User:Feminist-Frankenstein/sandbox

ART + FEMINISM Tutorial
Here, I am following the ART+FEMINISM beginner series tutorial linked on our Canvas, but more help can be found on their website under the "RESOURCES" tab.

In My Little Corner of the World, Anyone Would Love You (2016)
In In My Little Corner of the World, Anyone Would Love You, Hayes investigates queer and feminist archives in the US and the UK documenting gay liberation, women's liberation, as well as the pre-lesbian liberation movements: Daughters of Bilitis (US) and Minorities Research Group (UK). Hayes explores the specific limits of gender, the anti-racist work done by lesbian, queer, and transpeople of color to combat racism in white lesbian feminist groups and the historic and contemporary ways in which feminist, lesbian, and queer political collectivities have expanded and constrained gender expression. The work was exhibited at The Common Guild in Glasgow and Studio Voltaire in London in 2016.

More information on the installation (written by Sharon Hayes) and a source for possible further research can be found here.

Citation Practice
book news article

Sharon Hayes Research
Possible books I'm hoping to check out from the Kohler Art Library:


 * Sharon Hayes: There's So Much I Want to Say to You by Chrissie Iles, Sharon Hayes
 * Echo: Sharon Hayes by Lena Essling, Sharon Hayes, and Ann-Sofi Noring
 * Queer Art: A Freak Theory by Renate Lorenz

ART + FEMINISM Wikipedia Edit-A-Thon
Below is a copy of the Wikipedia page on Sharon Hayes. My edits are made in bold--all original bold text within the article, besides sub-headings, have been removed for the sake of clarity.

= Sharon Hayes (artist) = From Wikipedia, the free encyclopedia Sharon Hayes is an American multimedia artist. She came to prominence as an artist and an activist during the East Village scene in the early '90s. She primarily works with video, installation, and performance as her medium. Using multimedia, she "appropriates, rearranges, and remixes in order to revitalize spirits of dissent". Hayes's work addresses themes such as romantic love, activism, queer theory, and politics. This also includes her investigation of how politics, history, and speech can intersect. She incorporates texts from found speeches, recordings, songs, letters, and her own writing into her practice that she describes as “a series of performatives rather than performance.” Hayes calls her method "respeaking"--like the word "reenactment"--to mean, "newly speaking a spoken text". Through her performances, videos, and installations, Hayes reflects on how "the process of documenting a historical event ends up conditioning the way we see that event". She is currently an Associate Professor of Fine Arts at the University of Pennsylvania.

Contents

 * 1 Biography
 * 2 Work
 * 2.1 In the Near Future (2005–2008)
 * 2.2 Everything Else Has Failed! Don’t You Think It’s Time for Love? (2007)
 * 2.3 Revolutionary Love 1 & 2 (2008)
 * 2.4 Parole (2010)
 * 2.5 Fingernails on a blackboard: Bella (2014)
 * 2.6 In My Little Corner of the World, Anyone Would Love You (2016)
 * 2.7 If They Should Ask (2017)
 * 3 Exhibitions
 * 4 Awards
 * 5 Bibliography
 * 6 References

Education
Hayes studied anthropology at Bowdoin College in Brunswick, Maine, and performance art at the Trinity/La Mama Performing Arts Program in New York in the early 1990s. She participated in the Independent Study Program at the Whitney Museum of American Art from 1999 to 2000, and received an MFA in interdisciplinary studies from the University of California, Los Angeles in 2003.

In the Near Future (2005–2008)
In the Near Future was created through four iterations staged in London, New York, Vienna, and Warsaw, with additional performances in Brussels and Paris.

New York, 2005: Commissioned by Art in General, curated by Sofía Hernández Chong Cuy.

Vienna, 2006: Presented as part of Wieder und Wider: Performance Appropriated, MUMOK, curated by Barbara Clausen and Achim Hochdorfer.

Warsaw, 2008: Museum of Modern Art in Warsaw, curated by Monika Szczukowska.

London, 2008: Presented as part of Perplexed in Public, curated by Elena Crippa and Silvia Sgualdini.

In each iteration, Hayes stood on the street each day for a number of days with a different protest sign. The slogans were mostly culled from past protests, although a few speak to the possibility of a future demonstration. '''Some signs included: "Who Approved the WAR in Vietnam?" from 1960s US antiwar protests; "I AM A MAN," used by the Memphis sanitation workers; "Ratify the E.R.A. Now!"; and "Votes for Women"--both highlighting feminist activism. Hayes has described her role in the performance as a "placeholder" to bring a resonance and impact from a certain moment in time to a present future time.'''

