising campaign. A very special thank you to Karin Luner, Director of Operations, for the many hours spent working with me on collecting and editing the information for this catalog and for designing the catalog. And thank you to our donors, who made this event possible, especially the Estate of Sylvia S. Alloway (Sleigh). Janice Nesser-Chu, Honors Chair/Legacy Campaign Director, WCA, 2012–14 & President, WCA, 2010–12 Chair, Arts & Humanities Department, STLCCFlorissant Valley, St. Louis MO

Mission The mission of the Women’s Caucus for Art is to create community through art, education, and social activism We are committed to: • recognizing the contributions 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 • advocating for equity in the arts for all

ACCESS TO SUCCESS Welcome to the Women’s Caucus for Art’s 35th Lifetime Achievement Awards. Congratulations to Sue Coe, Kiki Smith, and Martha Wilson for your contributions to the Arts and Humanities. It is your achievements and your lives’ work that bring us together here for this marvelous event. I am equally pleased to present the President’s Art & Activism Award to the performance artist Petra Kuppers. In the early years of the Women’s Caucus for Art, our founders were busy putting together their own “Herstories” to teach the increasing number of young women in art schools that they did not come up in a vacuum. They taught us that we had to teach ourselves and figure out our own paths, they provided us with images and inspiration and laid the groundwork. These awards give us—your gallerists, curators, collectors, admirers, students—a chance to bask in your humanity, greet you in the flesh, and know that you are not just a slide in an art lecture hall or a picture in a book about the feminist art movement. These awards, created by our founders in 1979, provide yet another level of access, allowing us to mix and mingle with our “Sheroes.” You make the art world more accessible. You have gone before us and your work and presence will help guide us along our own journeys. For this, we thank you! Brenda Oelbaum WCA National Board President 2014–16 5

Sue Coe We honor you, Sue Coe, for your art and activism, shedding light on topics from AIDS to Apartheid to the abuse of animals.

Photo by Hildegard Bachert.

The Art and Politics of Sue Coe—Animal Rights as Anti-Capitalism Essay by Stephen F. Eisenman Sue Coe occupies an unusual position in the art world; she is both exalted and overlooked. Her paintings, drawings and prints are well known and critically admired. Holland Cotter in the Times called her last NY exhibition “graphically vivid and…intensely on-message.” And because she keeps her prices low, she has a wider base of collectors than most other artists. But precisely because her work is profoundly engaged with ethical and political issues, it is often overlooked by collectors and curators keen to embrace artistic fashions with the greatest speculative potential. Artworks that address racism, AIDS, rape, imperialism, and especially, the exploitation of animals, are not generally seen as investments with potential for growth.

Coe is therefore both within and without the artworld. Since 1989, she has exhibited at Galerie St. Etienne in New York, and in dozens of other exhibitions around the country. Her work is in the collections of MOMA, the Whitney, Brooklyn and Philadelphia Museums, and she has been reviewed in many art magazines. But her politically charged work has also been published in The Nation, Rolling Stone, and The New Yorker. She has produced designs for book covers and made posters that protest inequality and animal abuse. Unlike most contemporary artists, she aims for her art to be discussed and understood more than sold. In particular, she wishes her work to convey two ideas that have preoccupied her from the beginning of her career: 1) that Capitalism destroys lives and disfigures the globe; and 2) that the slaughter of animals—or their use in scientific research and blood sport—is a crime of epic proportion. Since the 19th Century, elite supporters of newly established art institutions—schools, academies and exhibition societies—promoted the idea that true art must be disengaged from the facticity of the world. Art is a matter of idealization, imagination and the beautiful, they argued. It must respond most of all, they also insisted, to other art, not to life as it is currently lived with all its contradictions and cruelties. The chief matter of art, early 20thC critics such as Clive Bell argued, was form and color. And at its extreme with the dogmas of Clement Greenberg, painting and drawing was construed as essentially abstract, concerned only with “flatness and the delimitation of flatness.” Even critics and audiences who supported the avantgarde (who bridged the space between art and life) found it difficult to approve artworks that were forthright in political content. What was favored instead—and this still remains the case—were artworks that operated by means of irony and indirection. It is clear today however that such procrusteanism limits not just the art of the present, it disfigures the art of the past. Bruegel, Goya, Courbet, Grosz, Dix, Heartfield and Golub all crafted highly pointed works

Sue Coe. Lambs to the Slaughter, 1989. Graphite, watercolor collage on Strathmore, 51 3/8 x 37 1/2". Courtesy Galerie St. Etienne, New York.

