Catching up to the Past Catching up to the Present: A Response to WACK! Art and the Feminist Revolution 1967-1980 – Amy Kazymerchyk


On Saturday January 10th 2009, one day before the WACK! Art and the Feminist Revolution 1965-1980[1] exhibition closed at the Vancouver Art Gallery (VAG), I made one last ceremonial visit. It was my fourth walk around the show and I wasn’t expecting to see anything new or feel anything profound. I simply went to say goodbye to Lorraine O’Grady’sMlle. Bourgeoisie Noire (1980) manikin; to commit to memory all the artists in Mary Beth Edelson’s Some Living American Women Artists (1972), and to jot down the names of all the women whose anger was immortalized in Louise Fischmann’s Angry Paintings (1973).

And then I found myself watching Dara Birnbaum’s Technology, Transformation: Wonder Woman (1978-79), and thinking about Toronto video artist Aleesa Cohene’s practice, which employs a similar process of re-structuring the semiotics of found film in pieces such asSomething Better (2008). Watching Disband’s Get Rebel (1979) performance video of their anarchic embrace of amateur feminist punk rock performance art led me to consider its influence on the music and performance art of Riot Grrrl bands Le Tigre (1998-2007) and Tracy and the Plastics (1999-2006). And then I found myself struck by a revelation: The essential motivations, values, processes, symbols, materials, and goals of the feminist revolution and its impact on art have been passed along on wave after wave, through teaching, writing, video, sculpture, music, painting, and performance, and are still being investigated and contested today.

Feminism is not dead. The revolution is not over.

At first this idea struck me as naïve; but after reflecting back on almost forty years of internal power struggles, rifts over race, class and sexuality politics, as well as backlash after backlash in the feminist movement, I concluded that it is as hard to encourage young women artists to consider the impact that feminism has on their politics and art (and to identify as feminists), as it is to get first and second wave feminist artists to acknowledge that contemporary young women have inspired their own revolutionary feminist art movements.

I could not have identified this prior to the four months of symposiums, lectures, artist talks, video screenings and parties surrounding WACK! organized by the Vancouver Art Gallery, and satellite venues such as VIVO Media Arts Centre, UBC Gender Performances Research and Reflection Group, and the Western Front[2]. An immense effort was made by Vancouver’s visual art, media art, and critical and cultural studies communities to contextualize WACK! within international, Canadian and Vancouver based feminist art practices, from 1967 to present day. The satellite events articulated the impact artists and work exhibited in WACK! has had on formal and conceptual currents by connecting contemporary practices to the artistic and political trajectories that laid their groundwork.

VIVO Media Arts Centre’s Persistent Resistance: Early Feminist Video in Vancouver[3], featured the work of Vancouver media arts collectives Reel Feelings, Women in Focus, and Amelia Productions, as well as the work of 1970’s and 1980’s video artists Marion Barling, Peg Campbell, Kate Craig, Crista Dahl, Deborah Fong, Saralee James, Nomi Kaplan, Paula Levine, Shawn Preus, Ruby Truly, and Cornelia Wyngaarden. The Western Front’s F-Word[4] exhibition presented video based practices that explore liveness and video, and the performance of gender in feminist media-art by Rebecca Belmore, Patty Chang, Allyson Clay in collaboration with Lisa Robertson and Nathalie Stephens, Kate Craig, Shawna Dempsey and Lorri Millan, Klara Lidén, Deirdre Logue, Jillian McDonald, Lisa Steele and Salla Tykkä. For her “Inside the Exhibition talk on Public Feelings” at the VAG, Ann Cvetkovitch facilitated a tour of WACK! that privileged visitor’s emotional responses to the work (through journaling) over academic anecdotes. Her keynote address at UBC’s Creating Resistance: Arts Practice/Political Praxis Symposium presented the Michigan Women’s Music Festival as a cross-generational site for ongoing explorations in performance and gender—both on stage and off.

