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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.

ABOUT THE JUROR: Shannon

ABOUT THE JUROR: Shannon Rose Riley is an interdisciplinary artist and scholar. She is Professor and Chair of the Humanities Department at San José State University where she teaches classes in Humanities, Creative Arts, and American Studies. 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); and 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 Institute of Contemporary Art (Portland, ME), Mobius (Boston), Randolph Street Gallery and Artemisia Gallery (Chicago), the Cushwa-Leighton Library (Notre Dame), 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), among others. Dr. Riley continues to perform and record with the Chicago-based gospel/noise/performance group, ONO and is the author of Performing Race and Erasure: Cuba, Haiti, & US Culture, 1898-1940 (Palgrave, 2016). Her essays appear in Theatre Topics, English Language Notes, Performing Arts Resources, and Baylor Journal of Theatre and Performance as well as in the edited collections, Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances (Palgrave, 2013), Kathy Acker and Transnationalism (Cambridge Scholars Publishing, 2009), and Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies, which she co-edited with Lynette Hunter (Palgrave, 2009, 2 nd edition 2014). Her book reviews appear in The Journal of the Gilded Age and Progressive Era (2013) and TDR: The Drama Review (2015). 92

JUROR STATEMENT It has been a great pleasure to jury F*ck U! In the Most Loving Way—I am grateful to NCWCA for the invitation and to all of the artists who submitted works in response to the call. All told, we received over 300 submissions in a variety of media—and I had the rather daunting task of selecting no more than 15% for exhibition. Many excellent pieces were not included, so let me say a bit about my process and the criteria I kept in mind when making selections. My first consideration was the strength of the image or the work’s formal power: I responded almost viscerally to the images that grabbed me in some way—sometimes the pull was immediate and at other times it built more quietly and persistently. Next, I considered the exhibition theme and how the work responded to it. I kept in mind that the show intends to serve as “a platform for women to air their grievances” and as such, I did not turn away from uncomfortable content. I especially looked for works that are in some dialogue with feminist art of the 1970s—Womanhouse in particular—as well as for works that speak to our own historical moment. My final consideration was the artist’s written statement. While I juried the show, the Trump “pussy-grabbing” scandal unfolded, as did his “nasty woman” comment. In the days that followed, “Nasty Woman” was seized as a kind of rallying cry for yet another feminist stance—and Pussy Riot released their video, “Straight outta Vagina.” The timing is indeed perfect for the theme of this exhibition. Many of the works confront stereotypical gender roles and challenge just who or what constitutes a “woman” today. Many deal with the subject matter of abuse: sexual, physical, emotional, domestic, financial and racial violence; the constant barrage of micro-aggressions; and outright discrimination. There are incredibly brave enactments of the kinds of horror and violence that women, trans, and genderqueer people as well as people of color experience—these works are not always easy but demand that we bear witness. Others articulate radical self-care, self-respect, and other savvy strategies for survival. And of course, there is still a good amount of humor in the works. Like much feminist art of the 1970s, many of these works are concerned with woman’s labor—whether creative, productive, domestic, or reproductive—as well as with issues of violence and sexuality. There are material explorations in textile, self-portraiture, and installation that also harken back to Womanhouse strategies. One thing becomes clear when looking at the works and reading the statements: and that is that the personal is still political. Shannon Rose Riley, juror November 2, 2016 93

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    F*ck U! In the Most Loving Way onli

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    ABOUT NCWCA (SPONSORING ORGANIZATIO

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    EXHIBITIONS CHAIR STATEMENT Like ma

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    Our financial goal was at the minim

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    VOLUNTEER and DONOR ACKNOWLEDGEMENT

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    Photographer: Priscilla Otani Galle

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    F*ck U! In the Most Loving Way Pros

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    Installation at Arc Gallery, 1246 F

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    Opening Reception: Arc Gallery, 124

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    Rulers. Performance by Emma Sulkowi

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    Docent Tour of Exhibition—Friday,

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    Performance Afternoon—January 14,

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    Some Untidy Truths: On Curating the

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    originally suggested by art histori

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    As the juror Shannon Rose Riley fin

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    A row of white cubby storage units

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    ejeweled doll appears ready for com

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    is known for coining the term “au

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    7 Betty Friedan, The Feminine Mysti

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    F*ck U! In the Most Loving Way: The

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    Thurs. Dec. 22 to Wed, Dec. 28 SF W

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    WOMEN’S MARCH PHOTOS from around

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    REFLECTIONS FROM THE WOMEN’S MARC

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    Zona Sage I was at an all day meeti

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    The Princess and the Presidency by

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    The Most Loving Way I Can Think of

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    Exclusion from Inclusion by Nancy R

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    In the United States, a heavy perso