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of art concerned with the political conflicts of their day. Each influenced Coe. Moreover, many artworks from the more distant part that today seem dispassionate, were in fact highly partisan. Coe’s tenebrism for example, is deeply indebted to the dramatic patterns of dark and light found in works by the outlaw populist, Caravaggio. If there has ever been a time that demands political art, it is ours. The economic and ecological crisis is unprecedented. The Great Recession highlighted the chasm of inequality, and global warming has revealed that our usual economic solution—stimulation of consumption—is unavailable because it will simply increase use of fossil fuels, exacerbating warming. Coe’s art reveals that this dual crisis is simultaneously a third crisis—a moral one. For example, in the effort to generate profits, the chief capitalist powers are exploiting and destroying people, animals and the earth itself. Capital does not serve human or animal life; the latter serve capital. Smithfield Foods of Tar Heel, North Carolina grossly exploits its laborers. Turnover exceeds 100% per year, and line workers typically make between $9 and $13 per hour. But the 32,000 hogs killed there every day fare much worse. As Coe illustrates in works such as Cut and Run (1989), Meat Flies (1991) and Gassing Hogs (2010), the slaughter constitutes a horror the scale of which can only be compared to the Holocaust, a comparison found in her courageous drawing Intensive Hog Farm Built on the Site of Lety Concentration Camp (2010). Coe’s works are not beautiful in the conventional sense, though the artist’s skill with brush, pencil, ink, burin, crayon and chisel is manifest everywhere. Nor are they rhetorically innovative—they employ the tested language of Realism found in Goya, Van Gogh, Dix and others. But they reveal as no other artist’s the preeminent crime of our era—the killing and consumption of other intelligent creatures and the resulting moral and ecological devastation. Sue Coe. Cruel, 2011. Graphite, gouache and oil on Strathmore, 40 x 30". Courtesy Galerie St. Etienne, New York.

Stephen F. Eisenman, Professor of Art History President, Faculty Senate Northwestern University.

Biography Sue Coe is considered one of the foremost political artists working today. Born in England in 1951, she moved to New York in the early 1970s. In the years that followed, she was featured on the cover of Art News and in numerous museum exhibitions, including a retrospective at the Hirshhorn Museum in Washington. In 2013, she was awarded the prestigious Dickinson College Arts Award in Carlisle, Pennsylvania. A firm believer in the power of the media to effect change, Coe has seen her work published in The New York Times, The New Yorker, Rolling Stone and countless other periodicals. Similarly, Coe sees printmaking as a way to reach a broad audience. Accessible and affordable, Sue Coe’s etchings, lithographs, and woodcuts have become extremely popular. Over the course of a career spanning more than forty years, Coe has consistently focused on the oppression of the weak. Her seminal 1983 book How to Commit Suicide in South Africa was used as an anti-apartheid organizing tool on college campuses nationwide. She followed up with a pictorial biography of Malcolm X in 1986. The catalogue for her 1987 traveling retrospective, Police State, and her 2004 book Bully! Master of the Global Merry-Go-Round both document political tyranny. Coe has spent two decades investigating the atrocities committed by people against animals. She warned early on of the dangers inherent in genetically modified crops, the environmental costs of meat production and the extreme cruelty entailed in factory farming. Her publications on these subjects include Dead Meat (1996), Pit’s Letter (2000), Sheep of Fools…A Song Cycle for Five Voices (2005), Cruel (2013), and The Ghosts of Our Meat (2013). Sue Coe. Modern Man Followed by the Ghosts of His Meat, 1990. Gouache, watercolor and graphite on Bristol Strathmore, 40 1/8 x 30". Courtesy Galerie St. Etienne, New York.

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Kiki Smith We honor you, Kiki Smith, for your artwork that addresses the human condition: the body, gender, sexuality, and spirituality.

Photo by Erik Madigan Heck.

