Interview with the creator of the Women's Art project.

Women's Art project logo - Reworking of Ana Mendieta's work

The creator of the Women's Art project, internationally well-known and massively followed on social media, likes to stay anonymous - the project was never about her but about a lack of global and historic female representation. She comes from a background of  'DIY' (do it yourself) ethics and activism....which means tackling problem that often authorities ignore. This can mean working individually or in small communities to combat social problems or injustices. In terms of art, she felt that the mainstream gallery systems are too male centric and also too white and too Western in their promotions. Her idea was to start an online gallery to combat this elitism and Twitter is a suitable platform. Social media also is very accessible to a range of people unlike museums which can alienate some. Now, the interview! (here's the link to the interview in Spanish).

1. The Women’s Art project works as an online gallery that aims to combat the Western, androcentric elitism in art History. How did you first come to the realization that it was a necessity to create such an art project, and how has the public reacted to Women’s Art online platform? What’ve you learnt through the years of uploading the Women’s Art project social media, regarding both art History and the contemporary art scene?

In my academic life I discovered very early on that the art history I was being educated on was being defined as Western, white and male. Despite attempts to look at aspects of this bias, art by anyone else, including half the global population - women, was being treated as a minority subject. In my own time I began researching the subject. The idea to share it via social media seemed like a way to create a framework and resource for the research and to share it. I soon found that there was an audience who were interested, perhaps involving many who weren’t necessarily into tradition galleries, but just curious-which is great. What I’ve learnt is that people seem very ready for some fresh perspectives and also that women’s creative talents are boundless, innovative and often courageous.

2. When it comes to women artists, being women is not always the only source of invisibility and silencing. Multiply marginalized women artists are often used to seeing their rage and general emotionality met with an invalidating mix of misogyny and racism, ableism or transphobia. How do you think projects such as Women’s Art can help uplift the voices and artistic creations of those who can even feel alienated from mainstream feminism and the feminist art scene? Which are the specific issues multiply marginalized women artists might be facing regarding their artistic creation and subjectivities?

I start from the premise that all women are marginalised because of the fact of being women, and all have an equally valid story regarding their art and their womanhood. Within that, of course multi-layered marginalisation exists. The idea has been to represent a broad spectrum of art and ideas which in turn may indicate cultural or historic or personal meaning on the artist’s own terms. But interestingly, this has also uncovered many threads that bind women together, whether experientially or biologically, in globally shared themes and subject matter. I think social media can act as an amazingly accessible platform for many people who feel alienated from all areas of mainstream culture - if used positively. Being given space to have a voice is one of the main issues all marginalised people face.

3. You come from a background of ‘Do It Yourself’ ethics and activism. How do you think person-to-person actions and political organization in small, marginalized communities that are often portrayed as powerless or uneducated by mainstream media can fight systemic violence such as the patriarchy or white supremacy? How does this kind of political organization relate to the art scene, to you?

I think small scale activism is extremely important, so much comes out of humble beginnings. I don’t think you can change the world over night, but you can improve your own little bit of it. In terms of art it can translate into a million actions and ideas. I’ve personally been involved in creating arts events highlighting women’s art and music, multicultural arts groups, zines, banner making, refugees’ groups, girl’s music workshops, skill sharing etc…the possibilities are endless. The point is to do something if you can, rather than not. When we look at US feminist and African American artists from the 1970’s for example, people who were excluded from mainstream arts scene created their own studios, exhibitions and publicity. Well-known artists such as Faith Ringgold, Judy Chicago and Louise Bourgeois all came from that background.

4. In the last few years, we have witnessed the highlighting of past women artists such as Frida Kahlo both by feminist movements and the women’s art scene and even by mainstream media (i.e. companies, worldwide fashion brands, etc). I hesitate to call this “empowering” in the sense that there is often an alienation of the public regarding the polarized portrayals of such women artists, whose political ideas and artistic journey are to me even emptied of their deep contradictions and radicalness. How do you feel towards such a growing trend of uplifting History’s overlooked women artists, and do you think there is a way for feminists today to pay respect to their more honest memory meanwhile spreading knowledge about their artwork?

I see the capitalist fetishization of certain women artists certainly, like Frida Kahlo. There’s also a contemporary trend towards revisionism, to mould historical figures dishonestly to suit modern ideas and ideologies. Both are robbing people of their true legacy. While it is extremely important to highlight those who have had their histories supressed, I think we have to act with great respect to the known facts and context.