My own desire to see the feminist movements of my own generation (I was born the year that WACK! concludes) included in a dialogue on feminist art and revolution inspired me to curate two satellite events: Dear Joanie, I Made a Movie: A survey of the Joanie4Jackie Chainletter Tapes from 1995-2007 at the Pacific Cinémathèque, and Riot Grrrl Music Video Dance Party at VIVO Media Arts Centre.

Both these events, and the supplementary projects that flourished in the fervor of collective organizing are imbued with politics and aesthetics that are present in many of the works and practices presented in WACK! With the intent of inspiring a dialogue about what the feminist revolution stands for—what legacy the first and second wave gifted my generation—what we as the third wave have forged as our own revolution—and what we might inspire in the fourth, I have drawn parallels between these two events and specific WACK! works.

Dear Joanie, I Made a Movie: a survey of the Joanie4Jackie chain-letter tapes from 1995-2007 was presented by DIM, the monthly evening of contemporary short form moving images and cinematic collaborations that I program through the Pacific Cinémathèque. Curated by Miranda July and Shauna McGarry, this program was a survey of the Joanie4Jackie project (formerly Big Miss Moviola), an independent distribution system and feminist art project, conceived by July, that invited women filmmakers and video artists to submit their independent works, which were compiled onto a “chain-letter” tape of ten pieces in the order of their arrival. Each artist on a chain-letter tape received a copy of that tape and a corresponding booklet of letters written by the featured artists. In 12 years Joanie4Jackie compiled 19 chain-letter tapes and three curated co-star tapes. The survey featured videos by Tammy Rae Carland, Dulcie Clarkson, C. Ryder Cooley and Zoey Kroll, Sarah Hanssen, Miranda July, Sativa Peterson, Vanessa Renwick, and Naomi Uman.

As a project whose mission was to mutually support women artist’s practices and careers by collecting and disseminating their work through non-commercial, anti-patriarchal networks, Joanie4Jackie was an essential part of the feminist art movement of the 1990’s. Miranda July exposed work being made by young girls, teenagers, art students and mothers, and celebrated films and videos that ranged from edgy anarchic animations about tampon bombs, to coming of age masturbation and alien mutation dramas, re-mixed Super 8 porn, and poetic ruminations on the culture of rape and violence against women in small town USA. Joanie4Jackie rallied girls and women to pick up cameras, document their lives and picture their dreams, and share each other’s work with their families and communities. It created a culture of underground feminist filmmaking out of a disparate network of artists who may of never otherwise found each other (or called themselves artists). Joanie4Jackie also established an archive of films and videos that may have never have been screened or recognized as a significant contribution to independent underground cinema.

As a social practice that requires outreach to, response from, and participation of many members of a society—in this case women media artists—Joanie4Jackie reflects an art practice that is shared by a number of WACK! artist’s. Sheila Levant de Brettville developed projects that brought women together to discuss social issues around gender and femininity. Her series of three videos titled Menstruation (1972) featured adolescent boys and girls, young adults and post-menopausal women talking about cultural attitudes towards menstruation. Pink (1973) invited her friends and colleagues at the Women’s Building in Los Angeles to express their relationship to the colour pink on embroidered quilt squares. These squares were transformed into a lithographed patchwork poster of collected voices. Much like July’s intent to create a forum for women’s stories and voices to be seen and heard on film, de Brettville justifies Pink as, “employing graphic strategies that will enable us to listen to people who have not been heard from before.”[6] Monica Mayer’s El Tendero (1978) is an example of her commitment to championing the work of Mexican women artists and instigating public dialogue about women’s issues. For an exhibition of young artists reflecting on the theme of the city at Mexico City’s Museo de Arte Moderno, Mayer displayed a clothesline hung with small sheets of pink paper, on which 800 women of diverse ages, classes and professions had previously completed the statement ‘As a woman, what I detest most about Mexico City is’. Women who visited the gallery felt compelled to add their own statements. El Tendero became a site for community dialogue about issues such as harassment, fear of physical and sexual violence, and safety on the streets.[7] The Where We At Black Women Artists (1971-1997) collective addressed and critiqued racial discrimination in the arts community, and the visibility of black women artists among black men artists. Their work together began with an exhibition at the Acts of Art Gallery in New York in 1971. This exhibition was the first group show of professional black women artists in known history.[8] Following this exhibition, the collective—which grew to thirty members—and included artists Faith Ringgold, Dindga McCannon, and Kay Brown, offered workshops, seminars and panel discussions, created youth apprenticeships, and worked with women in prison.