Kiki Smith By Helaine Posner Kiki Smith’s career has spanned more than three decades. She became one of the leading artists of her generation by revitalizing the body as subject matter, for herself and her generation of artists, as well as her successors. By reclaiming the high ground of figurative sculpture, she took on the male-dominated tradition of Western art and reinvigorated it with her often personal, increasingly idiosyncratic reinterpretations of its conventions. In the 1980s and early 90s, she became well-known for her depictions of the human body, fragmented and whole, as a vehicle for expressing the hidden sides of our physical and psychological selves. As

a sculptor, Smith represented internal organs and bodily fluids, and gradually the complete, life-sized human figure in such diverse materials as paper, wax, and bronze. The intimate body Smith most often depicted was female, as both the battleground for contentious cultural and social issues and the site of women’s lived experience. For several years Smith focused on the abject female body as an archetype of human despair. As her work progressed, she assumed the task of attempting to heal our fractured selves, seeking a path to wholeness or redemption through extraordinary depictions of such biblical icons as Lilith, Lot’s wife, Eve, the Virgin Mary, and Mary Magdalene. The artist later explored characters from fairy tales, Victorian literature, and popular religious narratives, adapting such figures as Little Red Riding Hood, Alice in Wonderland, and Genevieve, the patron saint of Paris, and reinterpreting their stories to express a contemporary feminist viewpoint or a more personal vision. Gradually, she moved beyond the female subject and broadened her scope to encompass the animal world and the landscape. A truly expansive artist, Smith is convinced of the profound relationship that exists among human beings, animals, the natural environment, even the cosmos. This intimate connection may invoke an earthly paradise or, instead, portend ecological disaster, as the fate of all living things is entwined. Over the last two decades Smith has created ambitious, multimedia installations that more fully examine these wide-ranging themes. Landscape, presented at the Massachusetts College of Art in Boston (1996–97), featured a vast carpet of prints depicting wolves, deer, and mice etched on a saturated red field, along with a row of enlarged red glass blood cells. In this work Smith expressed her growing sense of the deep relationship between female sexuality and nature. An installation variously configured as Kiki Smith: Her Home at the Museum Haus Esters, Kunstmuseen Krefeld and the Kunsthalle Nürnberg in Germany; as Kiki Smith: Her Memory at the Fundació Joan Miró, Barcelona; and as Kiki Smith: Sojourn at the Brooklyn Museum (2008–10), took

Kiki Smith. Rapture, 2001. Bronze, 67.25x62x26.25 inches. Courtesy of Pace Gallery.

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the viewer on an extended journey through the stages of a woman’s domestic, creative, and spiritual life. In Kiki Smith: Visionary Sugar, at the Neuberger Museum of Art (2012), the artist created an environment that represented and embraced the vitality of an animistic, spiritually-charged universe through such imagery as the female and male figure; birds, reptiles, and animals; flowers and trees; and the sun, moon, and stars. Visionary Sugar told a story about “how imperative it is at this moment to celebrate and honor the wondrous and precarious nature of being here on earth.” Kiki Smith is an extremely inventive and prolific artist, motivated by endless curiosity about the world and an ongoing desire to explore the range and possibilities of figurative art. The scope of her work, from an initial exploration of themes of morbidity, fragmentation, and abjection to an expansive engagement with the world of spirit, nature, and the imagination, is nothing short of remarkable. A true original, Smith has always charted her own course and, in the process, changed the face of contemporary art. Helaine Posner, Senior Curator of Contemporary Art Neuberger Museum of Art, Purchase College, NY.

Kiki Smith. Installation view: Eldridge Street Synagogue stained glass window; collaboration with Deborah Gans, 2010. Image courtesty of Eldridge Street Synagogue. Photo by Peter Aaron.

Biography Kiki Smith, born in 1954 in Nuremberg, Germany, is an artist of international recognition whose career has spanned over three decades. Her work addresses the human condition, the body, and nature. She works in various media including sculpture, printmaking, installation, and textiles. She has also worked with glass for more than twenty years. Her recent work in glass includes a monumental stained glass window designed in collaboration with architect Deborah Gans for the 1887 Eldridge Street Synagogue, a National Historic Landmark located on New York’s Lower East Side, and Pilgrim (2007–10), a cyclical journey narrated through the images of women, comprised of 30 stained-­glass panels, installed in Kiki Smith: Lodestar at The Pace Gallery in 2010. In 2012, the Art Production Fund unveiled a major installation by Smith in The Last Lot project space, located on 46th Street and Eighth Avenue in New York City. Smith’s artistic career began in the 70’s with her involvement in the artist’s collective Colab. She has since been the subject of more than 150 solo exhibitions internationally. Her work has also been included multiple times in the Whitney Biennial (1991, 1993, 2002); La Biennale di Firenze (1996–1997, 1998); and La Biennale di Venezia (1993, 1999, 2005, 2009), where in 2011, she participated in the group exhibition Glasstress at the Palazzo Cavalli Franchetti. Smith’s work is held in over fifty public collections. Smith’s many accolades include the US State Department Medal of Arts given by Hillary Clinton, Theo Westenberger Women of Excellence Award, Nelson A. Rockefeller Award, Purchase College School of the Arts, Women in the Arts Award, Brooklyn Museum and the 50th Edward MacDowell Medal, among many others. Smith was elected a member of the American Academy of Arts and Letters in 2005. In 2006, TIME Magazine named her one of the “TIME 100: The People Who Shape Our World.” Kiki Smith lives and works in New York.