5. When it comes to the contemporary women art scene, in which ways do you think the art world and business have gotten better for us and in which ways does it still have to radically improve and evolve?

Capitalism can commodify anything and ‘women artists’ as a fashionable product is no different. I would like to say that all is fine for women now, but many of the specific oppressive conditions women have faced in the artworld and beyond, still exist.  I do see attempts to address certain issues such as gallery representation for example, but still so far to go. I think things need to improve in the whole of society, as art isn’t separate from the rest of culture, obviously. Women, however, are continuing to create amazing artworks, never the less.

6. Do you feel like there have been any major changes in what’s more often represented and the ways in which it is represented when it comes to contemporary women’s art in comparison to more traditional women’s artwork? Is there a kind of trans-historical alliance linking such diverse artist through their different backgrounds, cultural upbringings and time lapses?

Yes, in Western terms, the scope of women’s artwork has widened as women’s roles have evolved and expanded. There are still genres to which women are more or less connected. There are still recurring themes relating to women’s lives, in the private realm while the public realm still struggles to offer female artistic recognition. As I said earlier, I do find definite links between the work of women globally and historically which conveys a certain shared experience unique to women.

7. Finally, I would like to ask you about your personal favorites – who are the women artists who have more profoundly shaped your approach to womanhood, feminist resistance, art consumption and creation?

I’m inspired by too many women to mention, not just the famous ones, but often women who just want to be creative in whatever way they can and whatever way is accessible to them. The resourceful ones, the fighters, those who don’t take no for no answer…I have much respect for them all.

I hope that answers your questions.

lutte collective, by and for disabled and chronically ill artists

Hayley Cranberry and her dog Greta (Dana Kim).

This is the English version of the interview with Hayley Cranberry, founder and curator at lutte collective, a space for disabled and chronically ill women and non binary artists (here's the link to the interview in Spanish).

1. As a mad woman myself, I've often felt so lonely & like nobody would understand my struggle. Coming across Lutte Collective's Instagram profile really gave me hope & a sense of community. What made you think of setting up this collective? How have people reacted to Lutte's online presence?

i’ve always been an internet person, finding different communities online with people i could befriend and relate to. the platforms continue to change, but the concept of community generally stays the same. first it was livejournal, myspace, tumblr, and now instagram is popular. i wanted to create a space that i hadn’t seen exist yet: one that was for artists like me, that also have disabilities and chronic illnesses. i felt like i kept seeing a lot of instagram communities popping up here and there, but they were mostly for “cool girls” and it often feels like having a disability isn’t “cool” or romanticized like other things on the internet are. so i wanted to make a community that was open for any woman or non-binary artist with a disability or chronic illness, no matter if they look cool or hip. i wanted it to be as inclusive as possible, as well, and i am still working on making sure that happens as our community grows.

having a sense of community online when you’re going through something that no one in your real life can relate to is incredibly healing. i had never met anyone that was similar to me, a female artist with IBD, until i started lutte. i’ve found that no one really talks about chronically shitting their pants until you talk about it first. so i started talking.

2. The collective's main focus is showcasing art by disabled + chronically ill women + non-binary artists. What role do you think creativity plays in the lives of those of us who are disabled + chronically ill? What have been the main obstacles when creating artwork that focuses on disabilities?

financing illness (kyle howard-rose, 2017).
(fabric scraps, embroidery hoop, red and black thread, blood dyed white thread.)

well, i cannot speak for everyone, because i am not the face of lutte. lutte is fat women, black women, trans women, sick women, queer women, queer femme non-binary people. so i cannot answer the role that creativity plays in their lives. i am a white cis chronically ill woman.

for myself, creativity has always been an outlet for me. i have a lot of journals from when i was very sick and it was all very new at ages 14-16, where i created words and phrases that helped me heal. i have one page in a journal that is fabric and magazine cut outs that just says DISEASE. and this helped me, because i was able to see my pain on the page. for me, art often says what i don’t know about myself yet.

and my art doesn’t necessarily focus on my disability. i only have one ongoing project right now that does. and many featured artists on lutte do not make art solely about their disability/illness. that is not required!