Everything Else Has Failed! Don’t You Think It’s Time for Love? (2007)
Presented by Art in General for their 25th anniversary exhibition, in downtown Manhattan, ''Everything Else Has Failed! Don’t You Think It’s Time for Love?'' Hayes performed a series of works in front of the UBS Building. Dressed up as a queer office temp, she recited a love letter to an through a microphone and speaker on the street, expressing that "I didn't want the love to be read as heteronormative. Yet I want to be clear that queerness is not some kind of idealized space of politics." The speeches were also recorded and played in the lobby of the UBS building alongside a series of silk-screened works inspired by political posters from the 1960s and 70s.

Revolutionary Love 1 & 2 (2008)
For Revolutionary Love 1 & 2, Hayes asked about 100 queer volunteers to recite a text she wrote on gay power and liberation at the 2008 presidential conventions as part of a two-part commission for Creative Time’s public art initiative, “Democracy in America: The National Campaign”, curated by Nato Thompson. Subtitled, I Am Your Worst Fear for the Democratic National Convention in Denver, CO and I Am Your Best Fantasy, the Republican National Convention in St. Paul, MN, the participants recited each ten to twenty minutes long text three times over the course of two hours. Using the charged atmosphere of the conventions as a backdrop for a more personal reflection on love and politics, the piece drew upon the history of the gay liberation movements of the 1970s.

I March in the Parade of Liberty, But As Long As I Love You I'm Not Free (2008)
'Hayes stood alone on street corners for I March in the Parade of Liberty, But As Long As I Love You I'm Not Free'' in New York, where it began in 2008. Walking across Lower Manhattan, she spoke into a megaphone, combining early political protest chants with more intimate forms of address--like Oscar Wilde's prison letter to Alfred Douglas published posthumously as "De Profundis". In her public address, she calls out to an unnamed lover, "you", who is at once "a person and representative of a collective movement," with a sense of desperation, excitement, and resignation.'''

When presented in a gallery space, the performance comes through a loudspeaker with a poster of the title of the piece.

Yard (Sign) (2009)
Yard (Sign) is a mixed-media installation of found and fabricated yard signs with recognizable phrases, catchy slogans, and socio-political messages. There are real-estate signs, political and personal handwritten messages, etc. that when alone are very clear, but when placed all together become competing messages. The inspiration for the piece was Allan Kaprow's Yard (1961)--an empty lot filled with black rubber tires and tar paper wrapped shapes. It has been on view at both the Whitney Museum in New York and the Museo Nacional Centro de Arte Reina Sofía in Madrid.

Parole (2010)
Parole is a four-channel video installation composed of semi-autonomous video “scenes” that string together to form a narrative without a story. Focused on a queer, non-conforming central character who records sound but never speaks, Parole teases out multiple relationships between politics and desire, intimacy and estrangement, speaking and listening, voice and body. The installation is composed of footage of performed events in New York, London, Frankfurt, and Istanbul, Turkey, as well as staged footage of this sound recorder, played by artist and performer Becca Blackwell, in various private and semi-public locations. '''The space for listening and viewing the installation was organized by Hayes in a way that spectators can only selectively and partially focus their attention depending on their location--certain noises are amplified and others faded. To ensure that the visual material is never fully in view, each channel is projected onto different surfaces.'''

Fingernails on a blackboard: Bella (2014)
Fingernails on a blackboard: Bella investigates how voice acts as the embodied medium of speech and addresses the political consequences of gender and the specific limitations of power, communication, and relatability in the specter of public speech. The work takes the 1977 National Women's Conference in Houston, TX, as a historical point of departure, which was a result of an executive order to assess the status of women, in light of the United Nations proclaiming 1975 as International Women's Year. Following the well-attended, highly publicized event, an extension was granted for the ratification of the Equal Rights Amendment. But having only been ratified by 35 states by the 1982 deadline, the amendment never passed. The video work uses the transcript of a meeting between politician Bella Abzug – the New York Congresswoman head of the National Women's Conference – and her vocal coach. During their meeting, the pair work at neutralizing Abzug's regional accent and softening her tone – strategically altering her voice to something more universal and soothing.