Kiki Smith. My Blue Lake, 1995. Photogravure and lithograph in 3 colors on En Tout Cas paper, 43.5 x 54.75". Image courtesy of Universal Limited Art Editions, Inc.

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Martha Wilson We honor you, Martha Wilson, for your performance art focusing on female subjectivity, and as the founder of Franklin Furnace Archive.

Photo by Michael Katchen.

Martha Wilson: The Fire in the Furnace By Lucy R. Lippard Martha Story Wilson (aka Redy Story) was a reluctant recruit to art, majoring in, then teaching English literature while hanging out at the Nova Scotia College of Art & Design, where we first met in the early 1970s. At the same time, she was almost surreptitiously making groundbreaking conceptual art on “stretching the identity” of women, which unbeknownst to her contributed to an international feminist conceptual art cartel. She has recalled the ways in which she lacked confidence to become a real artist (so she minored in her major interest) and initially subordinated her ambitions to those of her boyfriend, until…Shazam! she got that famous feminist “click.” The rest is history.

When parents’, teachers’, and lovers’ expectations were subtracted, Wilson discovered that she could “make a new self.” Her interest in words and images led her not into film, but into intimate narratives expressed in photo self portraits, short short stories, and witty performances, among them acted-out booklets departing from Lewis Carroll (Annotated Alice, 1976). She once described her “artistic concerns”: “Transformation of emotion through manipulation of convention and appearance, and investigation of the gap between artist and audience.” “I never wanted to be a performance artist,” she declared years later, but her early “posturing pieces” (such as I make up the image of my perfection and I make up the image of my deformity) and feminist collaborations (with Jacki Apple and later with the all-girl Disband) paved the road ahead. As political satire became her focus, she took on the persona of Alexander Plague (Alexander Haig, Reagan’s pompous, bumbling Secretary of State) and then found her niche as First and Second Ladies (Nancy Reagan, Barbara Bush, Tipper Gore), whom she hilariously portrayed (and betrayed) while disguised in bourgeois splendor. Wilson’s explorations of self and body (as in the classic 1974 Breast Forms Permutated) epitomized the feminist credo “the personal is political,” and were soon to be influential, since they revealed by extension the emotional fears and desires of a great many women. As I looked through the 40-year file I have kept on Wilson, I realized that in many ways she was the paradigm of the young woman artist—fearless and insecure, tender and angry, defiant and inspired. In that file, I found a list of conceptual “instruction pieces” from 1971 that should have been published years ago, among them: Chauvinistic Piece: “A man is injected with the hormone that produces the symptoms of motherhood”; and Color Piece: “A dark-skinned couple (perhaps Negro), a medium-colored couple (perhaps Chinese) and a light-skinned couple (perhaps Anglo-Saxon) permutate sexually. The resultant nine children may be distributed in any emotionally comfortable manner.”

Martha Wilson as Barbara Bush 2005. Portrait by Dennis W. Ho. Courtesy of the artist.

