From Art for a Change blog in California, USA:
Bringing the War Home: House Beautiful
Organized by MOCA curator Connie Butler, the show features artworks created from 1965 to 1980, by 100 women focused on the status and liberation of women.
In one attempt to capture the militant spirit of late 60’s feminist groups, Butler named her show, Wack!, which is not itself an acronym, but alludes to the popularity of acronyms used by radical groups of the period, my favorite example being the tongue in cheek, W.I.T.C.H., or – Women’s International Terrorist Conspiracy from Hell.
Wack! is being promoted as “the first comprehensive, historical exhibition of feminist art”, and you could add “international” to the billing as around half of the artists are from outside the U.S. – including artists from England, Poland, Scandinavia, Germany, Algeria, India, Canada, Italy, Chile, and Brazil.
Many talents – well known and unknown – are in the show, and an excellent illustrated catalog published by MOCA covers all the bases, however, in this article I’d like to focus on just one participating artist – Martha Rosler.
During the early 1970’s I discovered Rosler’s photomontage series, Bringing the War Home: House Beautiful, a brilliant, multi-faceted, intrinsically feminist critique of American involvement in Vietnam.
The title of Rosler’s collection was a melding of a popular 60’s antiwar slogan in the U.S. (“Bring the War Home!”), to the vapid women’s magazine of the period that promoted homemaking as the proper area of interest for women.
Rosler’s compelling and influential photomontage works seem more powerful than ever – especially since we are mired in a new Vietnam.
See also here.
Feminist posters: here.
USA 1960s, hippies, and art: here.
Social justice and art in the USA: here.
Late 20th century feminism in Germany: here.