DDP Talks To
"The Devil Ties My Tongue" by Amy Seiwert performed for the SKETCH Series, 2013. Photo by David DeSilva. Courtesy of Amy Seiwert's Imagery
Hyperallergic: The Story of Women Artists in Revolution, a Movement Against Patriarchy
By Kate Silzer
13 February 2021
In a powerful 2019 essay in Artforum, Hannah Black, Ciarán Finlayson, and Tobi Haslett made the case that artists who were slated for exhibition in the 2019 Whitney Biennial had a moral obligation to withdraw their work in protest of the then vice chair of the Whitney Museum of American Art, Warren B. Kanders. Kanders had made himself very rich in part through his company, Safariland, which manufactures, among other weapons and police equipment, teargas used by governments to quash civil protests around the world. The authors cite as historical precedent the New York Art Strike Against Racism, War, and Repression, which kicked off in 1970 after Robert Morris closed his own Whitney exhibition in response to “the killing of students at Kent State, the suppression of the Black movement, and Nixon’s bombing of Cambodia.”
In May 1970, groups of activist artists and members of establishment art organizations gathered together in advance of this strike. Among those represented was Women Artists for Revolution or W.A.R., a feminist outgrowth of the Art Workers’ Coalition (A.W.C.), an organization fighting for racial and economic equality within the New York art scene. Cindy Nemser, an art critic and member of W.A.R., reported on the event for The Village Voice, writing that “neither Morris’s brand of moral indignation nor his proposals were strong enough for all those present.” W.A.R., along with the Art Students Coalition, the A.W.C., and Artists and Writers in Protest, voiced “dissatisfaction with what they considered rather mild palliatives.” This article is one of many primary sources compiled in A Documentary HerStory of Women Artists in Revolution, first published in 1971 and reprinted in 2021 by Primary Information.
W.A.R. existed for a brief yet prolific period, from 1969 to 1971. The group ignited a robust movement against gender discrimination within, and widespread exclusion from, New York City’s patriarchal art industry, particularly by galleries and museums who saw art made by women as inherently illegitimate and therefore ineligible for serious consideration. W.A.R. set out to change this.
Read the full article online here.
New York Times: Female Artists Made Little Progress in Museums Since 2008, Survey Finds
By Julia Jacobs
19 September 2019
Over the past decade, there has been a sense in the art world that gender equity was on the horizon: Emerging female artists were landing high-profile solo shows, museums were staging women-themed exhibitions, grants were being awarded to boost female artists, and long-neglected artists were being given overdue recognition.
This assumption of progress is being sharply challenged by new data showing that between 2008 and 2018, only 11 percent of art acquired by the country’s top museums for their permanent collections was by women. And contrary to any hope that acquisitions of artworks by women are inching upward, the percentage remained relatively stagnant, according to the data, released on Thursday.
The new analysis was by Artnet, an art market information company, and “In Other Words,” a weekly podcast and newsletter produced by Art Agency, Partners, an art advisory firm that was acquired by Sotheby’s.
“The perception of change was more than the reality,” said Julia Halperin, the executive editor of Artnet News and one of two lead authors on the report. “The shows for women were getting more attention, but the numbers actually weren’t changing.”
Read the entire article here.
Pointe: María Riccetto Talks About Her New Role as Artistic Director of Uruguay’s Ballet Nacional de Sodre
By Marina Harss
16 February 2021
On January 1, 2021, Uruguayan ballerina María Riccetto officially became the new director of her national ballet company, Ballet Nacional de Sodre. Seldom has the selection of a new leader felt so apt. Riccetto’s career has been a model of hard work, perseverance and attention to craft, rewarded by recognition and responsibility.
Many ballet lovers in New York City remember Riccetto with great fondness. The former American Ballet Theatre soloist, born and raised in Uruguay, had a very particular quality: the ability to transmit a combination of affability and joy, in roles like the young girl in Le Spectre de la Rose, or Twyla Tharp’s Known by Heart, or even as a flower girl in Don Quixote. When she danced, you felt you knew her.
In 2012 she returned to Montevideo, her native city, at the invitation of Julio Bocca, who had just taken the reins at BNS. It was one of the most significant decisions of her career. She became the troupe’s leading ballerina, performing every important role in the repertory. In 2017, she was awarded a Benois de la Danse for her performance of Tatiana in John Cranko’s Onegin.
Along the way, she became a household name in Uruguay, as universally recognized as the country’s soccer champions. Since last year, she has been a fixture on the Uruguayan version of the TV show America’s Got Talent. There is even a line of perfumes named after her. “Floral, with a hint of jasmine,” she told me.
So it makes perfect sense that, after retiring from the stage at the end of 2019 at age 39, she would be tapped for the company’s top job. When I caught up with her in early February, via Zoom, she spoke from her new office, with a photograph taken during one of her performances of Giselle behind her. What follows is an edited version of our conversation, translated from Spanish.
Read the entire article here.