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Martha has never been an “individual genius” like so many of her male counterparts. In 1976, her collaborations with and support of fellow artists led to the founding of the inimitable “alternative space”—Franklin Furnace. I was among the thousands of artworkers who benefited from her largesse and got to create exhibitions (Public Relations AKA Propaganda and Vigilance with Michael Glier), performances (Propaganda Fictions and My Place, Your Place, Our Place with Jerry Kearns), meetings (PAD/D’s Second Sundays)…and above all artists books. When we founded Printed Matter, we consulted with Martha who was already collecting artists’ books, and split the project: she would archive, we would publish (briefly) and sell. Since then she has been an unwavering producer and protector of this fragile medium as communication, not commodity, promoting artists’ books “at the luncheonette end of the spectrum—really cheap,” as she put it. Other artists’ works have always been as much a priority as her own. For four decades Wilson/Story has blurred conventional distinctions between visual artist, writer, storyteller, political activist, artists’ advocate, curator, administrator, and role model (though few have managed to follow in her footsteps). Her “career” has been an exemplary demonstration of how artists can escape the artworld sandbox. “Even though artists have no economic, political, social, or spiritual impact,” she says, “if we don’t try to change the world we will go crazy.” Martha Wilson’s lifetime achievements are still piling up. She continues to live a life of invention, freedom and commitment, outside the boxes from which she escaped early on. Clearly, I’m an admirer. I only wish I could be here to present this well-deserved award in person. Lucy Lippard, writer and activist. Martha Wilson. Posturing: Male Impersonator (Butch) 1973. Color photograph and text. Photo by Richards Jarden. Courtesy of the artist and P.P.O.W Gallery, New York.

Biography Martha Wilson, born in 1947, is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity through roleplaying, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax, Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the US for her provocative appearances and works. In 1976, she founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums. As a performance artist she founded and collaborated with DISBAND, the all-girl punk conceptual band of women artists (not able to play any instruments in the conventional sense), and impersonated political figures such as Alexander Haig, Nancy Reagan, Barbara Bush, and Tipper Gore. In 2008, she had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971–74. In 2009, Martha Wilson: Staging the Self, an exhibition of Wilson’s early photo/text work, and one project from each of Franklin Furnace’s first 30 years, began international travel under the auspices of Independent Curators International (ICI); and in 2011, ICI published the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces. Martha Wilson joined P.P.O.W Gallery, New York, and mounted a solo exhibition, I have become my own worst fear, in September 2011. Martha Wilson lives in Brooklyn, New York. Martha Wilson. Mona/Marcel/Marge 2014. Photographic print on canvas. Compositing Artist Kathy Grove. Courtesy of the artist and P.P.O.W Gallery, NY.

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The President’s Award for Art & Activism Each year in association with the Women’s Caucus for Art’s Lifetime Achievement Awards, the National Board President selects one or two recipients for the President’s Award for Art & Activism. The award identifies emerging or midcareer women in the arts whose life and work exemplifies WCA’s mission statement, ‘creating community through art, education, and social activism.’ The 2015 President’s Award for Art & Activism honors Petra Kuppers for her contributions as a disability culture activist. Recent recipients of the President’s Award for Art & Activism include: Hye-Seong Tak Lee, international curator and educator; Janice Nesser-Chu, artist, activist and Chair/ Professor, Arts & Humanities Department, STLCC-Florissant Valley; Leanne Stella, Founder of FLUX Harlem; Karen Mary Davalos, Chair and Associate Professor of Chicana & Chicano Studies at Loyola Marymount University; Cathy Salser, Founder and Director of A Window Between Worlds and Maria Torres, Founder and Chief Operating Officer of The Point Community Organization.

Petra Kuppers In 2011, when the national board of the Women’s Caucus for Art changed the mission statement to reflect a more feminist activist platform, the board also agreed to change the name of the President’s Award to reflect that new stance. There was no question in my mind that I would select Petra Kuppers to receive the President’s Award for Art & Activism. I first met Dr. Kuppers in 2008, when she agreed to be WCA Michigan’s liaison to the University of Michigan and Juror for an exhibition on women’s health, The Art of Healing. Kuppers defines Art and Activism. She is working across the spectrum of artwork, pedagogical labor, social and political engagement, and critical writing. Her workshops happen in women’s centers, hospices, mental health self-help groups, youth groups, tradiPhoto courtesy of Petra Kuppers. tional Weavers and Knitters Guilds, in National Parks, abandoned buildings, or on the beach, including people labeled as ‘developmentally disabled’, cancer survivors, and politicians. She works across divisions of cognitive and physical difference, class, race, and gender, Kuppers challenges where and how art happens, who makes it, and who has access to it. Her books include Disability and Contemporary Performance: Bodies on Edge [Routledge, 2003], The Scar of Visibility: Medical Performances and Contemporary Art [Minnesota, 2007] and Community Performance: An Introduction [Rutledge, 2007]. One of her books, Disability Culture and Community Performance: Find a Strange and Twisted Shape [Palgrave, 2011] received the Biennial Sally Banes Prize by the American Society for Theatre Research. Her most recent textbook Studying Disability Arts and Culture: An Introduction was published by Palgrave in 2014. Petra Kuppers is a disability culture activist, a community performance artist, and Professor of English, Women’s Studies, Art and Design and Theatre at the University of Michigan. She also teaches at Goddard College’s Low Residency MFA in Interdisciplinary Arts. She is the Artistic Director of The Olimpias, an international community performance research collective (www.olimpias.org). The collective explores art/life, cross-genre participatory practices, arts for social change and disability culture work. Olimpias work addresses its audiences directly, and engages people gently and with care, to create a more inclusive future together. Essay by Brenda Oelbaum. 19

