329:, Marcia Tucker stated, "I decided to open up the territory usually assigned to 'Bad Girls' to include men whose work also resists power and authority, and subverts social and cultural stereotypes in a feminist way. In my opinion, laughter is the first and finest form of self-criticism, and, when used by artists as a feminist tool, it can very effectively challenge even the biases which feminism itself sometimes constructs."
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While its initial reception was mixed at best, Bad Girls has become an influential piece of 3rd wave feminism. It is often seen now, in conjunction with many other early 1990s feminist exhibitions, as a stepping stone on the way to more contemporary feminist shows and ideas. It was sited in "Feminist
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Exhibition. It had the added benefit of turning observers into participants and therefore creating a sense of community especially among a diverse audience. The show challenged an often prevailing view that feminist shows must be comprised strictly by women, another way in which it turned the common
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The artists represented in the show are seen as heirs to a lineage of "Bad Girl
Mothers". Irreverent and transgressive artists having paved a path for their "daughters" allowing them to "produce critiques of the patriarchal construction of gender, but also to produce works that circumvent paternal
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by Portia Munson, 1994. Interactive exhibits by the
Guerilla Girls, Sybil Sage, Nancy Dwyer and Amy Hill. The sheer size of the exhibition may have led critics to see it as a feminist survey, however, the conspicuous absence of many renowned feminist names would speak otherwise. "The show includes
348:, states, "Disappointment awaits anyone who approaches 'Bad Girls' for a reasonably accurate view of the new, angrily ironic feminist art – made by women, not children or men." She goes on to chastise many of the artists' specific pieces as derivative, and compares them to stale one-liners.
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was a humorous and transgressive look at gender and feminist issues. It featured work from artist across many media, including photo, painting, sculpture, performance, film, comics, advertisements, writings and more. The show was accompanied by film screenings, performances, and events. The
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brought together works spanning many diverse styles and media. The common thread being humor. Within that category works tended to be avant-garde eschewing more traditional forms of even traditional media like painting and sculpture. Many works combined found objects. See
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Both curators were influenced heavily by humorous takes on feminism. Marcia Tucker writes, "The work that particularly fascinated me and pushed me to rethink a lot of old issues had two characteristics in common. It was funny, really funny, and it went 'too far'."
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Carnival is also frequently cited in the show's catalogue as a major influence. The ability of a carnavalesque sensibility to subvert norms and to turn the world on end can be a powerful weapon in feminist critiques and artworks and was used as such in the
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The show is also cited by Mignon Nixon in the article "Bad Enough Mother", where is seen as a "Profoundly liberating display of mother taught subversion", and by Susan
Richmond in her article, "Sizing up the Dildo".
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Despite the abundant negative reviews many critics praised the work for taking on a subject which had not yet been tackled by any of the larger museums, and in a unique and novel way.
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was not conceived of as a retrospective or comprehensive survey. The so-called "gaps" or "empty spaces" seem to be tactical, leaving opportunities for debate and conversation.
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exhibition had mixed reviews at the time and has continued to vex many critics, however, it is now seen as a crucial piece in a lineage of third-wave feminist exhibitions.
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at the UCLA Wight
Gallery in Los Angeles. Tanner contributed significantly to the project and wrote one of several essays in the show's catalogue by the same name.
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33:, January 14, 1994. It was presented in two parts, part 1 lasting from January 14 to 27, 1994, and part 2 from March 5 to April 10, 1994.
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Curating and the 'Return' of
Feminist Art", in a conversation between curators Connie Butler, Amelia Jones, and Maura Reilly
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The show received plenty of criticism for omitting many prominent feminists. It is important to note however that
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narrative on its head. It contained works by several men speaking about feminist ideas. In an interview in
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The show was conceptualised by curators Marcia Tucker and Marcia Tanner. Tanner also curated a sister show
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Another major criticism of the show was its title. A number of publications saw the use of the word
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Richmond, Susan (Jan 2005). "Sizing up the Dildo: 1974 Artforum
Advertisement as a Feminist Icon".
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Mobile fidelities : conversations on feminism, history and visuality
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received scathing reviews from many critics. Roberta Smith, writing for
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492:"Review/Art; A Raucous Caucus Of Feminists Being Bad"
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724:Art exhibitions in the United States
605:Satin, Leslie, "Girls Girls Girls",
623:(2nd ed.). London: Routledge.
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653:"Daughter of Bad Girls"
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284:and Jennifer Camper's
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468:"Bad Girls (Part I)"
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718:Categories
691:73°59′34″W
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559:0953654117
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453:2018-04-11
429:2018-04-11
402:References
282:God's Gift
201:Sybil Sage
152:Robin Kahn
27:New Museum
639:435731525
517:Bad girls
388:Bad Girls
376:Bad Girls
369:Influence
353:Bad Girls
342:Bad Girls
337:Reception
322:Bad Girls
272:Bad Girls
250:Pae White
235:Dani Tull
161:Pat Lasch
110:Renee Cox
37:Bad Girls
18:Bad Girls
672:Paradoxa
591:October"
568:75713053
535:30897735
327:Paradoxa
156:Nina Kuo
149:Amy Hill
51:Ann Agee
659:. 2014.
304:Concept
44:Artists
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127:Freida
380:Wack!
360:girls
267:Style
29:, in
635:OCLC
625:ISBN
564:OCLC
554:ISBN
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521:ISBN
382:And
187:Reno
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.