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Title: Pieces of Me

Material: photograph, water color on panel

Size: 8 inches

I took the self portraits at Geoje Island in Korea. The rocks reminded me of Pfeiffer Beach, California. I loved the view and was inspired by the nature.

I used photos as a medium to create my nature drawings. I tore them as naturally as I could to try to use them like flower petals.

Recently, I created many circles as a way to find relief. Circles give me comfort, satisfaction, and zen.

I am participating in NCWCA's The 6000 Circle Project. It will be presented with woman artists to honor feminine energy. The exhibition will be at the Arc Project Gallery from February 24 through April 6, 2024.

More Info: https://www.instagram.com/the6000circle_project/

@THE6000CIRCLEPROJECT @NCWCA #THE6000CIRCLEPROJECT

During our day at the Djerassi Artist Residency, Rhinoceros co-initiator Michelle was part of the “Actionable Art and Artists” panel, in which several artists - including friend of the project Judy Shintani! - talked about working with communities.

Above, Michelle discusses the essential nature of building partnerships and coalitions with others in order to complete long-term, large-scale projects such as ours. Whereas many forms of social practice focus on a specific community, the Rhinoceros Project is really a platform for participation and connecting disparate groups of people through literal and metaphorical threads. As we’ve stated before, we have goals of physical products for this project - the embroidery and the editions of handmade paper - however, the process of making, the community building, and the dialogue around our sewing circles are of equal importance.

The afternoon had several workshops, including a drop-in sewing circle on the rhinoceros watermark in one of the artist studios. After a day of hiking and heat, communal sewing and conversation were a pleasant way to unwind.

Special thanks go to Elizabeth Addison, in the red dress above, who served as an organizer for the day and responsible for inviting our project.

Above, Jordan Joel Pennock adds a few stitches while discussing what histories, particularly queer and LGBTQ histories, are often left out of museums.

Above, Maryly Snow adds a few stitches.

Since both initiators of this project are educators, our new year always feels like it begins in September. As we each started another school year, we were invited to be part of Djerassi Day, an event sponsored by the Northern California Women’s Caucus for Art, at the Djerassi Artist-in-Residence program in Woodside, CA. Below, the Djerassi common area all set up for a panel discussion (more on that in the next post), with a view of the magnificent landscape beyond.

The Djerassi Library.

Artists-in-Residence at Djerassi have the opportunity to make ephemeral forms of land art on the property. Our time there included a tour of some of the property and land art.

This piece below, Dialogue, has started to collapse, however, at this point, it reminds us of something. . . .

Below, one of the visual artist’s studios, currently empty. There are also studios for writers, dancers, and composers.

While there, the smoke from the fires that started California’s most destructive fire season (mentioned in our previous post) was hovering on the horizon, obscuring the view of the sea.

F*CK U! IN THE MOST LOVING WAY NCWCA National Juried Exhibition

DEADLINE FOR ONLINE SUBMISSION FRIDAY OCTOBER 7, 2016, 11:59 PM YOUR TIMEZONE

The goal of this exhibition F*ck U! In the Most Loving Way is to revisit the critiques of women’s relational roles presented in the 1972 landmark feminist Womanhouse exhibition by showing works that address women’s ongoing challenges to build their lives and thrive within ongoing structural and intersectional systems of oppression.

In 1971, under the direction of Judy Chicago and Miriam Schapiro, 25 students in the Feminist Art Program at California Institute of the Arts began work on an old deserted Hollywood mansion. The exhibition was open to the public from January 30 to February 28, 1972, and is widely known as one of the first major public exhibitions of feminist art. Numerous room installations were created to highlight women’s experiences, gender stereotypes, social expectations for women, and the exploitation of women’s roles such as unpaid domestic affective laborers, ie, “homemakers.”

In the years since this project was realized, much has changed. The majority of women now have lives that expand far beyond traditional domestic walls either by choice or by necessity. Despite their social advances, women find themselves at odds with ongoing expectations of ableist heteronormative patriarchy that refuses to recognize transwomen and genderqueer individuals as women; queer women their rights to marry and have children; and women with disabilities to live on their own with dignity. Married and single women are challenged by having to take on the burden of domestic responsibilities as well as childrearing and familial caretaking --all the while by having become the sole or primary breadwinners in their families. Meanwhile women who embrace leadership roles outside the realms of domesticity continue to encounter disrespect, pity, or both.

At a time when crude and rude discourse in the public sphere seems to be increasingly the norm, this exhibition explores how women are choosing to express their discontent with prescribed and outdated binary gender roles.  F*ck U! In the Most Loving Way explores the range of responses women are faced with making when confronted with conflict within relationships. Can we reply in ways that lead to resolution and more love? Or is it important that women strive to win debates from which they were previously excluded? Since women have been silenced for so long, this exhibition aims to provide a platform for women to air their grievances in manners of their choosing while reminding the viewer that identity is fluid, relational, intersectional, performative and participatory. This exhibition aims to foster dialogue about where women position themselves centrally yet in relation to others. We are seeking works that confront traditional gender roles, express what a “woman” is today, and depict what a  woman’s life is currently really like.

