New Documentary on Graff and Street Art Grrlz: “Street Heroines”

Because I’m a mother of a beautiful amazing brilliant small child, sometimes I miss the other stuff going on in life. But don’t get it twisted, I’m still down! 😉

Last night was one of those times, but luckily because Pau is painting at SUNY New Paltz this week (and on a panel today with me!), I got to experience the brilliance second hand.

Alexandra Henry screened her new documentary Street Heroines: “A FEATURE DOCUMENTARY ABOUT THE COURAGE AND CREATIVITY OF FEMALE GRAFFITI AND STREET ARTISTS.”

Peep the trailer! Fall in love. Feel the energy around this movement to uplift women putting in the work. Donate Money.

Support Women in Street Art!

From the Archives: An interview with hemispheric graffitera MISS163

[written Summer 2013]

No Somos “Mariposas,” Somos “MariPUSSY”: An Interview with Graffiti Art Activist MISS163 aka Sharon Lee De La Cruz.

Walking through the streets of New York City you are bound to note the graffiti-covered buildings, bridges, and tunnels. You may ask yourself “how,” but have you ever wondered: “why” or “who?” Approximately 28 years of aggressive Broken Window[1] policing has answered the “who and why” with a single, decidedly gendered and racialized, qualifying designation—vandal—effectively denying the art form and the art makers any kind of social legitimacy or political import. No matter, though. Hip Hop graffiti writers have never been that interested in obtaining permission or legitimacy from any kind of governing body. They write on walls for a wide variety of reasons including subcultural infamy, sociopolitical rebellion, and aesthetic expression. Since Hip Hop graffiti appeared on the streets of NYC in the late 1960s/early 1970s, writers have intermittently “flipped” their formerly criminal activity into an income-producing creative practice—exploiting consumer culture’s fetish for niche markets and the gallery system’s taste for the raw energy of the “exotic,” the “other,” the criminal. Some writers have also utilized graffiti art’s quasi-fashionable/quasi-criminal, always public and communicative character for social and political purposes. MISS163 aka Sharon Lee De La Cruz is one such graffitera (female graffiti artist). Currently stretching the boundaries of legal mural artist vs illegal graffiti “bomber,” and capitalist vs radical feminist activist, she exemplifies how contemporary graffiteras are successfully navigating conventional limitations, answering the question of “who” is behind the writing on the wall with a resounding “why.”

MISS163 was born in 1987, raised on 163rd street and Hoe Avenue in the Bronx, and started tagging in 2004. She earned her BFA from The Cooper Union (2008) and was awarded a one-year Fulbright to study experimental filmmaking and mural making in Lima, Peru (2008­-2009). In Lima, she advanced from tagging to more intricate pieces and mural painting as a founding member of Maripussy Crew—an international, all-female, feminist, Latina and Latin American graffiti collective. As a hemispheric radical feminist artist, MISS163 focuses her artistic activist energies on women’s issues and youth development in the Bronx and in Lima. Currently, she is an after-school Program Director for ACTION (Activists Coming to Inform Our Neighborhood) and WOMEN (Where Our Minds Empower Needs) at The Point Community Development Corporation in the Bronx. In February 2012, she was awarded a “Woman Warrior Award” from Project Reach and the NY Daily News quoted MISS163 stating, “You don’t have to leave your community to live in a better one” (Whitehead, 2012). That same year, she became a Calvin Klein Brand Ambassador designed a four-part assortment of “graffiti glam” make-up under the name CK1 Street Edition (News 12 Bronx, 2013). Described by Vanity Fair reporter Lynden Volpe as a collection with a “girly yet edgy vibe,” the lipstick, nail strips, nail polish, and eye shadow feature the literally brilliant color-palette MISS163 uses in her graffiti art (Volpe 2013). With names like Vandalize, Sketched, Painted, Tagged, and Punked, MISS163’s set exposes and explores the aesthetic lines between the grimy and the beautiful. Starting in Fall 2013, she will begin her Master’s research on temporality and permanence in graffiti art in the Interactive Telecommunications Program at NYU.

At 26, MISS163 continues to make quite an impact in both of her chosen communities. She is the epitome of a millennial digital activist. Skillfully managing a dynamic online presence on most, if not all, social media outlets, the public can find her on: Tumblr; YouTube; Facebook; Twitter (@Miss163); Instagram; Myspace; Flickr; Vimeo; and, of course, her own website. Her digital presence amplifies her local community work. We sat down in Pop’s of Brooklyn in Manhattan to discuss her social justice work, her experiences living in Peru, the gender and sexuality politics in graffiti subculture, her role as mentor and leader to the other women in Maripussy, her struggles as a self-identified pansexual AfroLatina, and her solo exhibition at bOb bar & gallery: Wild Thing.

JP: In Hip Hop graffiti subculture, everyone has an alter ego—a kind of stage name referred to as a “tag name,” under which they practice their art form. Tag names tend to refer to something personal like a favorite color, nickname, or the place one was raised. How did you choose yours?

MISS163: My name is Sharon De La Cruz, aka MISS163, aka uno seis tres (one, six, three), aka Charo—that’s what my family calls me. I started painting “Charo” at 18 years old, but that was small tags here and there until I realized “if my momma sees this on a wall, it ain’t gonna be too cute,” haha. I was raised on 163rd street and Hoe Avenue, so I changed it to 163. I wanted to be old school so I crowned myself “Miss 163”.

JP: So after painting sola (alone) for a couple of years, while you were getting your BFA, you spent some time in Peru on a Fulbright and that’s where you founded Maripussy?

MISS163: At Cooper, I took a course on Urban Experience in Latin America and it was based on the history of Mexico and Peru, and focused on the psychology of urban planning. I knew I wanted to travel to Latin America after school and my homeboy told me to check out this thing called a Fulbright. I applied thinking that I wasn’t gonna get it. Turns out, I was wrong.

JP: Can you briefly explain your project?

MISS163: I was doing experimental filmmaking with high school kids. Originally, I wanted to do stop-motion graffiti, but my advisor “advised” me not to do that; haha. I understood why. The Fulbright is the US Government, so they want nothing that has to do with illegality. I kind of masked the project and said “we will do movie projections.” We were basically experimenting with late-night humor, like Jay Leno style. It was really hard to get the students involved. They were natural at it, but they learned that it was bad. I even had teachers that were concerned about what I was teaching. In Peru, people disappeared after using humor against the government. Silly little me wanted to do that, but it was something that was frowned upon. It was very interesting. I learned so much from those kids!