In celebration of Joanie4Jackie and my own contribution of teenage videotapes to two different video chain-letters, I solicited work for a chain-letter DVD of feminist media art from Vancouver BC. The DVD, titled Two Sisters, features work by Dana Claxton, Leigh Fisher, Leah Finkel, Lisa G, Emma Waltraud Howes, Donna Lee, Terra Jean Long, Miriam Needoba, Helen Reed, Maya Suess, Julie Saragosa, Lyndsay Sung, Donna Szoke, and myself. The namesake of this collection was inspired by the twin peaks that grace Vancouver’s Coastal Mountain skyline above Capilano Canyon. Known to colonizers as the Lions, these peaks are known to the Coast Salish as the Two Sisters or the Chief’s Daughters. The peaks hold the spirit of the two daughters of a Capilano Chief who inspired peace between warring coastal tribes by requesting the invitation of a rival Upper Coastal tribe to their coming of age potlatch. The sister’s gesture is an act of feminist direct action, and its intention is held in the terrain that we, in Vancouver, are creatively, spiritually and physically nourished by.

It is too overwhelming to discuss the relationship between all the videos featured in the Two Sisters chain-letter and the Joanie4Jackie survey, to those exhibited in WACK!. I do however want to explore the parallels between one video in each project to illustrate the feminist continuum in feminist video art. Vancouver filmmaker, educator, and activist Julie Saragosa’s film Cindy Doll (2008), is a gritty black and white hand-processed Super 8 film that explores the impact of patriarchal power, sexual abuse, and the male gaze on women’s sexuality. The film features Julie naked in the bath with her Cindy Doll. Her gaze, body, and narration are directed towards the viewer. As she opens her body to be fucked by the Cindy Doll, the story of receiving the doll as a gift from her grandfather and abuser, in a gesture to assuage his guilt (and her pain), is hesitantly revealed in the first person. Its explicitness is convoluted by details of the car they sat in and her confused affection for the man. Her relationship to the doll and its gifter are further complicated by her sexual desire for the doll. The roots of this form of first person confessional are evidenced in Hawardena Pindell’s, Free, White and 21 (1980). In her video, Pindell plays both herself, and her adversary—a naïve racist white woman, in a power play that is echoed in Saragosa’s film. As herself, Pindell recounts racist experiences she has had throughout her life. In true confessional form she is seated facing the camera, speaking to and looking directly at the viewer. Her stories are montaged with the critical response of a white woman (Pindell in white face) casting doubt on the authenticity of Pindell’s testimony. The tension between these two perspectives is bound by images of Pindell suffocating her voice and image with white toilet paper. Miranda July’s video Atlanta (1996) possesses a similar confessional frame and power play structure as Free, White and 21. Atlanta also features July playing both a 12 year-old swimming athlete preparing for the 1996 Atlanta Georgia Olympics, and her mother—who is also her biggest fan. Each character is framed as if being interviewed by the press about the young swimmer’s Olympic dreams. As the interviews progress, both the swimmer’s buoyant love of the sport and her mother, and her mother’s selfless support for her daughter’s talent fractures to reveal an insecure daughter longing for unconditional love, and a mother whose sense of personal failure motivates her selfish desire for her daughter’s success.