2015 WCA Supporters honorary committee The Estate of Sylvia S. Alloway (Sleigh), NY School of the Art Institute Chicago Judith K. Brodsky, Center for Innovations and Prints, Rutgers University, NJ Clark Atlanta University, Georgia Major Hieftje, City of Ann Arbor, MI National Congress of Black Women, Washington, DC Oelbaum Family, Canada Sammy Hoi, Otis College of Art & Design, Los Angeles, CA Oxford University Press College of Fine and Performing Arts, Rowan University Rutgers, The State University New Jersey A Window Between Worlds, Los Angeles, CA

patron The Estate of Sylvia S. Alloway (Sleigh), NY Priscilla H. Otani & Michael Yochum/ Philanthropic Ventures Foundation, Oakland, CA Brenda Oelbaum

benefactor Ida Applebroog

advocate Goddard College Pace Gallery P.P.O.W Gallery Barbara Wolanin

sponsors College Art Association (CAA) Farm USA Galerie St. Etienne, NYC El Museo Del Barrio NYFA | New York Foundation for the Arts OR Books TFAP | The Feminist Art Project University of North Texas

University of Michigan Department of English & Women’s Studies WCA Michigan Chapter WCA New York Chapter WCA St. Louis, Chapter WAC | Women and the Arts Collaborative Woman’s Art Journal

supporters Bank of America Foundation Ron and Ulla Barr Heidi Bassinger Jennifer Colby Sherri Cornett Alice Dubiel Fay Duftler Danielle Eubank Rosalie Friis-Ross Ofelia Garcia Marilyn Hayes Krista Jiannacopoulos CM Judge Susan M. King Rona Lesser Pat Macaluso Diane J. Mayer Stephen and Sandra Mueller Janice Nesser-Chu Cherie Redlinger Amanda Rogers Jocelyn Scheirer Yuriko Takata WCA New Hampshire Chapter WCA Southern California

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The Woman’s Art Journal congratulates those receiving Lifetime Achievement Awards.

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As a groundbreaking artist, Sue Coe so powerfully brings a light to the darkness and a voice to the innocent. She is a hero to all of us at Farm Sanctuary.

With profound gratitude and admiration, Sue, we wish you congratulations on this greatly deserved lifetime achievement award.