JP: And it was in your first trip to Peru, during your Fulbright year, that you met the other ladies of your now-international graffiti crew right?

MISS163: Yes. While I was in Lima, I met up with tons of local artists and we started painting walls. It was great. That’s where I met Nemiye. She’s the one that does all these crazy Q’s. It’s just so interesting that we grew up in two totally different hemispheres, but the politics of growing up as a Latina are so similar…it’s also disgusting. The first time we painted together was in March 2009 for International Women’s Day. That’s when we knew that we had to keep painting with each other because the chemistry was flawless. We had the same humor, politics, and view on life. Being a crew was a joke at first, and then I told them my story about what my mother called my vagina, which is mariposa (butterfly). And then our friend said, “You should call yourself ‘Las Mariposas’.” The four of us—Mishap, Bronik, Nemiye, and myselfhat mariposa wasn’t strong enough. We wanted a PUNCH. So I asked, “What about MariPUSSY crew?” Maripussy is a super feminist collective, and with our graffiti we tell stories about the effects of patriarchy in relationship to women’s health. We were originally based in Lima, but now we’re also in Paris (Nemiye), Barcelona (Bronik), and New York (yours truly). There are seven of us now: six graffiteras (Mishap, Nemiye, Perez, Monica Miros, Biarck, and myself) and one rapper (Blue). I was so happy to find a group of women to whom I didn’t have to explain everything. I didn’t have to explain sexism or racism. I didn’t have to explain how oppression affects how we love, live, and make art. Before then, my dream of being a part of a sorority, or a women’s crew, seemed like it was far-gone. I always dreamt of having what I call “sister friends”—this unbroken bond between women. But it never happened because I went to art school with no sorority clubs. I didn’t have any friends who wrote [graffiti], nonetheless any women. And if I knew about women writers, they were older; there wasn’t anyone in my age bracket. So I knew graffiteras who were geographically close, but for whatever reason they were either inaccessible or it felt less natural to form a crew. Especially because I didn’t learn how to paint walls in the US, most of my murals were in Peru and that’s where I learned narrative and colors on a large scale. In Peru, I finally found women my age and they had vagina politics.

JP: It’s interesting that you keep pointing to the similarities in the “vagina politics” that you’ve experienced in the US and that they’ve experienced in Peru. What are “vagina politics” anyway?

MISS163: When we came together and shared our stories, they were similar despite happening in two different hemispheres. I lived in both places and I spoke with a lot of women, and it’s the same fundamental concept of being a “woman,” particularly a graffiti artist, in a patriarchal world. We call it “vagina politics” because as a result of having vaginas we’ve gotten to this…place. When I talk about this “place,” I mean we’ve become who we are because we’ve self-reflected about our experiences. We listened to our gut feelings about sexism and feminism. We understand that the stereotypes of women being emotional and crazy came from a sexist place. We’ve listened to ourselves. We’ve paid attention to what was going on around us, and we chose this thing called graffiti painting in order to express ourselves. To explore and flesh out our ideas about vagina politics, while opening the conversation up to complete strangers. We feel it is important to continue to initiate these conversations beyond our crew—and that’s what’s so fun, and ironic, about art! Once you create it, it no longer needs you to continue to carry out your intention.

JP: And the intention of forming Maripussy was to build a support system of like-minded women artists. Doing so reminds you that you’re not alone. It’s much more productive to have a network, right?

MISS163: Especially in the game called painting or writing, it’s all about support. It’s dark and you’re alone and my instincts say: no, don’t go into the dark! Painting sometimes goes against my instincts, but I keep doing it. I call the women in Maripussy my sister-friends, and to me sister-friends are really important. They keep you grounded. Even though Maripussy isn’t always with me physically, they can still say to me: “Sharon, you’re not painting!” And I’m like, “How do you know?!” We share all our stuff on the internet, so if nothing new has been posted someone like Mishap will know that I haven’t been painting. I also know that people depend on me in this weird way—we need to keep our name alive. I have a tattoo on my chest that says Maripussy. I don’t want another little Sharon growing up saying she doesn’t have a mentor or a network. I take feminist community building very seriously, especially with young women.

JP: Your visibility is really important for young women looking for mentors, for established pathways into the subculture. How has your position as brand ambassador for CK1, and your community work with the Point, elevated your visibility and altered how you feel as a woman in a numerically male-dominated subculture?

MISS163: It’s overwhelming because I feel like I have to represent all women, which is ridiculous because every woman is different and those differences are complicated. BUT, it’s also sweet because I get to give a voice to a lot of women and I get to exercise my power in a sustainable, fruitful way. I can model what being a “voice” looks like, how to be comfortable in your own skin, and how to be fulfilled without compromising your politics. The politics are so intense. I don’t paint with certain people because of the politics. Feeling like you have to prove yourself because you are a woman is not fun. I transform the negative energy, in regards to proving yourself, and turn that into “proving” how conscious, creative, and inspiring women can be. Yes, every time I hold a spray can I am “proving” something on an artistic level and as a woman. I have many limitations, but I refuse to let my gender be one of them. You just gotta keep doing it.

JP: Does that sense of having to prove yourself as a woman in a “man’s world” subside when you paint with Maripussy?

MISS163: When I paint with Maripussy it is fun. I feel like I’m on clouds. We’ve come to the point now, where we don’t have to talk about a piece—we just paint it out. We’re always dancing and laughing. We joke throughout the whole thing because we’re chillin with our girls.

JP: After meeting with two all-female crews in Chile, I started thinking about the production of feminist community by graffiteras who do not identify as “feminist.” I never would have written that chapter if I’d focused on New York City, or the States in general for that matter. All-female crews seem to be the social-subcultural norm in Latin America, whereas in the States they are few and far between. Initially, I thought it had something to do with the kind of “gray space” of legality that some Latin American writers work within—with more visibility on the street as you paint, you might be more likely to paint together, etc. Is graffiti art in Lima quasi-legal, like in Santiago and Rio?

MISS163: Yea, it depends. Walls are less idolized because of the money it takes to keep them up. So if a landlord can get a free “paint” job then why not? Graffiti artists take advantage of the situation and find more creative ways to send a visual political message. In Peru, I can’t just paint a “pro-choice” wall because it is a very conservative place, but I can mask it with characters and the use of colors. It challenges you to become a better artist, I think. My boyfriend pointed this out and I thought it was really interesting. He asked: “Why do the girls in Hip Hop in Peru look so masculine?” I didn’t realize until he pointed it out, but I was like: “Well, because that’s Hip Hop.” I feel like there’s less room to play with being girly and hardcore. You just gotta be hardcore. One of my Maripussy friends is in Bogota now with her girlfriend.