In My Little Corner of the World, Anyone Would Love You (2016)
In In My Little Corner of the World, Anyone Would Love You, Hayes investigates queer and feminist archives in the US and the UK documenting gay liberation, women's liberation, as well as the pre-lesbian liberation movements: Daughters of Bilitis (US) and Minorities Research Group (UK). Hayes explores the specific limits of gender, the anti-racist work done by lesbian, queer, and transpeople of color to combat racism in white lesbian feminist groups and the historic and contemporary ways in which feminist, lesbian, and queer political collectivities have expanded and constrained gender expression. The work was exhibited at The Common Guild in Glasgow and Studio Voltaire in London in 2016.

If They Should Ask (2017)
If They Should Ask was a temporary monument located in Philadelphia's Rittenhouse Square addressing the lack of monuments dedicated to the women who have contributed to the social, cultural, political and economic life of Philadelphia. Of the hundreds of sculptures in the city that honor historic figures, only two are dedicated to women. If They Should Ask is a collection of concrete pedestals of existing monuments in the city cast at half-scale and engraved with the names of Philadelphia-area women who have contributed to the city's civic and public life from the mid-1600s to the present day. The piece was created as a part of Monument Lab, a Philadelphia-wide public art and history initiative.

Solo Exhibitions

 * 2007: I march in the parade of liberty, but as long as I love you I'm not free, organized by Massimiliano Gioni, New Museum for Contemporary Art (New York)
 * 2010: Museo Nacional Centro de Arte Reina Sofia (Madrid)
 * 2011: focus: Sharon Hayes, The Art Institute of Chicago, Chicago
 * 2011: In The Near Future, Contemporary Art Gallery, Vancouver
 * 2012: Habla, curated by Lynne Cooke, Museo Nacional Centro de Arte Reina Sofía (Madrid)
 * 2012: Sharon Hayes: There's so much I want to say to you, The Whitney Museum of American Art (New York)
 * 2012: Stage Presence: Theatricality in Art and Media, San Francisco Museum of Modern Art (San Francisco, CA)
 * 2012: Sharon Hayes, The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York
 * 2013: Venice Biennale
 * 2014: Sharon Hayes: Loudspeakers and Other Forms of Listening, curated by Heather Anderson, Carleton University Art Gallery, Ottawa
 * 2015: Black Box: Sharon Hayes, Baltimore Museum of Art, Maryland

Group Exhibitions

 * 2008: Yokohama Triennale
 * 2008: Guangzhou Triennial, Guangdong, China
 * 2008: Not Quite How I Remember It, The Power Plant, Toronto
 * 2009: 100 Years (version 2), P.S.1 Contemporary Art Center, New York
 * 2009: Istanbul Biennial
 * 2009: Talk Show, Institute of Contemporary Arts, London
 * 2010: Greater New York, MoMA PS1, New York
 * 2010: Whitney Biennial, Whitney Museum of American Art, New York
 * 2014: Gwangju Biennale, Gwangju, Korea
 * 2016: The Revolution Will Not Be Gray, Aspen Art Museum, Colorado
 * 2016: Curators' Series #9. Way of Living, David Roberts Art Foundation, London
 * 2017: I can call this progress to halt, LACE, Los Angeles
 * 2017: Reconstitution, LAXArt, Los Angeles
 * 2018: Trigger: Gender as a Tool and a Weapon, New Museum, New York

Awards & Fellowships
In 2007, Hayes received a Louis Comfort Tiffany Foundation Fellowship. Hayes was the 2013 visual arts recipient of the Alpert Awards in the Arts, given annually to five "risk-taking, mid-career" artists by the Herb Alpert foundation and the California Institute of the Arts. The same year, the jury of the 55th Venice Biennale awarded Hayes a special mention for her video 'Ricerche: three', 2013. Inspired by Italian filmmaker and writer Pier Paolo Pasolini 's 1963 documentary Love Meetings, Hayes interviewed 35 students at an all-women's college in western Massachusetts about sexuality, speaking to "a larger way in which we form ourselves as people in relation to collectives". Also in 2013, Hayes was awarded the Anonymous Was a Woman Award--a $25,000 unrestricted grant that recognizes woman-identifying artists over 40 years of age at "significant junctures in their lives or careers, to continue to grow and pursue their work". It is awarded through nomination only. In 2014, Hayes received the John Simon Guggenheim Memorial Foundation Creative Arts Fellowship. Hayes also is a 2016 recipient of a Pew Fellowship.