3. Again, Lutte focuses on women + non-binary artists. What made you choose to prioritize the artwork by those victimized by patriarchy? What role do you think disabled + chronically ill men play when it comes to disability artwork & activism?

i mostly just wanted to make this space as safe as possible. men are for sure included in the disability community as well as the disabled artists’ community. we have many male followers. i personally would rather highlight and give a platform to the voices of women and non-binary artists who are often left out of the art community in general.

standing idly in istanbul (romy cole-roth, 2018).
(oil. texta, pastel pencil, pen on aquarelle cotton sheet.)

4. I found out about Lutte Collective via the Internet, but I'd like to know whether you are also focusing on street activism, or if you plan to do so. As someone who is disabled by my mental health issues, it's sometimes hard for me to go out & attend marches or community meet ups, so I understand the essential role online communities play when it comes to disabled + chronically ill folks engaging in political activism - but I still believe it's necessary to get together with neighbours and friends to fight violence & oppression, reinforcing local resistance. What are your thoughts on this? I also believe Internet politics & activism can sometimes be too self-centred or for quick consumption & admiration, but do you think online activism is still worth it?

lutte right now is all online. in the future i’d really like to have events, but it might take some time for our following to grow a bit more.

i understand your hesitance with marches and meet ups. i am personally very fatigued and have attended some protests, but not many recently. i get overwhelmed in crowds and in NYC they are very, very overwhelming. johanna hedva wrote a piece called ‘sick woman theory,’ in mask mag that discusses activism when you can’t even get out of bed. online activism is great for that - if you have the money to donate to a cause, do that. if you have the ability to donate money from a percentage of your art, do that. call politicians and leave messages. write emails. sign petitions. there are a lot of able-bodied people in the world that can protest physically, and they should. in my opinion, one of the more radical things you can do under capitalism is “nothing” (ie, produce no capital)-- so quit your job and take care of your body.

5. I sometimes feel like us disabled + chronically ill folks keep throwing each other under the bus instead of organizing together against ableism - i.e. crazy/mentally ill folks claiming those who are phisically disabled get more attention & care from society. How do you think we can move forward from the "oppression Olympics" to community organization?

support system (carolyn lazard).

hmm, i don’t know if i agree! it seems to me like all disabled people are generally not taken care of by society unless they are wealthy and/or white (at least in the USA). really what needs to happen is that we need single-payer healthcare / medicare for all in the US, so all people can be covered and be able to take care of themselves, whether it is medical, mental illness, addiction, or anything else. until then, we have to focus on the most marginalized people: black women, (black) trans women, (black trans) disabled women.

6. In the age of "empowerment" & "representation", I often feel like we're thanking corporations & mainstream media for minimal efforts (that, in the end, they actually do for money) - instead of fighting for liberation for all, which to me implies fighting economic neoliberalism & realizing big companies don't actually benefit those who they claim to "represent" in their advertising, be it LGTBI people, women, people of color or even those of us who are disabled. What are your thoughts on this? Do you think people disabled politics are less radical now than years ago, or are things getting better?

nothing is radical when a corporation does it. unless the money from capitalism is handed directly to an organization that is using it to take direct action, it is useless in my opinion. great, we have nordstrom in rainbow and we know they support LGBTQ+ people, so now nordstrom can get more business from that community. but what are they doing for that community? nothing that i know of. basically, nothing is radical under capitalism, nothing is radical when it’s for a profit.

i don’t know if things are “getting better” or not - it’s hard for me to say. it seems there’s been a lot of articles about disability representation and mental illness representation, but the average person is still ableist and throws around the “r” word as a slur.

untitled 3 from series 'mom' (erica press, 2016).

7. In the end, I'd like to ask you about the role of caregivers when it comes to disabled + chronically ill liberation. Lots of us disabled folks need essential help from those around us not just to thrive, but also to survive - but then it's often caregivers who mistreat & even murder disabled folks. Why do you think this keeps happenning? Is there a way for disabled folks & our caregivers to bond over the difficulties & the exhaustion & keep fighting for better community care in society?

caregivers are extremely important to people who rely on them. to me, mistreatment of another human all comes back to 3 things: 1) the caregiver’s inability to receive healthcare/treatment for their own mental illness, 2) racism/homophobia/ transmisogynoir/ transmisogyny, etc. , and 3) capitalism, because they don’t feel like their wage is worth the trouble.

Interviewing Resistance: Ambivalently Yours

As some of you already know, I'm currently interviewing artists, activists and mostly, both. This week I'm posting an interview with the feminist artist Ambivalently Yours (Tumblr: ambivalentlyyours.tumblr.com / Instagram: instagram.com/ambivalentlyyours). She defines her project as "feminist rants / questionable advice / too much pink".