JP: Isn’t it interesting that we went from the “masculinity in Hip Hop” to the Maripussy crew member who is a lesbian? The subconscious word association “masculine woman=lesbian” is frequently uttered, regardless of the speaker’s politics. And is a really great example of why graffiteras tend to keep their sexuality to themselves. They might come out to me, but they don’t want to feed into the heterosexist rumor mill that uses their sexuality against their subcultural credibility (i.e. women writers are “dykes” or “whores”).

MISS163: I consider myself pansexual. If you’re attractive, you’re attractive. Our fascination with gender is corrupt. We are more focused on the gender of folks, than the partnership that they are building. Not only are we fighting because we’re women and feminists, but also how and who we love. Those things are

JP: One of the reasons I started writing about gender politics in graffiti was because of the notion that graffiti transcends all systems of identity-based oppression. Since graffiti is an anonymous act (mostly), the idea is that anyone can do graffiti. But the thing is: you can do it, but will you be supported or mentored in any way that enables you to keep doing it?

MISS163: The guys who showed me how to paint a mural were actually three of the high school boys I was teaching in Lima. I was showing them that I could draw and I did graffiti and they were like: “You wanna paint a wall?” I was like, “YEAH”! Imagine. These young men had more privilege to go out and seek these walls and show me this life! year old me was like, “Wow. Okay, this is crazy.” To be in certain parts of Lima to paint a wall, I had to be accompanied by three high school boys.

JP: You said that your graffiti takes a specifically feminist stance to illustrate particular narratives regarding vagina politics; how do you incorporate the politics of race and colorism into those narratives?

MISS163: The last piece I painted on my first visit to Peru was about “Doña Papa.” Doña Papa is basically what Aunt Jemima is in the U.S; but instead of syrup, she sells candy. She’s a slave woman with the hair wrap and all of that. I painted her vomiting all the candies. Mishap said “all these Black guys and girls are going wild over your piece.” They loved it because Doña Papa was finally doing something—she was the actor, not the acted upon. That’s when I learned how to mess with politics in another country. I like to twist pop culture images so they tell a more complex story.

JP: You’re working on a series for your solo show at bOb bar & gallery, right?

MISS163: Yes. I’ve been researching how women of color are used as community-organizing tools and I’m basing the series on Ruby Bridges as “Max” from Where The Wild Things Are. Bridges is the perfect example of why being Black and a woman is political from the start. Imagine: you’re seven years old, and you’re brought in as a political tool. Her parents were approached by the NAACP because she got the highest GPA in her all-Black elementary school and once the government ordered integration she was chosen. The NAACP specifically chose young Black girls. They could not be boys because little Black boys grow up to be educated Black men and that ain’t flyin’. But because she was a young female, the perception of her femininity as fragile, inferior, and most importantly less threatening positioned her as the perfect transitional subject in a larger movement for equality and integration. Her story is mind-blowing. I’m getting goose bumps just talking about it. Using women so strategically…and I think that’s a larger metaphor. Have you read Sister Citizen: Shame, Stereotypes, and Black Women in America by Melissa Harris-Perry? That book is killer. It’s about carrying, not only your race, but your sex, on your back. I think Bridges is a perfect example of this. Putting the two together in this way makes too much sense to me.

JP: Obviously your Wild Things series critiques a particular moment in history, but, do you think that it “makes too much sense to you” because you identify with the difficulties of race and gender politics in a particular way?

MISS163: Oh yea, totally. In New York, I’m Dominican. In Florida, I was half-Black and half-white. Then, when I went to Peru, I was gringa (white girl). Then I was “chinch,” which is Black in Peru. It’s like, “Okay…whatever you see.” When I’m in the States I tell people I’m Afro-Latina, but when I go to Peru that doesn’t mean anything. I told one of my girls that I was Afro-Latina and she laughed at me. I was like, “what are you laughing at?” I’m not Latina to her. My parents are from the Caribbean and they speak Spanish, but that doesn’t make me Latina to her. My brother makes a lot of racist remarks about Black women, and I’m like: “Hey I’m your sister!” But he sees me as Dominican and Puerto Rican.

JP: Your work communicates an ethic of resistance in regards to a variety of social messages while being attentive to aesthetics, to style. I see no separation between your art and your activism, but rather a kind of reproductive feedback loop.

MISS163: Graffiti is consciousness; it is the visualization of “thinkers” and “questioners.” For example, making sure that there is a “Female Flava”[2] wall, a wall dedicated to women in The South Bronx. Making sure that you create spaces to tell a story that has been marginalized and normalized simultaneously. We want to create art that questions social conditions, that celebrates women and generates fruitful discussion. Both my graffiti art and my activism are about organizing and energizing women.

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References

News 12 Bronx. 2013. “Bronx Graffiti Artist Sharon De La Cruz Teams up with Calvin Klein for Street Edition Cosmetics Line,” April 16. (http://bronx.news12.com/news/bronx-graffiti-artist-sharon-de-la-cruz-teams-up-with-calvin-klein-for-street-edition-cosmetics-line-1.5083018), accessed on June 6, 2013.

Volpe, Lynden. 2013. “CK One Goes Street for Spring.” Vanity Fair Blogs, March 11. (http://www.vanityfair.com/online/beauty/2013/03/CK-One-Goes-Street-for-Spring), accessed on June 6, 2013.

Whitehead, Kim. 2012. “Sharon De La Cruz, Artist and Activist from The POINT, Honored for Community Work in the Bronx.” NY Daily News, February 23. (www.nydailynews.com/new-york/bronx/sharon-de-la-cruz-artist-activist-point-honored-community-work-bronx-article-1.1026377), accessed on June 6, 2013.

WYSK. 2013. “Women Talk: 10 Questions With Miss 163, Art Meets Activism -WYSK.” (http://www.womenyoushouldknow.net/women-talk-10-questions-with-miss-163-art-meets-activism/), accessed on June 6, 2013.

[1] Graffiti’s eradication has been a central component of “Broken Windows” policing since Glazer’s 1979 Public Interest article and expanded by Kelling and Wilson’s 1982 eponymous piece in The Atlantic Monthly. In 1985, the NYC Transit Authority hired Kelling to consult on the implementation of Broken Windows theory.

