![]() The biennial doesn’t bill itself as feminist, partially to be exempt from ideology and to embrace all forms of gender expression. “It was a connecting tissue because everyone was invited,” Finley remembers. More than 1,000 people showed up for the one-day event – which also had a dancefloor. ![]() Within a month, the biennial’s first iteration opened at a 3,000 square-foot Brooklyn space. She seized the moment for a community of artists she knew was not being represented – especially “middle-aged women who were never given their moments”. Her friend’s prompt reaction named the dream show: “Whitney Houston Biennial!” (Finley renamed the show in 2019 after a request from the singer’s estate.) “If I had this opportunity, I’d create an all-women extravaganza,” Finley said. Less than a third of the artists in the star-making biennial at New York’s Whitney Museum of American Art that year were female. The Every Woman Biennial started in 2014. ![]() ![]() “This is a ‘pan’ affair: all mediums, nations, ages, and gender expressions are welcome.” They co-selected the works, “to break down barriers of access”, entirely from a free-of-charge open call, and almost everyone got in. “We are not stuffy about medium – this is a broad church,” says the curator Eddy Grattan-Bellew, who approached Finley with the idea of a London outpost after they met at the LA leg. All-woman extravaganza … Divines by Anne Lauroz.
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