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Guerrilla Girls標語Reinventing the "F" word: feminism!
設立1985
本部New York, New York, United States
貢献地域Worldwide
公用語English
ウェブサイト ⇒guerrillagirls.com
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ゲリラガールズは、芸術界の中で性差別と人種差別との闘いに専念しているフェミニスト、女性アーティストの匿名のグループである。このグループは1985年にニューヨークで結成され、ジェンダーと人種格差の問題をより大きな芸術界の中で焦点を当てるという使命を持っている。 同グループは、差別や汚職を明らかにするために、ポスター、本、広告板、および公の場の公演でカルチャージャミングを採用している。 匿名を維持するために、メンバーはゴリラマスクを着用し、死亡した女性アーティストを指す偽名を使用している。GG1によると、問題は個々のアイデンティティよりも重要であるため、アイデンティティは隠されている。主に、私たちの人格や私達の仕事ではなく、問題に焦点を当てることを望んでいる。
History

1985年の春、ニューヨークのマンハッタンにある近代美術館MoMAの展覧会「最近の絵画と彫刻の国際調査」に応えて7人の女性がゲリラガールズを立ち上げた。それというのも1984年のこの展覧会の165人のうち13人の女性しか含まれていなかったからである。[1]この展覧会はMoMAを新しく改装し、拡張された建物で発足された。17カ国からその時代の最も重要な画家と彫刻家を調査すると主張した。[2]色彩の芸術家の割合はさらに少なく、それらの中に女性は誰もいませんでした。Guerrilla Girls at the V&A Museum, London

展覧会のキュレーター、Kynaston McShineによるコメントは、当時の明確なアートワールドのジェンダーバイアスをさらに強調していた。「Kynaston McShineは、展覧会に参加していないアーティストはキャリアを再考すべきだとインタビューでいった。」[3] その展覧会とKynaston McShineの明白な偏見に反応して、彼女らはMoMAの前で抗議をした。こうしてゲリラガールズは生まれた。

When the protests yielded little success, the Guerrilla Girls wheat-pasted posters throughout downtown Manhattan, particularly in the SoHo and East Village neighborhoods.[4]

Soon after, the group expanded their focus to include racism in the art world, attracting artists of color. They also took on projects outside of New York, enabling them to address sexism and racism nationally and internationally. Though the art world has remained the group's main focus, the Guerrilla Girls' agenda has included sexism and racism in films, mass and popular culture, and politics. Tokenism also represents a major group concern.[4]

During its first years, the Guerrilla Girls conducted "weenie counts," such that members visited institutions like the Metropolitan Museum of Art and counted artworks' male-to-female subject ratios. Data gathered from the Met's public collections in 1989 showed that women artists had produced less than 5% of the works in the Modern Art Department, while 85% of the nudes were female.Guerrilla Girls wear gorilla masks whenever making public appearances.

Early organizing was based around meetings, during which members evaluated statistical data gathered regarding gender inequality within the New York City's art scene. The Guerrilla Girls also worked closely with artists, encouraging them to speak to those within the community to bridge the gender gap where they perceived it.[5]

When asked about the masks, the girls answer We were Guerrillas before we were Gorillas. From the beginning the press wanted publicity photos. We needed a disguise. No one remembers, for sure, how we got our fur, but one story is that at an early meeting, an original girl, a bad speller, wrote 'Gorilla' instead of 'Guerrilla.' It was an enlightened mistake. It gave us our 'mask-ulinity.'[6] In an interview with New York Times the Guerrilla Girls were quoted, Anonymous free speech is protected by the Constitution. You'd be surprised what comes out of your mouth when you wear a mask.[7]

Since 1985, the Guerrilla Girls have worked for an increased awareness of sexism and greater accountability on the part of curators, art dealers, collectors and critics.[8] The group is credited, above all, with sparking dialogue, and bringing national and international attention to issues of sexism and racism within the arts.
Influences