[2] Female Flava is an annual South Bronx event organized by De La Cruz that focuses on women. The 2013 theme is “No Means No, An End to Violence Against Women.” See http://www.facebook.com/events/526315694099978/?fref=ts.

Hanging out in a dirty tunnel…getting in touch with the “Erotic” (a la Lorde)

Some people go to the gym, some people do needlepoint, this is what I do…I hang out in dirty tunnels and I like it. ~Itsa, 2015

When I speak of the erotic, then, I speak of it as an assertion of the life force of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our own language, our history, our dancing, our loving, our work, our lives. ~Audre Lorde, 1978

It’s been at least a year and a half since the last time I went to a painting jam, a street art festival, or just hung out with writers while they worked. But it has been ENTIRELY too long since I have hung out at a painting event where the majority (or the entirety) of the artists/writers were self-identified women. Anyone who knows graf culture knows that events like these are few and far between…but when they happen, it’s well…erotic. No, I am not saying that there was something necessarily sexual about the event. While I was trying to think of what angle to take with this blog post, I was also writing a lecture for my feminist theory class on the work “Uses of the Erotic” by black lesbian feminist Audre Lorde. And basically, for Lorde the “erotic” is not at all about porn, or even limited to “sexytime”; the erotic is a feeling, a force to be reckoned with once it is accessed, or in performance studies lingo: an affect that does something. At the end of class, I asked my students: how do you get in touch with your erotic? For me, it is attending events like Femme Fierce. Graffiti events featuring all or mostly self-identified women are my jam…I experience them intellectually and emotionally as a woman of color scholar in a white supremacist capitalist patriarchal world. The energy and the environment are unmatched. My research allows me to get in touch with my erotic (I am privileged in this way, for sure). “For the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing.”

And that is exactly why this year—rather than just promote Femme Fierce (as I did last year from Abu Dhabi)­—my 3 month old, my partner and I went to London for the second annual Femme Fierce event; the largest all-female street art event in recorded history!

Femme Fierce took place in the Leake Street tunnel in central London, also known as the infamous Banksy Tunnel (because he is the one who flipped the dark, smelly, unused space and made it a home for street artists). As an annual happening, Femme Fierce celebrates International Women’s Day, highlights street and graffiti artists who identify as women, and raises funds for nonprofit organizations (2015 was PlanUK and the theme was “Because I am a Girl”). The Saturday before, the organizer Ayaan Bulale, planned an entire day of workshops not only for artists, but also for the general public including: Marketing for Street Artists; The Art of Stencilling; Cans, Caps and Colours; Rebel with a Smartphone; History of Leake Street; An Adventure with Spray Cans; and Tags, Dubs and Burners. The workshops were a nice way to prep for the events of the next day, and of course a great way to learn about the history of the tunnel and London graffiti scene. Sunday was surreal. I’ve never seen so much live painting at once. (Note to self: when doing research in a space with 150 people using aerosol paint…bring a facemask). Beginning at 8AM, I watched as they first turned that tunnel blue, and then covered the approximately 300 meters of wall space with characters, quotes, stencils, mini-sculptures, installations, and some letters.

The writers were by far the minority in terms of style—by my count out of the approximately 150 artists painting there were 11 writers: Bow, Throne, Cyber, Akit, Mish, Itsa, Evay, Baek, Pixie, Mons, Weardo. I caught up with Steffi Bow (lives in Dubai) and Pixie (living in London)—two graffiti grrlz that I’ve met and worked with before. But I also had the pleasure of meeting new writers including Mons, Throne, Evay, and Itsa (a mainstay in the London scene), and watching as Akit, Cry (more oldschool heads), and Throne painted. Despite calls for more writers to show up this year, as opposed to last year, they were still in the obvious minority and that is no coincidence.

Events like Femme Fierce break one of the conventions of graffiti culture: anonymity. In addition to paying your dues (getting up as frequently in as many different places as possible illegally), and using aerosol paint to write your name’s letters on any surface possible (if you do paint characters they should be accompanied by letters), you should be doing your graffiti in the dead of night and not in front of a public audience. At Femme Fierce, all of the writers I spoke with knew of these conventions and responded to my questions in ways that reinforced their knowledge of “the rules”—all the while breaking them because they were painting a legal wall in a public space in front of a constant stream of people with every kind of recoding device you can imagine. Not to mention they were also breaking what we might think of as an unspoken rule in graffiti—don’t paint with other women exclusively…unless you want the rumor mill to come at you with “she is good for a girl” or “she paints with other women because she isn’t good enough to get down with the boys.” And yet, each one of them had the desire to participate in Femme Fierce not only because it was International Women’s Day and for a good cause, but to represent women as writers painting letters. There was a lot of emphasis on representing graffiti grrlz, and for good reason.

As I’ve written before, but most specifically in a chapter for the Routledge Handbook of Graffiti and Street Art, the way people view and value graffiti art is shaped by gendered conventions relating back to the expected performance of male masculinity; consequently this expectation affects the numbers of women in graf. The writers from Femme Fierce each noted the disproportionate number of faces/characters being painted in relationship to letters going up in the tunnel; they attributed the underrepresentation to girls and women being too intimated to write letters, in general. Women have been told that “men are better at it.” Being outnumbered made their presence all the more important in terms of breaking gendered conventions about who can develop a fly hand style. Just by representing graffiti writers at the event, these women opened a kind of affective/intellectual/ideological space for anyone who witnessed them painting. I had multiple conversations with strangers who had no idea there were this many women street artists. To which, I say: And if you don’t know, now ya know [musical interlude]!

Without fail each writer I spoke with recounted that the usefulness of Femme Fierce as an event had something to do with making women feel more comfortable—that even though anyone can pick up a spray can, the environment (social, subcultural, structural) can be hostile for women. Without fail, they all used words like “liberating,” “free,” and “open” to describe how the event felt that day. Two of the writers noted the space of the tunnel in particular; noting that painting on the edges of the tunnel is safe if you are alone at night—it’s easier to get out from the edge as opposed to the middle where you would have to run from your would be assailant for a longer period of time. [Calculating the quickest escape route is a normal requisite for graffiti writers, but for women the person you might be running from is not only the police officer, but also the sexual predator. Femme Fierce temporarily suspends (and therefore shifts incrementally) an environment and an artistic act that can be not only hostile, but literally dangerous for female bodies.]