This Summer’s Gonna Be a Girl Riot: Riot Grrrl Music Video Dance Party at VIVO Media Arts Centre was a collaborative event organized by the VAG! WACK! collective which included Mel Mundell, Aili Meutzner, Kika Thorne and myself. The title is taken from a letter written by Jean Smith of Mecca Normal to Allison Wolfe of Bratmobile in the summer of 1991 following the Mount Pleasant race riots in Washington D.C., and the christian coalition’s right to life attack on legal abortion (which lead to Rock for Choice). It was from this line that the movement ‘Riot Grrrl’ was coined. Our party was organized to celebrate the impact of Riot Grrrl as a feminist movement, and the influence it has on the contemporary DIY craft, music, film, art, and critical theory communities that we are a part of. In honour of the Riot Girls who reiterated the importance of women championing women’s DIY music and art production and distribution, we programmed an evening of live musical performance, homemade mixed tapes, and feminist record label music videos. Kristjanne Vosper from the Bash Brothers, Oh I See, and the Her Jazz Noise Collective performed three chord, three minute homages to Riot Grrrl standards. DJ Tapes, DJ Ruggedly Handsome, and DJ Doll Parts spun vinyl and mixed cassette tapes of Crass, Huggy Bear, The Raincoats, Metalux, T.I.P.S., Nü Sensae, Bikini Kill, Hole, Le Tigre, Bratmobile, and Sleater-Kinney. And the DJ’s were cut with music video selections from K Records, Matador, Kill Rock Stars, and Rock Camp for Girls (with selections of Anne of Green Gables thrown in for good measure). Large-scale posters of the Riot Grrrl Manifesto were silkscreened in the back corner of the studio beside the craft table where people could make their own ‘Angry Me’ postcards. Next to the entrance a merch table glittered with Rock Camp for Girls pins and pamphlets, local crafts and textiles, and VAG! WACK! t-shirts.

One phenomenon that I was most conscious of in my fourth visit to WACK! was the prevalence of manifesto’s within the feminist revolution’s vernacular. The manifesto is our rallying cry, our familial bond, and our reassuring embrace. It is uncanny that after four decades, a similar politic and utopic vision can be found in each generations call to arms.

Our chief task at present is to develop female class-consciousness through sharing experience and publicly exposing the sexist foundation of all our institutions…
– Redstockings Manifesto, 1969

[We strive] to create women’s culture within a dominant environment, to speak of the future…not as a passive act, but a denial of the patriarchy and a re-creation of our own image, energy, self, situation, time, space, and our own interpretation of those events…We are taking our energy and giving it back to ourselves.
– Mary Beth Edelson, Happy Birthday America, 1976

BECAUSE doing/reading/seeing/hearing cool things that validate and challenge us can help us gain strength and sense of community that we need in order to figure out how bullshit like racism, able-bodieism, ageism, speciesism, classism, thinism, sexism, anti-semitism and heterosexism figures in our own lives.
– Riot Grrrl Manifesto, 1991

We are a feel tank, but this does not mean that we do not think. We are governed by outrage that the desires and demands for a less bad life and a better good life continue to go unrecognized. We desire and demand to think beyond what’s deemed possible.
– Feel Tank Manifesto, 2006

Inspired by the desire to commemorate the correlation between the WACK! exhibition with my queer feminist friends tendency to refer to the VAG phonetically and anatomically as the “vadge”, the VAG! WACK! collective silkscreened a limited addition run of t-shirts that feature one of Tee Corinne’s cunts from her Cunt Coloring Book (1975) on the front, and the text, VAG! WACK! in the same font as the VAG logo on the back.

I shall save referencing the goldmine of vaginal imagery in WACK! for discussion on The After Party installation. What is unique about the VAG! WACK! t-shirts and their relationship to the history of feminist art is the means and site of production. First, with no money, previous experience, or ownership of tools, we were forced to reach out to our community of DIY crafters. I had a conversation on the street corner with Aja Bond, a previous member of the Seamrippers Craft Collective, about how to expose screens and set inks. She offered to lend us her squeegee and heat press if she could find them in her basement. Kika Thorne had recently taken a workshop at Blim Studios and volunteered to coordinate building the frames and exposing the screens. Georgie Russell of Hand & Shadow offered her studio for printing. Numerous friends donated their free boxes of t-shirts, bought cheap shirts at thrift stores, and brought their own clothes. We used ironing boards, hair dryers, garbage bags, and dishcloths to fill in the gaps of our makeshift studio. A rotating crew of printers spent evenings drinking tea and wine in my kitchen, and (with as few drips and finger prints as possible) lovingly printing over 50 vaginas.

