By Deb A.
After Senator Kamala Harris was accused of being hysterical for the (professional) way she questioned Attorney General Jeff Sessions, the world-renowned Strand Book Store posted a list of "strong feminist voices you need to listen to" under the title We Are Not Hysterical.
If you'd like feminist books like those delivered to your door every month you might want to keep an eye on the Card Carrying Books and Gifts Indiegogo page.
Enormous portraits of inspiring black women now grace the streets of London thanks to artist Neequaye Dreph Dsane and his You Are Enough series.
New York City will also look a little more interesting as of June 26th, when works by female artists will take the place of ad space on Lower East Side billboards thanks to SaveArtSpace.
Meanwhile, Emma Watson is up to her usual tricks: hiding feminist books around a major city. After leaving copies of Maya Angelou's Mom & Me & Mom around London and New York, she's now stashing The Handmaid's Tale in Parisian nooks and crannies.
Joanna Moorhead of The Guardian rightly asks: Why isn't Anna Atkins famous?
Shikha Sharma spotlights feminist Indian authors we should get to know for Youth Ki Awaaz.
Grace Meets Matisse: Coming to a NYC billboard soon. (via Elise R. Peterson)
By Deb A.
Conserving contemporary art has become more and more complex as artists explore new materials. How does one preserve gum, chocolate, or dung for future generations? This week we look at a few art conservation challenges.
By Deb A.
Over the last decade, nearly 36,000 30-page sketchbooks have made their way to the Brooklyn Art Library's permanent collection.They are part of The Sketchbook Project, an initiative to equalize and inspire creative people that claims to be one of the world's largest collections of sketchbooks.
The Sketchbook Project's criteria for inclusion are low: contributors must purchase a branded, barcoded 5"x7" sketchbook to fill, use it in some way, and return it to the library in its original dimensions. That's it. The rest is up to you.
Unlike the exclusive gallery culture that founders Steven Peterman and Shane Zucker were reacting against when they began, all works are welcome--the library features sketchbooks filled by professional artists alongside others filled by children.
Submissions that meet the criteria are catalogued with keywords, enabling visitors to search for a particular name, theme or place. Artists can see how often their books have been pulled from the shelf; with each view, they get a reminder that somewhere out in the world, someone is paying attention. (For $35, they can have their work digitized and made available for viewing online as well.)
The Sketchbook Project offers a range of themes that contributors should use for a starting point: for 2018, this includes everything from 'Tacos' to 'Lines and Graphics' to 'People I Wish I Knew'.
Anyone wishing to add their own work to the project must sign up by January 5th, 2018 and submit their sketchbook by the end of March.
By Deb A.
Time for another round-up of bits and pieces that have caught our eye recently....
The BBC celebrated Magnum Photos's 70th anniversary with a retrospective on the legendary photo agency run by photographers.
The Institute of Arab and Islamic Art opened May 4 with Exhibition 1, a show featuring four female artists influenced by Islamic architecture and design. The institute, which is the only cultural institution representing Muslim and Arab artists in New York City, aims to encourage dialogue and confront stereotypes.
Messy Nessy takes us back to the original Shakespeare and Company bookstore in Paris, where struggling writers who promise to read a book each day and work in the shop for two hours a day have been sleeping amongst the stacks since 1951.
A.R. Penck, a leader of the German Neo-Expressionist movement, died May 2, aged 77.
Just over 40% of us have embellished the truth about our reading habits, claims The Reading Agency. That statistic leaps to nearly 65% for people aged 18 to 24. Indeed, a quarter of that particular demographic purports to have read The Lord of the Rings when in fact, they've only seen the film.
...Good news for anyone who's been pretending to read Margaret Atwood or Neil Gaiman: The Handmaid's Tale and American Gods have both hit the small screen.
By Deb A.
When it emerged from the night in 1989, Arturo Di Modica's Charging Bull symbolised optimism. The 3200-kg bronze sculpture, featuring testicles that, thanks to constant grabbing, are as shiny as Il Porcellino's snout (no word on whether the tourists who goose the bull are destined to return to New York City), was erected as a monument to strength in the face of adversity and the American spirit.
And then one morning in 2017, everything changed. The bull was no longer a snarling testament to power and perseverance: it was the embodiment of Wall Street misogyny and greed.
Since International Women's Day 2017, the bronze figure of a child has stood facing Charging Bull--calmly, defiantly, hands on her hips, chin tilted upward, ponytail waving in the same static breeze that holds many a superhero's cape permanently aloft. The bull is enormous and aggressive and the newcomer is a mere slip of a thing at 250 kg, but she is unmistakably unafraid. She is Fearless Girl, and for many, she reclaimed the space for feminism in a district overwhelmed by men in suits.
Critics were quick to point out that Fearless Girl was no innocent child--she was a corporate shill, commissioned by an investment firm that offers an index fund of companies with higher percentages of women in leadership positions. The plaque at Fearless Girl's feet references the product. While the vision for corporate leadership is admirable, the sponsorship was read by some as a disingenuous attention grab. But most of the people who pass by to snap selfies laud Fearless Girl as a statement about female empowerment.
This is exactly the problem for Mr. Di Modica, who recently held a press conference to claim that the artistic intent of his work has been violated: it is nearly impossible to imagine Charging Bull as a symbol of hope now that it is mere metres away from trampling a child.
As Wall Street's reputation has suffered over the last quarter-century, the bull has admittedly become more vulnerable to reinterpretation, but placing another artwork in direct interaction with it changes the context enough to fully alter the original meaning. While Mr. Di Modica wouldn't stand much of a chance in a legal battle, the question remains: To what extent is it morally acceptable to alter the context, and therefore the implied message, of a work of art?
Although both creatures are officially temporary, it looks like they'll be staring each other down for a while: Mayor Bill de Blasio extended Fearless Girl's one-week permit to one year, to the chagrin of Mr. Di Modica and the glee of parents of little girls linking arms with their bronze counterpart.
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