If the power of and in FemmeFierce is that it battled graffiti’s often-negative affective environment for women, that is because the energy it produced was not only validated, but was felt fully by participants and passersby. Femme Fierce makes you want more—whether it is more visibility, representation, diversity (two men put up a very feminist stenciled piece while wearing wigs and makeup), or community. Femme Fierce demonstrated that more was possible, that change was possible. “Recognizing the power of the erotic within our lives can give us the energy to pursue genuine change within our world,” for when we are “[i]n touch with the erotic, [we] become less willing to accept powerlessness.” While there may have been critiques about the event—mainly because the tunnel is an open and free-for-all public space—being taken over by these women for a full day, this event did a lot of work towards claiming place for women in the public sphere as producers of art. And it did so, fiercely.

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The Real Revolutionary Potential Of Banksy Identifying As A Woman…Is Not That They’d “Be” A Woman.

On October 31st, HBO premiered the documentary Banksy Does New York. Similar to the kerfuffle over Banksy’s identity after the premiere of Exit Through the Gift Shop, this past week has seen “a revived interest” in knowing—once and for all?—just who they* really are (because “obviously” the identity of a public figure should be knowable, visible, and fixed). This time, however, the focus has largely been on determining Banksy’s gender:

ArtNetNews asked: Could Banksy Be a Woman?

New York Magazine provoked: People Dare to Imagine That Banksy, Like God, Is a Woman

The Gothamist announced: Extra, Extra: Is Banksy A Woman?

Wait. What? Let’s REWIND.

Last year, I posted a mini-rant in response to an article that called Faith47 and Aiko the “female Banksys.” The last time I checked, the general consensus was that Banksy was a gender normative white British dude (no one seems to care who they sleep with), an icon and standard-bearer for street artists. But then, on November 4th, this happened and sparked the various responses listed above. Capps’ article, Why Banksy Is (Probably) a Woman, was retweeted and shared all over my social media life, so (with a sigh) I gave it a gander. Now I tend to have a cranky, less than generous attitude about the street artist everyone loves (to hate?), but this shift has piqued my interest.** And with over 47,000 “shares”…it is safe to assume I am not alone.

Aside from the In search of a female Banksy article I just mentioned, there is at least one more recent article that I can recall (without doing any hard searching) that shares a similar argumentative thrust to displace the “boy” who currently represents the “boys club”-ness of street art and graffiti cultures (“10 Women Street Artists Who Are Better Than Banksy” By Priscilla Frank from this past September).

Where is this desire for Banksy to be a woman (or a team of artists directed by a woman) come from? And more importantly, how is the claim being made and what are the stakes of making it?

And I get it. I mean, as a feminist scholar—who has dedicated years to reading, thinking, and writing about graffiti writers who identify as women in a male-dominated subculture (I call them graff grrlz)—of COURSE it would be neat if Banksy identified as a woman, mainly because it would reveal the insidious and vast sexist and gender biased assumptions stimulating the (art) world’s notions about whose work is “great” enough to be chipped out of the side of a building and sold for millions of dollars.

But that’s just the “surface” potential. The real revolutionary potential of Banksy identifying as a woman would occur if it somehow undid or unmade the conventional Western gender binary grounding the narrative (Banksy is either a man/or a woman) and instead inspired a conversation about the way aesthetics, gender performance, and representation in anonymous street art trouble everything we think we know about subjectivity.

Alas.

Whether or not the claim is “true” or not is of no concern to me; I like the Onion’s take, personally. And if you want to read some quick critiques of the Capps piece, just read the 115+ comments, some of which actually engage productively. I honestly don’t care who Banksy is…what bugs me is the possibility that people are reading the headline and then getting on board with the argument because it seems like the “feminist” or at best politically correct thing to do (oh how times have changed!) without questioning the frame of the argument.

And we can’t have that. I can’t have that. So, without further ado, I’d like to share a few brief thoughts (as brief as I could get them for a blog post):

On aesthetics:

Capps: “Part of what makes Banksy’s work so popular is that it doesn’t operate much like street art at all. […] Fairey and Invader started with the same strategy: to project themselves into public spaces by broadcasting themselves all over it.”

Munro: “It’s also worth noting that Banksy’s work occupies a strange cross section of fine art and street art, and it seems conceivable that such a unique position could be created by a woman, since women experience art, the world, and the art world in a dramatically different way than men do.”

The aesthetic of repetitive self-representation is a kind of sociopolitical practice of resistance rooted in Hip Hop graffiti art. Since contemporary street art is an undeniable direct descendant of Hip Hop graffiti, this aesthetic is most definitely an aspect of street artist’s work—it just looks different because the thing painted is not a name or a familiar character per se, but a way of painting that makes the artist “identifiable” to other street artists so that they can be given their street cred. Sure, we don’t see the word “Banksy” over and over again, but this does not mean that Banksy does not operate much like street art “at all,” what it means is that Banksy is not a graffiti writer…which we knew. What we also know about street art as a genre (similar to graffiti art), is that any writing/painting/pasting/chalking/knitting on public surfaces has been and continues to exploit and suffer from a love/hate relationship with the fine art world depending on what is in fashion at the time. Yes, women experience the art world in a dramatically different fashion than men do, but this line of argumentation about purpose and aesthetic tells us more about street art as a genre that has grown in distinction from graffiti art than it does about Banksy in terms of gender identity.

On gender performance:

Capps: “That ambition to control a public space through this sort of redundant branding, to make the street your own, is a masculine one—and it’s shared by the overwhelming majority of street artists. In the theater of the public square, graffiti is cousin to cat-calling—which Slate’s Dee Locket smartly explains as the constant effort by men to “create the illusion of dominance in shared public spaces,” specifically by claiming women’s private spaces as their own. Naturally, street art is at best delightful and at worst a nuisance, whereas cat-calling is an intolerable social problem and a legitimate threat to women’s safety. So any comparison between the two only goes so far.”

Davis: “Including images of women and not making every work a self-aggrandizing billboard? Yeah, no way Banksy is a dude.”

