Session 2: Intersectional Feminism
“Free, White and 21” by Howardena Pindell.
November 30th, 2020, Monday, 8am EST
Join through Zoom: Meeting ID 880 8691 3297
How are feminist practice and politics are imbricated with other legacies of struggle?
Focusing on work BIPOC feminist artists and thinkers, this second seminar will explore how two key terms often used by feminist artists—"identity politics” and “intersectionality”—were first theorized by Black women to frame their specific concerns and activist strategies. Together, we will delve deeper into these histories, examining troubling histories of erasure within the US feminist movement as well as how these concepts continue to structure and inform contemporary feminist practice.
Suggested Reading:
Combahee River Collective, “Combahee River Collective Statement” (April 1977):
https://combaheerivercollective.weebly.com/the-combahee-river-collective-statement.html
Kimberle Crenshaw, “Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color,” Stanford Law Review, 43: 6 (July 1991): 1241-1299.
Aliza Shvarts is an artist and theorist who takes a queer and feminist approach to reproductive labor and language. Her current work focuses on testimony and the circulation of speech in the digital age. Shvarts received her BA from Yale University and her PhD in Performance Studies from New York University. Her artwork been shown at venues including the Tate Modern in London; Centre for Contemporary Art FUTURA in Prague; the Athens Biennale; Universidad de los Andes in Bogota; SculptureCenter, Art in General, and Participant Inc in New York; LACE in Los Angeles; the Slought Foundation in Philadelphia; and Artspace in New Haven, CT. Her writing has been published in Whitechapel Documents in Contemporary Art: Practice, The Feminist and Queer Information Studies Reader, TDR/The Drama Review, Women & Performance, and The Brooklyn Rail.