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F*CK U! In The Most Loving Way

Exhibition catalog for "F*CK U! In The Most Loving Way" created by the Northern California Women's Caucus for Art.

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catastrophic global crises. “Revisiting Womanhouse” was never untidy or unclear, unlike the current political situation, particularly for women, people of color, LGBTIQ people, and the undocumented. But its few hints of untidiness (while they lasted) were intentional, signifying the often underlying, unspoken, and unvarnished truths from multiple feminist perspectives that the exhibition as a whole sought to bring to light. NOTES ___________________________________ 1 Ara Osterweil. "Fuck You! A Feminist Guide to Surviving the Art World." Artforum International 54, no. 10 (Summer 2016): 320-329. 2 As I was finishing up writing this essay in late July 2017, Anthony Scaramucci’s obscenity-laced rant to a New Yorker reporter was published. The New York Times editorial board decided to write about their decision to publish his language: The Times published Mr. Scaramucci’s profanity after top editors, including our executive editor, Dean Baquet, discussed whether it was proper. We decided that it was newsworthy that a top aide to President Trump used such language. We also knew that many of our readers would want to know what Mr. Scaramucci said, and we did not want them to have to search elsewhere to find out (The Reader Center, “Why The Times Published Scaramucci’s Profanities,” The New York Times, 28 July, 2017, accessed August 1, 2017, https://www.nytimes.com/2017/07/28/reader-center/ times-published-scaramucci-profanities.html?_r=0). It is interesting to note that over one year earlier in Jun 2016 the NCWCA Exhibition Collective had similar conversations about using profane language. 3 Faith Wilding, email message to author, August 24, 2016. 4 Lê adds: “This text for Michelle Dizon’s images has been revised for the performative readings by Faith Wilding and Việt Lê for the following exhibitions/events: F*ck U! in the Most Loving Way, Ninth Street Independent Film Center, San Francisco (January 14, 2017); Vermont College of Fine Arts, Montpelier (January 29, 2017) and Ours Is a City of Writers, Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles (April 4, 2017). Việt Lê, email message to author, August 2, 2017. 5 As part of its public programing, F*ck U! In the Most Loving Way held a Womanhouse Reunion on January 13, 2017 at the Ninth Street Independent Film Center that featured screenings of both Womanhouse Is Not a Home and Demetrakas’s Womanhouse. After the screenings I moderated a discussion panel with Faith Wilding, Johanna Demetrakas, and Karen Le- Cocq. Wilding performed welcome-waiting with Việt Lê, and with collected images by Michelle Dizon at the Ninth Street Independent Film Center on January 14, 2017. 6 In addition to showing artwork, Sulkowicz and Overn debuted their Dadaist conceptual performance Rulers during the exhibition’s opening on December 17, 2016. 38

7 Betty Friedan, The Feminine Mystique (New York: Norton, 1963). 8 Temma Balducci, “Revisiting “Womanhouse”: Welcome to the (Deconstructed) `Dollhouse,’” Woman’s Art Journal 27, no. 2 (Fall-Winter, 2006): 17. 9 “Labor force participation rate by sex, race and Hispanic ethnicity, 1948-2015 annual averages,” Graph by Women’ Bureau, Department of Labor, Bureau of Labor Statistics, U.S. Department of Labor, Occupational Employment Statistics, accessed July 30, 2017, https://www.dol.gov/wb/stats/LForce_Race_sex_Hispanic_Ethnicity_48_15_txt. 10 “Labor Force Participation Rate by Sex, Race and Hispanic Ethnicity, 2015 Annual Averages and 2024 Projections, Graph by Women’ Bureau, Department of Labor, Bureau of Labor Statistics, U.S. Department of Labor, Occupational Employment Statistics, accessed July 31, 2017, https://www.dol.gov/wb/stats/Laborforce_par_rate_sex_race_hisp_ethnic_2015_txt.htm. 11 “Employed Parents by Full- and Part-Time Status, Sex and Age of Youngest Child 2015 Annual Averages,” Graph by Women’s Bureau, Department of Labor, Bureau of Labor Statistics, U.S. Department of Labor, Occupational Employment Statistics, accessed July 31, 2017, https://www.dol.gov/wb/stats/ Employed_parents_full_part_time_sex_age_young_child_2015_txt.htm. 12 Bureau of Labor Statistics, U.S. Department of Labor, The Economics Daily, “24 Percent of Employed People Did Some or All of Their Work at Home in 2015 on the Internet,” July 8, 2016, accessed July 31, 2017, https://www.bls.gov/opub/ ted/2016/24-percent-of-employed-people-did-some-or-all-of-their-work-at-home-in-2015.htm 13 Arlene Raven, At Home (Long Beach, CA: Long Beach Museum of Art, 1983), 50. 14 Arlie Russell Hochschild and Anne Machung, The Second Shift: Working Parents and the Revolution at Home (New York, N.Y.: Viking, 1989). 15 Arlie Russell Hochschild, The Managed Heart: Commercialization of Human Feeling, Updated ed. (Berkeley and London: University of California Press, 2012). 16 Warren Hoge, “Art Imitates Life, Perhaps Too Closely,” 20 July 2001, The New York Times, July 30, 2017, http:// www.nytimes.com/2001/10/20/arts/art-imitates-life-perhaps-too-closely.html; “Cleaner Bins Rubbish Bag Artwork, BBC News, 27 August 2004, accessed July 27, 2017, http://news.bbc.co.uk/1/hi/entertainment/3604278.stm. 17 “Cleaner Bins Rubbish Bag Artwork.” 18 Sarah Cascone, “Janitors Mistakenly Throw Out Champagne Bottle Art Installation,” ArtNet News, October 26, 2015, accessed July 20, 2017, https://news.artnet.com/exhibitions/janitor-throws-out-art-installation-347937; Nick Squires, “Art Installation in Italy Ended up in the Bin by Cleaners Who Thought It Was Rubbish, The Telegraph, October 26, 2015, accessed July 20, 2017, http://www.telegraph.co.uk/news/worldnews/europe/italy/11956330/Art-installation-in-Italy-ended-up-in-the -bin-by-cleaners-who-thought-it-was-rubbish.html 19 “Cleaner Bins Rubbish Bag Artwork.” 39