The characteristics or goals of masculinity are here defined as: having ambition, seeking control of public space, having a desire for ownership, self-aggrandizement, and claiming space. Supposedly, Banksy does not espouse these traits in their work…and so the logic goes: no masculinity, no man (must be woman?). But really, these traits and desires are not regulated to particular bodies (gender is NOT the property of a particular sex, Butler reminds!). Performing control or ambition might make you “masculine” in one context but it certainly does not have anything to do with how you identify sex or gender wise in another context—it’s a performance, it has a temporality, a fluidity, a specificity that should be appreciated. The bottom line here: if you are an artist doing work on the street you HAVE TO perform those characteristics. It’s a prerequisite of the job. It is also one of the enticements bringing people into the subculture: the chance to broadcast yourself in a world where you are ever invisible. [Oh and beyond saying graffiti IS ABSOLUTELY NOT A “COUSIN” TO CATCALLING, I’m not even going to attend to that bit. Capps himself says “any comparison only goes so far”…it actually doesn’t go anywhere to begin with.]

More on gender:

Capps: “The savvy manipulation of media to make viral art, to make art about virality, makes Banksy an innovator breaking out of a familiar form. In contemporary art today, that’s a feminine trait: The best selfie artists are women, for example. So are the artists leading the Post-Internet art world.”

Now this one is interesting because I myself have written about the use of, and liberatory potential in, the internet for contemporary graffiti artists who identify as women in a male-dominated subculture. The big difference is that I do not see the “savvy manipulation” of media as a “feminine” (by which Capps means female) trait…I see it as a generational shift within graffiti and street art culture that responds to the hypercriminalization of art in public spaces, the self-produced media-happy social context, and the existent and perpetual need to “get up.”

On representation:

Capps: “Banksy’s work is different. Girls and women figure into Banksy’s stenciled figures, for starters, something that isn’t true of 99 percent of street art. Banksy’s work has always done more than project “Banksy” ad nauseum. […] Banksy’s graffiti understands and predicates a relationship between the viewer and the street, something that graffiti that merely shouts the artist’s name or icon over and over (and over and over) doesn’t do. […] Maybe it gives Banksy too much credit to say that her work shows a greater capacity for imagining being in someone else’s shoes. (It’s true of her themes of social justice, but it’s also formally true in the way her work anticipates interaction with the viewer.)”

Monroe: ‘Girls and women appear in many of Banksy’s stencils, which is atypical for street art (especially given that Banksy’s women aren’t presented in a sexualized manner).”

Above, on aesthetics, I contextualized the use of repetition but I didn’t write anything about the character of that repetition: it is a form of call and response, rooted in Afro-Caribbean diasporic cultural practice. Other artists, ideally, respond to the “shouting over and over”…over and over “ad nauseum” on purpose. The “difference” cited here is dependent upon not only a blind ignorance to the specifics of street art aesthetics and politics, but also to the sexist notion that “feminine” artists (by which he means women artists, again) are more empathetic and so their art is always for others—and that’s a positive attribute, right? (*side eye*) So, Banksy is not a man because they have the capacity for compassion? Claiming public space in an ambitious fashion (the charge made above by Capps) is not diametrically opposed to doing it for “good” reasons, reasons that have repercussions for a larger social justice purpose. A little education about the history of graffiti art will clear all of that up. I recently tweeted a teaser about a chapter, “Ways of Being Seen: Gender and/in the Writing on the Wall,” that I have forthcoming in the Routledge Handbook of Graffiti and Street Art…that’d be a good place to start reading.

Speaking of a little education, in terms of how women and girls figure into the artwork: I have to wonder how much street art and graffiti the authors have actually seen? The underlying assumption here is that since women and girls figure into the work and are not hypersexualized, a woman must have painted them. Men would never ever care to represent girls and women in a nonsexual way…I know quite a few artists who would be rightfully offended by that statement. Not only is this a gross misrepresentation, but it also ironically pigeonholes women street artists to a kind of subject matter singularity: “women only paint women in appropriate ways and they do so for the betterment of the world, always.” Trust me when I tell you that street artists who identify as women paint everything and anything, just as street artists who identify as men do, including female characters—hypersexual or not!

A final note: IF the goal is to shift the conversation about art in the streets away from male bodies so as to make room for the women and LGBTQ artists commonly left out of the headlines, we need not rely on empty “girl power” rhetoric that ultimately depends on conventional heteropatriarchal ideologies. In other words, even if Banksy is “a woman,” I doubt they’d appreciate being “outed” as such because their oeuvre is somehow essentially “feminine” (sensitive to social and political issues, compassionate, nonsexual) and perceived as wholly “different” from the genre of street art, which is “normally” masculine (too ambitious, self centered, and domineering).

Besides, why waste our time obsessing over who Banksy is or isn’t when we could instead be focusing our attentions on The Women Tagging and Painting the Streets of Bogotá?

*I’m just going to use the gender-neutral pronouns they/them/their to refer to Banksy.

**When your research is on graffiti, more often than not friends/family/colleagues/strangers relate to that research by offering a story/opinion about Banksy. And, considering how many more street artists there are in this world doing AMAZING things, I am just SO over Banksy as icon. See? Cranky.

Go See City as Canvas: Graffiti Art from the Martin Wong Collection

About 3 weeks ago I was back in New York City for a handful of days, thoroughly enjoying the dark skies, slushy snow, and freezing wind. What can I say? I’m a winter baby. I had a short list of critical TO DO’s for my visit: 1. eat any and all Latin American food (things like tostones y arroz con habichuela don’t exist here in Abu Dhabi, neither do proper burritos); 2. eat all the pizza you can get your hands on; 3. eat a burger smothered in dill pickles; 4. stock up on all the things you take for granted (like unscented soap for sensitive skin); 5. walk through the village; 6. visit 5pointz and witness the disgraceful remains of the whitewashing; and finally, go see City as Canvas: Graffiti Art from the Martin Wong Collection. My priorities revolved around food and graffiti…but, considering where I was and what I do, that probably makes a lot of sense.

I didn’t know it, but I have been waiting for something like City as Canvas for almost four years.

I first learned about Wong—the East Village Chinese American artist/advocate/collector who died from AIDS related causes in 1999—in 2009. The Asian/Pacific/American Institute at New York University hosted a panel discussion and organized an exhibition highlighting the cultural context of 80s and 90s NYC within which Wong and his friends lived and worked called Art, Archives, and Activism: Martin Wong’s Downtown Crossings. The exhibition was created with works drawn from the Fales library, memorabilia from friends (like Lee, Charlie Ahearn), Semaphore Gallery, and PPOW Gallery. Sitting on the panel, Lady Pink and Hugo Martinez described him and his commitment to their work and graffiti subculture in the 80s/90s culture wars and amidst yet another push for NYC’s “urban renewal.” I remember thinking how his apartment must have been an extraordinary place, an intimate, precious, and unique vault of moments in NYC graffiti’s early history. I wanted to see it ALL.