Many feminist artists in the 1970s dared to imagine that female artists could produce authentically and radically different art, undoing the prevailing visual paradigm. The pioneering feminist critic, Lucy Lippard curated an all-women exhibition in 1974, effectively protesting what most deemed a deeply flawed approach, that of merely assimilating women into the prevailing art system.[9] Shaped by the 1970s women's movement, the Guerrilla Girls resolved to devise new strategies. Most noticeably, they realized that 1970s-era tools such as pickets and marches proved ineffective, as evidenced by how easily MoMA could ignore 200 protestors from the Women's Caucus for Art. We had to have a new image and a new kind of language to appeal to a younger generation of women, recalls one of the founding Guerrilla Girls, who goes by Liubov Popova.[10] The Guerrilla Girls sought an alternative approach, one that would defeat views of the 1970s Feminist movements as man-hating, anti-maternal, strident, and humorless:[9] Versed in poststructuralist theories, they adopted 1970s initiatives, but with a different language and style. Earlier feminists tackled grim and unfunny issues such as sexual violence, inspiring the Guerrilla Girls to keep their spirits intact by approaching their work with wit and laughter, thus preventing a backlash.[9]
Work: actions, posters and billboards
Art worldFrench feminist group La Barbe (Beard) meets the Guerrilla Girls at the Palais de Tokyo (Paris, 2013).

Throughout their existence, the Guerrilla Girls have gained the most attention for their bold protest art.[11] The Guerrilla Girls' projects (mostly posters at first) express observations, concerns, and ideals regarding numerous social topics. Their art has always been fact-driven, and informed by the group's unique approach to data collection, such as weenie counts. To be more inclusive and to make their posters more eye-catching, the Guerrilla Girls tend to pair facts with humorous images.[12] Although the Guerrilla Girls gained fame for wheat-pasting provocative campaign posters around New York City, the group has also enjoyed public commissions and indoor exhibitions.

In addition to posting posters around downtown Manhattan, they passed out thousands of small handbills based on their designs at various events.[5] The first posters were mainly black and white fact-sheets, highlighting inequalities between male and female artists with regard to number of exhibitions, gallery representation and pay. Their posters revealed how sexist the art world was in comparison to other industries and to national averages. For example, in 1985 they printed a poster showing that the salary gap in the art world between men and women was starker than the United States average, proclaiming "Women in America earn only 2/3 of what men do. Women artists earn only 1/3 of what men do." These early posters often targeted specific galleries and artists. Another 1985 poster listed the names of some of the most famous working artists, such as Bruce Nauman and Richard Serra. The poster asked "What do these artists have in common?" with the answer "They allow their work to be shown in galleries that show no more than 10% of women or none at all."

The group were also activists for equal representation of women in institutional art, and highlighted artist Louise Bourgeois in their Advantages to Being a Women artist, poster in 1988 as one line read, Knowing your career might not pick up till after you're 80.[13] Their pieces are also notable for their use of combative statements such as When racism and sexism are no longer fashionable, what will your art collection be worth?[4]

Dearest Art Collector (1986) Dearest Art Collector is a 560x430 mm screen-print on paper. This is one of thirty posters published in a portfolio entitled Guerrilla Girls Talk Back. This print is unusual in the portfolio in that it takes the form of an enlarged handwritten letter on baby pink paper. The extremely rounded cursive script crowned with a frowning flower exudes femininity, symbolizing the biting sarcasm for which the Guerrilla Girls were known for. The Guerrilla Girls sent this poster to well- known art collectors across the United States, pointing out how few works they owned by women artists. This send up of femininity is aimed at the expectation that, even when presenting a serious complaint, women should do so in a socially acceptable 'nice' way. "We know that you feel terrible about this" appeals to the feelings of the recipient. This piece was a commentary on how hard it is for female artists, and what lengths they must go through in order to be recognized and taken seriously. Women are constantly expected to perform a certain way and this print is the embodiment of how tumultuous it is for women all around the world to be recognized in the eyes of men with power. The group later transcribed it into other languages and sent it to collectors outside the U.S. A practical joke with serious implications, this poster is now (somewhat ironically) a collector's item.