The Women’s Room: Female Perspectives on Men, Women, Family and Nation
Curated by Marcy B. Freedman and Livia Straus
HVCCA is proud to present video artworks by women who use the medium to explore the intricacies and dilemmas of gender, human relationships, and nation-centric politics. Each of the selected artists has endowed her video with a very personal point of view and simultaneously, created a video that is meaningful to a larger audience.
Kate Hampel’s video Casual Encounters – A Month of Sundays features the artist in a long, dark wig, reading selections from a Craigslist website for “women seeking men.” The video suggests the ways in which men are objectified and reduced to a set of physical traits and broad personality types by certain women.
Amy Jenkins addresses the shifting terrain of gender identity in a pair of interconnected videos. Audrey Superhero documents the desire of her six-year old daughter to be a boy. Becoming, memorializes her son’s first haircut at the age of three. His long, blond tresses are cut off in this ancient ritual of change, relinquishing his gender neutrality.
Adela Jusic’s When I die, You Can Do What You Want reveals the challenging personal and political history of an elderly woman, as well as the touching bond between a grandmother and her granddaughter.
Alex McQuilkin suggests a powerful connection between herself and the 15th century French heroine in her video Joan of Arc. In Magic Moments (Preliminary Materials for a Theory of the Young-Girl) McQuilkin addresses the sexualization of young women in contemporary media.
Sara Shaoul’s Erin Mahoney (Activist, Friend) explores a seemingly simple interchange that belies a sophisticated exploration of female bonding and contemporary politics in the United States.
Rona Yefman and Tanja Schlander’s, Pippi Longstocking, The Strongest Girl in the World, at Abu Dis, is a collaboration that places a classic children’s heroine in the midst of the troubling contemporary politics of the Israeli Palestinian conflict, while addressing the power of women to make changes in the world.
Maria Marshall’s President Bill Clinton Memphis, Memphis, November 13, 1993, shows the artist’s children in the frenzied act of constructing and deconstructing their environment, all to the rhythm of a child reading a text of President Clinton addressing the importance of human productivity.
Read a review by Susan Hodara in the NY Times November 9, 2014. Click here.