The works in City as Canvas are also from the 80s, but the 70s are present as well. Turns out, in 1993/1994 Wong donated the “treasure trove” that was his apartment to the City Museum; he had been collecting since 1982. Viewers can watch clips of Wong talking to friends on the phone about his decision; there is also a short video (by Ahearn) of writers like Lee and Daze talking about Wong, looking at the memorabilia, and explaining the context of the work. Described by Felicia Lee in the New York Times, as the “remnants of the schism between the outlaw art form and mainstream institutions,” on view are: blackbooks—so many blackbooks—encased in glass just asking to be thumbed through (that part is a tad torturous); giant pieces of scrap plywood painted by Futura 2000 and Zephyr; a bust of Jesus altered by LAII’s markings; a too cool wooden grid of tags collected by Wicked Gary; framed Martha Cooper originals, including the infamous Dondi photo; a video of painted trains passing by; and spray-painted jean jackets (this photoblog has a nice bit of images). For certain writers, you can see the original piece that you’ve only seen in books. You can also see really early sketches and works on canvas, where space, color, line, depth, and medium were being tested and innovated. It’s impossible to process everything at once. I gotta go back.

   New York Magazine’s “Approval Matrix” placed City as Canvas right at the intersection of highbrow, lowbrow, brilliant, and despicable (technically in the highbrow and brilliant square)—a fitting spot for a show on graffiti art in a city that has always had a love/hate, consume/reject, celebrate/criminalize bipolar relationship with the movement.

Basically, my message here is simple: IF YOU HAVEN’T SEEN IT YET, GO. You have until August. You can purchase the exhibition book at the museum gift shop along with all kinds of goodies, like this mug that I simply had to have.

IMG_0278

Support the important cultural work this show is doing for graffiti subculture, the writers, the aficionados, and the advocates. If you have not been to a museum since high school, or think all museums are places of “high art” snobbery…take thee to this exhibition. This is your history NYC; part of a movement born on your streets that speaks to those beyond those streets and thrives in cities around the world. Like Wong, we must recognize the worth in a genre of art making labeled criminal or aesthetically displeasing. In a capitalist world drowning in the proper, the conventional, the luxurious, and the mainstream (pop culture), we must support the despicable, the alternative, and the lowbrow popular cultures—the cultures of the people.

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Femme Fierce: Leake Street All Female Take Over

My timing in terms of availability for travel this Spring is–to say the least–utterly tragic. First, I missed hanging out with the street artists in Cairo during Phase 2 of the WOW campaign. And now, to add insult to injury I will be missing a mega-event for female graffiti artists in London on March 8th…International Women’s Day. #ouch Since I can’t be everywhere all the time, I AM DEPENDING ON YOU! GO to this event if you can! Support these fierce femmes! Love on some street art and graffiti! And raise money for breast cancer awareness. You really can’t go wrong here.

Details:

Earth Tone Arts and Street Art Agency proudly present

Femme Fierce  at Cre8 Gallery

An All Female Street Art Extravaganza

Exhibiting at: Cre8 Gallery, 80 Eastway, Hackney Wick, London E9 5JH 7th March to 14th March 2014 Diary of Events:

Exhibition Opening Party – Friday 7th March 2014 –  6pm to 10pm Exhibition open daily 12pm to 7pm till Friday 14th March 2014 Femme Fierce Leake St Takeover – Saturday 8th March – 6pm to 10pm Hoxton to the Wick Street Art Tours – Sunday 9th March – 11am and 2pm Femme Fierce Graffiti Workshop – Sunday 9th March – 12pm – 3pm “Women on Walls” Film Premiere – Sunday 9th March – 4pm – 7pm

Live Group Mural & Closing Party – Friday 14th March – 6pm to 10pm Contact Earth Tone Arts for more information, bookings and interviews.

e. info@earthtonearts.com w. http://www.earthtonearts.com m. 07983442876 / 07534799079

You are cordially invited to the highly anticipated street art extravaganza Femme Fierce featuring some of the very best UK female street artists.

Can you imagine a female ruled planet where street art defines the rules and what we call reality? Femme Fierce will provoke the thought of a female planet that is governed by art… a world where you will find everything from the earthly, surreal to otherworldly.

This seven day event is a celebration of female street art in the run up to International Women’s Day and incorporates Femme Fierce: The All Female Street Art Group Show, which will feature  street artists Amara Por Dios, Artista,  Ashes 57, Box Head, Girls on Top (GOT) Crew, Thieu and Zina.

Although each of the ladies are established artists in their own right, in a predominately male influenced scene they have pulled together their creative yin energy to deliver a series of street art inspired events and will make herstory.

Femme Fierce will kick start with the exhibition opening party at Cre8 Gallery on March 7th. The following day (International Women’s Day), will see the Femme Fierce group show artists joined by over 100 International female graffiti writers and street artists from across the globe for the “Femme Fierce:  The All Leake Street  Tunnel TakeOver”  while raising much needed money for Breast Cancer Awareness and celebrating womanhood.

The diary of events also includes the world premiere of “Women On Walls”, a street art documentary by Danish filmmaker Cathrine Cort Koppel looking at the role of women as street artists and the incredible array of styles and diversity in their approach to painting.

In addition there will be graffiti workshops, street art tours and live painting events celebrating female street artist in the UK.

Femme Fierce Flyer Front

Femme Fierce Flyer Back

Following Carmen Sandiego..er Miss17 Around Athens

There really is nothing better than traveling and finding that Miss17 has been there and there and there and there and well, everywhere! My trip to Athens was extra special because she left me a present. So, we went on an adventure and followed her around the city. I made a cheesy video from photos cause I couldn’t help myself and my partner Scott slapped together some video footage. Now you can see what it looks like when I absolutely geek out. 🙂

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“Tough as Nails,” Artwork from the Women of Few & Far Crew at APSF Gallery

For Immediate Release, Art Primo SF Gallery presents:

Tough as Nails: Artwork from the Women of Few & Far Crew

Opening Reception: Saturday, August 3rd 2013, 6-10pm @ 1124 Sutter st, San Francisco 94109

Exhibit: Aug 3rd – Sept 29th, 2013

Press Contact: Kelsey Lannin- gallery@ArtPrimoSF.com This is an all-ages event, open to the public.