The domestic space, as a site of engagement with the self, the family and partnership, patriarchal captivation, and feminine labour and ritual, is a central theme in feminist art. WACK! artists document, celebrate, critique and dismantle their relationship to their personal domestic spheres, as well as the socio-political realities of women and domesticity. Domestic life is subject, material, concept, and studio.

Mary Kelly sources domesticity and motherhood as the subject and material for her Post Partum Document (1973-1979). Post Partum chronicles key developments in her son’s growth from birth to five years, including feeding, weaning, and learning to speak and write. Constructed in six sections of 135 pieces, these documents include feeding charts, transcriptions of conversations, Kelly’s own psychological response to her child’s development, and its reflection on herself as his mother. In its form, Kelly layers and collages smearings of her son’s feces, his drawings and early handwriting scribbles, and resin casts of his pre-formed letters and handprints. Jacqueline Fahey’s painting Sisters Communing (1974) captures two women trying to seize a spare moment to catch up, gossip and share a cup of tea amongst the clutter of a living room that doubles as a laundry hamper and child’s playroom. This artwork documents the reality that for many women, including Fahey, their home is their workspace, studio, sanctuary and social scene. In her 1975 video Semiotics of the Kitchen, Martha Rosler takes a critical stab at the social construction of women as innate nurturers, mothers, and homemakers. In a narrative that resembles a cooking show, shopping network campaign, and Sesame Street vignette, Rosler hijacks a kitchen and re-inscribes the definition and usage of kitchen utensils from A-Z with anger, dissatisfaction and revolt.

The politics of home-based practices were transformed by the Riot Grrrl movement. What was once a site of captivity, negotiation and sacrifice in motherhood and partnership, became a ground zero for radical freedom and self-expression in D.I.Y (Do It Yourself) culture. Women who were invested in created a mutually supportive feminist art culture reclaimed the domestic sphere and established record labels in their basements, produced fanzines and posters in their bedrooms, cleared sheds for band rehearsal space, and held concerts and film screenings in their living rooms. Homes became autonomous zones for women who wanted to create art and music outside of a market economy that privileged the exhibition and promotion of conservative, educated, straight, white men.

While organizing This Summer’s Gonna be a Girl Riot, I was approached by queer feminist artists Paige Gratland, Onya Hogan-Finlay and Hannah Jickling about hosting their collective response to WACK!. Working under the collective name The After Party, they defined themselves as, “a mobile and flexible collection of artist multiples, group activities and collective performances responding to the loaded visuality surrounding feminist consciousness and the body in contemporary art practices.”[9] They proposed to host an “All (gender) Inclusive Weekend Package” titled Un-Packing the Pants of Vaginal Imagery in Feminist Art. Their goal was to inspire young feminist artists and activists to consider the impact the works in WACK! have on them, and contribute to the feminist dialogue by reworking the form, aesthetic, concept or material of a WACK! piece to reflect their own experience and practice. In The After Party’s words,

The ‘All (gender)Inclusive Weekend Package’ will have the feel of something between a debauch feminist clubhouse, santa’s workshop, and a DIY, dumpstered cardboard utopia. Together we will create two installations with artist multiples and hand crafted cardboard objects at VIVO for one-night only (December 12, 2008)! This work will respond both to WACK! and to Judy Chicago’s The Dinner Party (1974-1979) which featured place settings honoring women icons and aimed to “end the ongoing cycle of omission in which women were written out of the historical record.” Objects will be suspended like mobiles from VIVO’s ceiling or will join an assemblage of limited edition multiples on a table in a staged ‘after-party’ scene. Cut-up some cardboard, cut out the patriarchy and let’s make this happen together!”[10]

The collaboration between the VAG! WACK! and the After Party collectives resulted in a series of four events that included: Group Art Walk: Wade in WACK!’s Vadge at VAG, Feminist Rough Craft Cardboard Sculpting 101, HPV Brunch: Hand-Mirror Pubic Visualization, Mudflap-Jacks, Eggs’ n Bacon Strips, and WACK! WRECK! Beach Burning-Woman Bondfire.