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Past WCA Lifetime Achievement Award Recipients chicago 2014 phyllis bramson ° harmony hammon ° adrian piper ° faith wilding new york 2013 tina dunkley ° artis lane ° susana toruella leval ° joan semmel los angeles 2012​whitney chadwick ° suzanne lacy ° ferris olin ° bernice steinbaum ° trinh t. minh-ha new york 2011 beverly buchanan ° diane burko ofelia garcia ° joan marter ° carolee schneemann ° sylvia sleigh chicago 2010 tritobia hayes benjamin mary jane jacob ° senga nengudi ° joyce j. scott ° spiderwoman theater los angeles 2009 maren hassinger ester hernández ° joyce kozloff ° margo machida ° ruth weisberg dallas 2008 ida applebroog ° joanna frueh ° nancy grossman ° leslie king-hammond ° yolanda lopez ° lowery stokes sims new york 2007/awards for women in the arts barbara chase-riboud ° wanda corn ° buffie johnson ° lucy lippard ° elizabeth murray/judith k. brodsky ° ferris olin boston 2006 eleanor antin ° marisol escobar ° elinor gadon ° yayoi kusama atlanta 2005 betty blayton-taylor ° rosalynn carter ° mary d. garrard ° agnes martin ° yoko ono ° ann sutherland harris seattle 2004 emma amos ° jo baer ° michi itami ° helen levitt ° yvonne rainer new york 2003 eleanor dickinson ° suzi gablik ° grace glueck ° ronne hartfield ° eleanor munro ° nancy spero philadelphia 2002 camille billops ° judith k. brodsky ° muriel magenta ° linda nochlin ° marilyn j. stokstad chicago 2001 joyce aiken ° dorothy gillespie ° marie johnson calloway ° thalia gouma-peterson wilhemina holladay ° ellen llanyon ° ruth waddy los angeles 1999 judy baca ° judy chicago ° linda frye burnham ° evangeline k. montgomery ° arlene raven ° barbara t. smith philadelphia 1997 jo hanson ° sadie krauss kriebel ° jaune quick-to-see smith ° moira roth ° kay sekimachi boston 1996 bernice bing ° alicia graig faxon ° elsa honig fine ° howardena pindell ° marianna pineda ° kay walking stick san antonio 1995 irene clark ° jacqueline clipsham ° alessandra comini ° jean lacy ° amalia mesa-bains ° celia muñoz new york 1994 mary adams ° maria enriquez de allen ° beverly pepper ° faith ringgold ° rachel rosenthal charlotte streifer rubinstein seattle 1993 ruth asawa ° shifra m. goldman ° nancy graves ° gwen knight ° agueda salazar martinez ° emily waheneka chicago 1992 vera berdich ° paula gerard ° lucy lewis ° louise noun ° margaret tafoya ° anna tate washington dc 1991 theresa bernstein ° delilah pierce ° mildred constantine ° otellie loloma ° mine okubo new york 1990 ilse bing ° elizabeth layton ° helen serger ° may stevens ° pablita velarde san francisco 1989 bernarda bryson shahn ° margret craver ° clare leighton samella sanders lewis ° betye saar houston 1988 margaret burroughs ° jane teller ° dorothy hood miriam schapiro ° edith standen boston 1987 grace hartigan ° agnes mongan ° maud morgan ° honoré sharrer ° elizabeth talford scott ° beatrice wood new york 1986 nell blaine ° leonora carrington ° sue fuller ° lois mailou jones ° dorothy miller los angeles 1985/toronto 1984 minna citron ° clyde connell eleanor raymond ° joyce treiman ° june wayne ° rachel wischnitzer philadelphia 1983 edna andrade dorothy dehner ° lotte jacobi ° ellen johnson ° stella kramrisch ° pecolia warner ° lenore tawney new york 1982 bernice abbott ° elsie driggs ° elizabeth gilmore holt ° katharine kuh ° claire zeisler charmion von wiegand san francisco 1981 ruth bernhard ° adelyn breeskin ° elizabeth catlett ° sari dienes ° claire falkenstein ° helen lundeberg washington dc 1980/alternate awards bella abzug ° sonia johnson ° sister theresa kane ° rosa parks ° gloria steinem ° grace paley new orleans 1980 anni albers louise bourgeois ° carolyn durieux ° ida kohlmeyer ° lee krasner washington dc 1979 isabel bishop ° selma burke ° alice neel ° louise nevelson ° georgia o’keeffe

WCA HONOR AWARDS SELECTION COMMITTEE Janice Nesser-Chu, Chair Mary Jane Jacob Amalia Mesa-Bains Howardena Pindell Melissa Potter Ruth Weisberg

HONORS AWARDS COORDINATION & EDITORIAL TEAM About this Catalogue: Catalogue printed on the occasion of the 2015 Lifetime Achievement Award and WCA Conference “Access” in New York, NY. Published in New York, New York by the Women’s Caucus for Art. Printed in the U.S.A. Copyright © 2015 by WCA. 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. ­­­­­­­­

ISBN: 978-1-939637-09-3 This catalogue uses paper bearing the Forest Stewardship Council (FSC) seal, which supports the conservation of forests and wildlife and helps people lead better lives. It also was printed using soy inks. Furthermore, the energy used for this print production came from wind energy. Printed by EpicLitho, Philadelphia, PA.

Janice Nesser-Chu Elizabeth Pilarcik-Tellez Brenda Oelbaum Karin K. Luner Priscilla H. Otani

DESIGN & PRODUCTION Karin K. Luner

W C A

W omenʼs caucus f o r

ART

www.nationalwca.org

ISBN: 978-1-939637-09-3