Photo courtesy of Erin Ashford

Photo courtesy of Erin Ashford

About the Artists

Few & Far is a collective of highly creative female graffiti artists from around the world, working together to promote participation of women in typically male dominated sub-cultures. They travel the globe connecting women through artistic and social exchange, showcasing their art on walls and in the streets. “Tough as Nails” is a representation of their collective belief that all women should feel encouraged to do what they love, despite gender imbalances found throughout society.

About Art Primo SF Gallery

Art Primo SF Gallery works to showcase graffiti art in the gritty and subversive spirit out of which the subculture has grown. We strive to make artwork available both to serious collectors and the general public, with affordable pricing and public, all-age events. Our top priority is the preservation of anonymity for those artists working with us who wish to keep their identity private. Art Primo SF Gallery is attached to the Art Primo SF graffiti art supply store, offering the best selection of high quality street art supplies in the Bay Area.

For media inquiries and photo requests please email gallery@ArtPrimoSF.com

Art Primo SF Gallery

1124 Sutter St.

San Francisco, CA 94109 415.547.0087

ArtPrimoSF.com

Week 4 with Graf Grrlz on the Rise, sidewalk chalk extravaganza!

It’s hard to believe, but we are almost done with the program. *sigh*

Anywho, this week was all about crews: what they are and mean for graffiti writers, why writers form them, what their purpose is, and of course…the girls decided what their crew names would be. They learned about Maripussy (well, the older ones because having 2nd graders say “pussy” didn’t really seem right), the Stick Up Girls, Crazis, Turronas, PMS (provoked many giggles), Girls on Top, and Few and Far. We talked about how being in an all-female crew might make you feel more empowered to keep painting because you are part of a community, and also  how you could feel equally disempowered because women are often really hard on each other. We talked about the importance of having each others backs, finding out who someone is before believing a rumor you might hear about them, and the concept of strength in numbers. We also talked about how gender might influence aesthetic choices and value systems ( they learned this after I explained what “aesthetics” are..”oooh, like how you decide to dress”). When I asked them to brainstorm their own crew names, they came up with:

PBC: PINK A BOO CREW
PJC: PINK JAGUARS aka PEANUT BUTTER AND JELLY CREW
SGD: SASSY GOLDEN DIVAS CREW
DTM: DOING THE MOST CREW (I’m a big fan of this one)
H2O: HAVE TO OVERCOME CREW
LIP: LADIES IN POWER CREW (and this one)
SSC: SWEET ‘N SOUR CREW

There are more groups that we didn’t get to see this week, but this is a great start. To prepare them for the field trip to Brisky Gallery in Wynwood, we had them use chalk on black construction paper. At times it felt like nails on a chalkboard, but I did my best to power through. Ha.

We visited Brisky Gallery to see the Few & Far production from 2012 Basel. After the Gallery Director, Luis Valle, gave us a tour of the show “Eternal Reflection” we headed to the backyard (BTW, go see this show!!). So finally, we had the chance to talk about graffiti art in front of a real live wall! Once the girls got over the grass being tall and the many little bugs, they focused on what was in front of them–a gorgeous production composed of 13 separate pieces, woven together through color and shape. I walked them through each piece, explaining a little bit about each artist–and I have to say, they are getting pretty good at reading the letters! *swells with pride*

And then we all realized it was like 95 degrees and we were slowly dying. So we went back in, took a mini break and then grabbed some sidewalk chalk and they went to town. We had made photocopies of parts of the wall so the girls could look at them and try to mimic the style of the character or the piece with sidewalk chalk. Then Luis told us that not only could we draw on the sidewalk but also on the building next door! Woot! Some of them were too hot to focus, but others…well, they had a BLAST!

Graf Grrlz on the Rise, weeks 2 and 3!

I have no idea where time goes, but if you are following my blog you already know my posts are sporadic at best. So, I am #sorrynotsorry this update is way overdue since it is now week 4.

First, a few things I’ve learned from weeks 2 and 3 as a summer camp art instructor:

Lesson #1: Summer camp scheduling is a tad unpredictable, so be prepared to wing it!

Lesson #2: The amount of female “historical figures” young people can name has increased slightly since the last time I asked (which was probably when I had a 16 year old in a summer college class once). Also, it now includes Beyonce (#allhailqueenBey).

Lesson #3: 2nd-11th grade girls from Miami have a resounding response to nude female figures on walls: “EWWWWWWW”

Lesson #4: Art class comes second only to the pool. (Is there a better compliment? I think not.)

Depending on the groups, weeks 2 and 3 were a mixture of drawing on trains, working with stickers, and playing with fabric and ribbons. In addition to the planned lessons on gender politics and resistance, we tossed in a few impromptu lessons to keep all of the groups on the same schedule as much as possible. The impromptu lessons included a session on Shinique Smith (in which we made some bundles, bows, and what I deemed “cannolis”); a session on exploring the letter (in which they were to pick 1 letter from their tagname and “get weird with it”); and a style mimicking session (in which they responded to characters by drawing their own). On our longest days, we worked with upwards of 60 girls.

In the resistance sessions, we talked about how female writers can reclaim sexual imagery, support one another across oceans through online communities, and communicate political commentary…and why they might want to use their art to do those things. We talked about the use of colors, lines, and textures and how that might affect how the viewer responds to the work of writers including Injah (Rio), Shiro (Japan), Kif (Mexico), Stela (Montreal), Ivey (Australia). And finally, they worked on their “Hello My Name Is” stickers.

After I do the bulk of my mini lecture, we pass out the supplies and they get to work. Then for the second half of the class, we make art and talk about anything (and/or listen to music and rap/sing along). This is our “bonding” time. I ask them about their day and their other classes and we stumble into quite a few conversations that are heavily charged with issues like representation in relation to bodies and the politics of respectability. Sometimes, I’m stumped as to how to talk to them about some of these very complex issues. How do you adequately explain the Trans spectrum after a student refers to people as “drags” (she further explained she meant a “he/she”) beyond rearticulating the difference between sex and gender and the sexuality spectrum…after about 15 seconds you can see the glazed over eyes of confusion. You do your best, or at least that’s what I did. Also, Another example is when we asked why Injah’s or Pink’s  (Brick Lady specifically) nude figures grossed them out I received a variety of responses: “because she’s showing all her goodies and that’s nasty,” “it’s confusing cause we learned the opposite of that in abstinence class,” “her boobs are droopy, she needs to take care of that,” “I’d just get plastic surgery.” We talked about why breasts are gross, or why breasts in art is “ew,” in more than one class. In the end, we do our best to get them honestly talking about their opinions and have them respond through art making.

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