Today’s art world has embraced visionaries such as Cindy Sherman, Barbara Kruger, Miranda July and Shirin Neshat. But only a generation ago, it was extremely rare to find female artists in major museums and galleries. Enacting that change was nothing short of a revolution. Director Lynn Hershman was an active participant in this feminist art movement and spent the past forty years chronicling its breakthroughs on video. Now she’s shaped that archive into a remarkable cultural history that stirs up vital questions about politics, equality and freedom of expression.
Her story begins in the sixties, when the winds of liberation drew attention to gender inequality in the art world and everywhere else. The era’s radicalism prompted one Jewish art school graduate – inspired by the Black Panthers – to take the name Judy Chicago. She and Miriam Schapiro founded a women’s arts program at the California Institute of the Arts. Meanwhile, in New York, the work of women’s collective A.I.R. Publications – such as “Chrysalis” and “Heresies” – became tools for building awareness. As critic B. Ruby Rich recalls, “Everyone’s opinions counted equally. That was both wonderful and a total nightmare.” Factional in-fighting was another sign of the times. —TIFF
Lynn Hershman Leeson (b. in 1941 in Cleveland, Ohio) is an American artist and filmmaker. She was Professor Emeritus at the University of California, Davis, and an A.D. White Professor-at-Large at Cornell University. She is Chair of the Film Department at the San Francisco Art Institute.
Over the last three decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in an era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds.
Her films include Teknolust, Conceiving Ada, Strange Culture, all three with Tilda Swinton. –Wikipedia
the movie was okay, but the best part was the Q&A my companion and I stuck around for post-screening, when the perfect patriarchal figure, a German male art collector, was all, "This was a good film, but if I may..." hilarious.
After the feast of design from the 1920s and 30s over the past two weeks I thought it was time to return to the present and look at a few of