Opening shortly after the 2016 election in the US, this timely exhibition welcomes all points of view about female individuals seeking and possessing power, which includes political power, but also self-empowerment as women endeavor to overcome and put a stop to emotional abuse, physical abuse, domestic abuse, sexual abuse and violence, sexist insults, unrealistic demands, sexual harassment, discriminatory refusals, online trolling, psychological manipulations, and micro-aggressions of all kinds.

F*ck U! In the Most Loving Way celebrates utopian and revolutionary visions about women’s voices, focusing on women’s self-expression, self-respect, and self-care. Works that foster  dialogue, whether shocking, confrontational, polite, healing, or well-reasoned, are welcome as we wish to investigate healthy and productive ways to overcome what is often dismissed as women’s hysterical overreactions, bitchy rants, unjustifiable anger or passive aggressive resentment.

CATEGORIES ACCEPTED

Sculpture, painting, drawing, photo, printmaking, ceramics, assemblage, collage, mixed media, fiber art, artist book, video, performance art. Video and performance will be shown on the evening of Friday, January 13 only. Video will not run continuously throughout the exhibition due to constraints of the gallery.

This exhibition cannot accept jewelry and installations.

VENUE

Arc Gallery, 1246 Folsom St, San Francisco 94103

JUROR

Prof. Shannon Rose Riley, Associate Professor of Humanities & Department Chair of Humanities, San Jose State University. She has a PhD in Performance Studies and Critical Theory from the University of California, Davis (2006); an MFA in Studio Art (Performance, Video, Installation) from Tufts University and the School of the Museum of Fine Arts, Boston (1998); a BFA in Sculpture and Art History from Maine College of Art (1995). Professor Riley’s visual and performance works have been exhibited/staged internationally at numerous venues, including the ICA (Portland ME), Mobius (Boston); Randolph Street Gallery and Artemisia Gallery (Chicago); the Cushwa-Leighton Library (Notre Dame IN); Performance Studies International (PSi) in Mainz Germany (2001) and Stanford (2013); the Festival Nacional de Pequeño Formato (Santa Clara Cuba, 2006); and Month of Performance Art-Berlin (2013).

EXHIBITION DATES

December 17, 2016 – January 21, 2017

OPENING RECEPTION

December 17, 2016, 7-9PM

VIDEO AND PERFORMANCE EVENT

Juror-selected video works and performance will be exhibited on Friday January 13, from 6-9 pm. Video will not be run continuously throughout the exhibition due to constraints of the gallery.

ARTIST CLOSING RECEPTION

Saturday, January 21, 2017, 1-3PM

CATALOG

Artwork selected will be included in the exhibition catalog. Catalogs will be available for purchase online.

DEADLINE FOR SUBMISSION

Friday, October 7, 11:59 PM in your time zone.

ELIGIBILITY

Self-identified female artists residing in the United States.  

Collaborations of all kinds are encouraged. One representative of the collaboration should make the application and include names of all involved under Description of Work.

ARTWORK MAXIMUM SIZE

2-Dimensional Work: Height 9 feet, Width 4 feet - including frame

3-Dimensional Work: Must fit pedestal sized 16 inches x 16 inches or take up no more than 4 feet of gallery floor space.

ARTWORK PRESENTATION

Artworks must arrive 'ready to hang' or display, and be presented professionally. All unconventional methods of hanging or display must first be cleared by NCWCA and Arc Gallery. Use of screws or construction onto the gallery walls are not permitted.

ARTIST STATEMENT

Provide a statement about how your work addresses the show’s title and subject matter. We do not require a general artist’s statement for this call.

NON-REFUNDABLE ENTRY FEE

NCWCA Members: $20 per entry.

Others: $40 per entry.

An entry consists of one to three submissions of images, performances or videos. Credit card payment through Paypal only. You do not need a Paypal account to pay through Paypal.

To join NCWCA, click here

​ NOTIFICATION TO ARTISTS

Artists will be notified by October 26, 2016.  All artists who have submitted artwork will be notified by email. You will receive notification even if no artwork has been selected. If you do not receive notice by October 26, please check your email spam folder and contact us if you do not have notification.  

SALES OF ART

60% of the sale will go to the artists, 20% of sale will go to NCWCA, 20% of sale will go to Arc Gallery. Items sold must remain on exhibit for the duration of the show. NCWCA will mail a check to the artist for any sold artwork within six weeks after the close of the show.

QUESTIONS?

Email [email protected] with subject header F…U! In the Most Loving Way Exhibition.

F*CK U! IN THE MOST LOVING WAY ENTRY FORM

June  27, 2016: We Have an Exhibition Logo!