The GAG

www.gynocraticartgallery.com

NO, THE GAG, A NEW ONLINE

FEMINIST GALLERY

Danielle Hogan, MFA, PhD candidate Canadian Society for Education Through Art

University of Victoria, BC October 21, 2016

*My studio practice (Practice-Led Research)

*Performative Research (who and how I am in the world)

*The GAG (Gynocratic Art Gallery) the Activist Research component of my dissertation.

*Hermeneutical Phenomenology: (Action/Reflection/Revision/Action cycle) this process presents itself publicly through the maintenance of a blog which is attached to my artist website.

“There is no cultural or historical limit to

what is or is not performance.”

-Richard Schechner (2006)

Ceci n’est pas une gallery

*with apologies to Magritte..

The Delicate Problem

Craft has a problem with genderism; it has not always been so, but since the time

of the Industrial Revolution craft has been feminized. Western society is a patriarchal

society and given that, such feminization effectively delegitimizes many artists, and

in addition, the materials and methods they employ. No simple knot to untie, this

problem contains multilayered narratives that are lock stitched together. The thread-

count of this narrative is best investigated from within the folds of cultural theory,

gender studies, linguistics, and visual arts pedagogies.

For my research I have designed a pattern which best demonstrates the

incorporation of hermeneutical phenomenology, performative, and craft/activist

methodologies that best resembles my lived experience of this problem.

Mum and I on the occasion of my seventh birthday.

I’ve always LOVED wearing decorated clothing. At the time that love was primarily focused on my jeans…

A ‘material alphabet’ for sculpture

woodfabricwax

welding steel

yarn

plaster

found

objectsnaturebronzestone

paper leathercedar/grass

strapping

thread

marble

human

body

resin

tin/metal

jade

(*I acknowledge that this is an incomplete ‘alphabet’, it is to exemplify.)

A B C D E F G H

I J K l M N O P Q

R S T U V W X Y Z

*Here is a bit of a visual metaphor to help explain how materials can be gendered…

What remains of the ‘material alphabet’ if we remove it’s soft materials

woodfabricwax

welding steel

yarn

plaster

found

objectnaturebronzestone

paper leather cedar/grass

strapping

thread

marble

human

body

resin

tin/metal

jade

wool fibers

A B C D E F G H

I J K l M N O P Q

R S T U V W X Y Z

jade

Methods of sculpture

Braiding

A B C D E F G H

I J K l M N O P Q

R S T U V W X Y Z

carvingsewingwelding crochet

knitting

casting

arranging

foldingleather

embroidery

weaving

tattingtin/metal

finding

(*Additionally, I acknowledge that this is an incomplete ‘alphabet’, its is to exemplify.)

felting

jade

Braiding

A B C D E F G H

I J K l M N O P Q

R S T U V W X Y Z

carvingsewingwelding crochet

knitting

casting

arranging

foldingleather

embroidery

weaving

tattingtin/metal

finding

Sculpture, minus the feminized methods

felting

“I work in tapestry primarily for its materiality and its capacity to shift within traditions, to shuttle between theoretical positions, to hover around borders, to challenge hierarchies and to connect with many different resonating imperatives. The medium, belonging everywhere and nowhere, is everything and nothing. It is what you think, and it conjures what you don’t know and can’t remember – it has no certainty.“

(Newdigate, A., “Kinda art, sorta tapestry: tapestry as shorthand access to the definitions, languages, institutions, attitudes, hierarchies, ideologies, constructions, classifications, histories, prejudices and other bad habits of the West”, 1995, pp.174)

Linguistics 101 #1 Ann Newdigate

“In a post industrial, postmodern society, an art world (or “artworld”) determines what “Art” is and what is not “Art.” It exists, if at all, only as a socially and historically conditioned label. [..] Extra-Ordinary: In my view, the biological core of art, the stain that is deeply dyed in the behavioral marrow of humans everywhere, is something I have elsewhere called making special.”

(Dissanayake, H. The Core of Art: Making

Special, from Homo Aestheticus: Where Art Comes From and Why, 1992, p.16)

Festa Major de Gracia, Barcelona Spain August 15th 2016

…REVOLUTION IS WHAT YOU MAKE IT.

Betsy Greer (Greer’s 2004 Masters dissertation from Goldsmiths College, UK)

TEXT

The GAG is about leveraging many of the opportunities that I am offered in academia, to make a difference immediately in the lives of practicing artists.

Karin Sandberg, Sweden

Dr. Christina Szurlej, St. Thomas University.

TEXT

TH THE GYNOCRATIC ART GALLERY BARCELONA, SPAIN SUMMER 2016

Please check out at www.gynocraticartgallery.com

Follow the GAG on : @TheGAGgallery

Like us on : @gynocraticartgallery

I would like to gratefully acknowledge support from the following:

-UNB’s department of Interdisciplinary Studies.

-The Dr. William S. Lewis Doctoral Fellowship.

-Professor Jennifer Pazienza