I've also posted the interview in Spanish so you can all read it in both languages. I'm not a professional translator, but I tried my best!

1. You draw and write a lot about feelings, ambivalence, vulnerability. Through a feminist lens, i often get the feeling that it's men who should become more emotional, while women should toughen up like them. I, however, believe that all of us should allow ourselves to show our true emotions and become the vulnerable human beings that we truly are. What are your thoughts on this? How do you think vulnerability and emotionality can empower women?

For me, Feminism is not trying to tell men to be sensitive and women to be tough, what feminism and gender studies are trying to do is break down the binaries of gender identity. Looking at gender as men vs. women, ignores all the complex genders in-between and thinking of emotions in terms of male/female binaries ignores human complexities by telling half the population to be one way and the other half to be another. Patriarchal society has trained us to think that men should be stoic and women are emotional (or in other words fragile). These ideas were built to give more power to men, but in practice they are harmful to everyone. Since these rules are so present, many people believe them as truths and try to embody them at any cost. This results in men who are unable to express their emotions without feeling emasculated and women who apologise every time they feel something because they think it makes them appear too weak. In truth, humans feel emotions, whether we want to or not, and it takes a lot of strength and emotional maturity to be able to express ourselves openly. I believe that learning to understand and embrace our vulnerability and emotionality empowers all people because it helps us communicate and connect with one another more clearly and honestly.

2. You're not a professional, but you certainly are someone people come to in search of advice and understanding. You've helped and supported (and continue to help and support) so many people all around the world, many of them women. What've you learnt from them? How does this help you grow as a person and empowers you as a feminist the same way you help them grow and empower themselves?

I’m not a professional therapist, nor do I try to be, I’m an artist, and I communicate with people best through creative means. I always see the work I do as a form of collaboration. The interactions I have with people online help me as much (if not more) than they help those I respond to. The process encourages me to think about issues that I have faced and try to translate them into words and drawings that others will be able to relate to. It is a process of learning to expand my ability to feel empathy for others while also learning to understand the limits of empathy. There are some life experiences and emotions that I will never be able to relate to because of my life experience and all of the privileges I have or don’t have. This process has helped me approach my feminist convictions and life choices with a more critical eye.

3. You're an unapologetic feminist. Which should be, in your opinion, the goals and praxis of the feminist movements at the current time in order to stay radical and intersectional?

Intersectional Feminism is a very tricky concept, that often gets oversimplified in the media because feminism is “on trend” right now. While I think that it’s wonderful that more and more people are identifying as feminists, we have to be careful not to allow our ideas to get diluted and homogenised by the mainstream. Capitalist culture benefits from marketing Feminism as this one thing (often a traditionally pretty girl with her hands on her hips looking tough and wearing a quirky slogan tee), but for Feminism to be intersectional, we have to allow multiple versions of feminism to coexist. We have to listen to more narratives than just our own, and resist the impulse to only support those whose ideas are exactly the same as ours. Building feminist communities can be fun and fulfilling but it is never going to be easy. The movement always has to keep growing, evolving and redefining itself in order to avoid becoming exclusionary or meaningless.

4. You're also an artist, undoubtfully. Many people already know your art thanks to the Internet. But, in your artist statement, I got to read about anonymous notes left in public spaces. Can you tell us more about this project?

My work as Ambivalently Yours started out as a project where I left notes in public places to the things and/or places that made me feel ambivalent, then I wrote a blog post about it. It was my way to start thinking about ambivalence and how it affects my everyday life. I also invited other people to do the same and share their experience with me. (You can read it here: http://ambivalently-yours.blogspot.ca/)

5. Finally, I'm sure we'd all love to get to know you a little bit more. Which are the things that shine a light on your life, that give you hope, that make you happy and help you keep going in your hardest days in such a harsh world? Sport, spirituality, art in all its forms (both as a creator and as a consumer), activism, bonding with other people, similar or different to you... Tell us about it all!

I’ve been communicating with a lot of young people online for the last 6 years or so and it gives me hope to see them grow into complex feminist individuals with the ability to think critically while also understanding that there are something that we will always have mixed feelings about. On a more personal level, since last summer I have been trying to be kinder to myself and to care for myself more by exercising more, weeding out negative people from my life, and going to therapy on a regular basis. I’ve started to learn that you can’t do it all on your own, and that there is so much value in finding your people.