These events paid homage to the history of feminist art and artists, and celebrated the culture of collaboration and collectivity that arose out of the feminist revolution in the 1960’s and 1970’s. It may have even been while I was elbow deep in poster paint, channeling Louise Fishman for my own series of psychological distress paintings, that I first considered the thesis for this essay.

The art works that were created during Craft Cardboard Sculpting 101 included responses to Susan Hiller’s 10 Months (1977-79), Lynda Benglis’ Odalisque (Hey, Hey Frankenthaler)(1969), Rebecca Horn’s Feathers Dance on the Shoulders from Berlin (1974-75), Louise Fishman’s Angry Paintings (1973), and Magdalena Abakanowicz’s Abakan Red (1969)[11]. These pieces were hung above a cardboard replica of The Dinner Party’s triangular table.

The After Party, as a collective, installation and social engagement project, paid its respects to The Dinner Party as a seminal piece in the feminist art canon. It also paid homage to the feminist practice of paying homage. Through the setting of 39 uniquely crafted plates, Judy Chicago invited specters of Virginia Woolf, Susan B. Anthony, Saint Bridget, and Sappho to be honored at the ultimate feminist dinner party. In Some Living American Women Artists(1972) Mary Beth Edelson rewrote invitations to The Last Supper to Louise Nevelson, Georgia O’Keefe, Faith Ringgold and Kay Brown. In the process of creating her Angry Paintings, Louise Fishman validated the pent up rage and frustration of Marilyn Monroe, Djuna Barnes, and Yvonne Rainer. Sylvia Sleigh transgressed the tradition of documenting all male art societies and guilds in oils, by painting a vibrant portrait of the all woman Artist in Residence (A.I.R) collective in A.I.R Groups Portrait (1977).

The After Party collective also celebrated the rich tradition of core-central imagery in feminist art. Core-central imagery was Judy Chicago and Miriam Shapiro’s brainchild that posited that women artists used vaginal iconography as metaphor for the essence of womanhood.[12] The After Party installation immortalized core-central imagery in an assemblage of vagina artist multiples that ranged from queef cushions to lesbian feminist colour-coded hankies, maxi-pad coffee cup holders to silicone fists, and pizza pussies[13]. The presence of the vagina in feminist art is vast. Two pieces in WACK! worth noting are Hannah Wilke’s Ponder-r-rosa Series 4 (White Plains, Yellow Rocks) (1975) and Shigeko Kubota’s Vagina Painting (1965). Wilke’s abstraction of the labia in latex reads like paper doilies, flowering labia, and mass produced textile patterns. Its title politically charges its delicate aesthetic by referencing the corporate client that funded the first part of the series (the Ponderosa Steak House), Marcel Duchamp’s alter-ego Rose Sélavy, and the ‘pondering’ of flowers that the sculptures inspire.[14] Kubota’s feminist action painting was performed by attaching a paintbrush to the crotch of her underwear. The Vagina Painting is a process of vaginal visualization inspired by self-examinations and masturbation, and a revolt against patriarchal control of the female body by artists such as Yves Klein’s in Anthropometry(1960).

When I visited WACK! for the last time, I wasn’t just struck by the parallels between the work being made across three generations of feminist artists. On a deeper level I was moved by the sensation that we are not living separate movements divided by generations and their unique political climates, but are part of one undulating and evolving revolution. If this is the case, we have some work to do to catch the present up to the past and the past up to the present. A cross-generational dialogue about feminism and its impact on girls and women’s lives and their art over the past forty years is long overdue. In hopes that this dialogue can happen face to face, and in earnest, I offer this essay.


[1] Curated by Cornelia Butler and originally presented at the Museum of Contemporary Art, Los Angeles CA, March 4-16 2007. Exhibited at the Vancouver Art Gallery in Vancouver BC, October 4 2008- January 11 2009.

[2] A full list of WACK! satellite event presenters includes: Artspeak, Burnaby Art Gallery, Centre A, Cineworks Independent Filmmakers Society, Contemporary Art Gallery, Gallery Gachet, Or Gallery, Pacific Cinémathèque, Presentation House Gallery, Rape Relief, Richmond Art Gallery, UBC Gender Performances Research and Reflection Group, VIVO Media Arts Centre, and The Western Front.

[3] Presented by Video Out Distribution, VIVO Media Arts Centre, SVES and UBC. Curated by Jennifer Fisher, Elizabeth Mackenzie, and Marina Roy. November 7 + 8 2008.

[4] The F Word. October 18- November 22, 2008. Western Front. Curated by Alissa Firth-Eagland and Candice Hopkins.

[5] Creating Resistance: Arts Practice/ Political Praxis: A One-Day Symposium. Friday, October 24, 2008. First Nations Longhouse, UBC. Coordinated by the UBC Gender Performance Research and Reflection Group in conjunction with the Vancouver Art Gallery (VAG). Funded by The AMS Innovative Project Fund and Access and Diversity.

[6] Lisa Gabrielle Mark, ed., WACK! Art and The Feminist Revolution (Los Angeles: The Museum of Contemporary Art, 2007), 221.

[7] Lisa Gabrielle Mark, ed., WACK! Art and The Feminist Revolution (Los Angeles: The Museum of Contemporary Art, 2007), 264.

[8] Lisa Gabrielle Mark, ed., WACK! Art and The Feminist Revolution (Los Angeles: The Museum of Contemporary Art, 2007), 314.

[9] After Party Press Release. Paige Gratland, Onya Hogan-Finlay and Hannah Jickling. 2008.

[10] After Party Press Release. Paige Gratland, Onya Hogan-Finlay and Hannah Jickling. 2008.

[11] After Susan Hiller’s 10 Months (1977-79) by Brady Marks, After Lynda Benglis’ Odalisque (Hey, Hey Frankenthaler) (1969) by Paige Gratland, After Rebecca Horn’s Feathers Dance on the Shoulders from Berlin (1974-75) by Constance Hockaday, After Louise Fishman’s Angry Paintings (1973) by Amy Lynn Kazymerchyk, and After Magdalena Abakanowicz’s Abakan Red (1969) by Helen Reed.

[12] Lisa Gabrielle Mark, ed., WACK! Art and The Feminist Revolution (Los Angeles: The Museum of Contemporary Art, 2007), 223.

[13] Vagina multiples were created by Tara Azzopardi, Aja Rose Bond, Janice Demkew, Paige Gratland, Onya Hogan-Finlay, JD, Hannah Jickling, Cailin Livingstone, Allyson Mitchell, Will Munroe, Jeanine Oleson, Zeesy Powers, Rachel Shannon, Jen Smith, Catherine Stinson, The Third Leg, Lex Vaughn, Karen Wielonda.

[14] Lisa Gabrielle Mark, ed., WACK! Art and The Feminist Revolution (Los Angeles: The Museum of Contemporary Art, 2007), 317.

Amy Lynn Kazymerchyk is a filmmaker, writer, and independent curator. She loves film culture, throwing parties, and building community and dialogue around art and its sister disciplines. She currently programs DIM, a monthly evening of contemporary short form moving images and cinematic collaborations at the Pacific Cinémathèque, and is a co-programmer of the Signal + Noise Media Art Festival at VIVO Media Arts Centre. Amy Lynn is interested in blending documentary, narrative and experimental cinematic forms. She is about to embark on her first large-scale experimental narrative film, which will explore Vancouver’s gothic history, the impact of landscape and weather on identity and belonging, and alienation in Vancouver’s pre-olympic Down Town East Side, where she lives.