Guerrilla Girls - Knowledge

333:"Dearest Art Collector" (1986) 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. 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. 774: 287: 343: 273:. "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." 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: 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. 1341: 956:. As a woman of color, "Alma Thomas" describes having felt uncomfortable wearing the Guerrilla Girls' signature gorilla mask. "Thomas" recalls little effort being devoted to understanding the challenges of artists of color. "Their whiteness was such that they ... didn't understand that blacks were being put in a completely separate world in the art world, that black male artists and black female artists are completely separated, completely segregated to this day." Ultimately, this widespread antagonism led to many "artists of color after a few meetings because they could sense the unspoken hierarchy in the group". 941:

issues that women faced. "Zora Neale Hurston" recalls Guerrilla Girl membership as "mostly white" and largely mirroring the art world demographics that they critiqued. Despite sporting gorilla masks to downplay personal identity, some members attribute Guerrilla Girl interests to the fact that de facto leaders "Frida Kahlo" and "Käthe Kollwitz" are both white. ("Frida Kahlo" has also been criticized for her appropriation of a Latina artist's name.) The artist believed in the overt artistic expression by correlating beauty and pain, along with the rise of modernism. An art movement without generalization.

1070: 173: 29: 1025: 965: 1100: 1159:, she decided to pay tribute to the little-known female artist with her name. This also helped to solve the problem of media interviews; the group was often interviewed by phone and would not give names, causing problems and confusion amongst the group and the media. Guerrilla Girl 1 joined in the late 1980s, taking on her name as a way to memorialize women in the art community who have fallen under the radar and did not make as notable as an impact as the names takes on by other members. For some members like "Zora Neale Hurston", or 1205:", in which an ape spoke about what it was like to be taken into captivity by a bunch of educated, intellectual types. The published story ends with the ape tamed and broken by the stultified academics. But in an earlier draft, Kafka tells a different story. The ape ends his report by instructing other apes NOT to allow themselves to be tamed. He says instead: break the bars of your cages, bite a hole through them, squeeze through an opening ... and ask yourself where do YOU want to go 1247: 314:

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

495: 1172: 169:'s exhibition "An International Survey of Recent Painting and Sculpture" (1984), whose roster of 165 artists included only 13 women. Inaugurating MoMA's newly renovated and expanded building, this exhibition claimed to survey that era's most important painters and sculptors from 17 countries. The proportion of artists of color was even smaller (one account puts the number at eight), and none of them were women. 1021:, primarily represented the views of "Kahlo" and "Kollwitz". Some even felt that "Kahlo" and "Kollwitz" completely controlled the book, despite their having selected material created collectively by all Guerrilla Girls. There was even suspicion that these two not only claimed all the credit but took all of the profits. Some members condemned the book as "undemocratic and ... against the spirit of the Girls". 302:. 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 – a form of 1066:

and sought millions of dollars in damages. In 2006, they settled with the theatre group who agreed to go by Guerrilla Girls on Tour. As of 2013, three separate groups remained active, the GuerrillaGirlsBroadBand, Inc., Guerrilla Girls On Tour, Inc. (the Theatre Girls), and Guerrilla Girls, Inc. The Guerrilla Girls BroadBand focuses on the internet as its "natural habitat".

370:(1814, Louvre Museum). The Guerrilla Girls placed a gorilla mask over the head of Ingres' nude, which is one of the most famous female nudes in Western art. The New York Public Art Fund had rejected the Guerrilla Girls' Metropolitan Museum poster for a billboard they had commissioned from the group. Rather than change the image, the group bought advertising space from the 1044:! whose focus is discrimination in the theater world. Even though their former colleague "Gertrude Stein" was in the on-tour group, "Kahlo" and "Kollwitz" charged them with copyright and trademark infringement and unjust enrichment. Many members of the group felt especially betrayed that "Kahlo" and "Kollwitz" had launched their lawsuit under their real names, 980:. Art historian Anna Chave considers the Guerrilla Girls' essentialism much more profound, leading the group to be "assailed by ... a rising generation of women wise in the ways of poststructuralist theory, for putative naiveté and susceptibility to essentialism". Essentialist views are most clearly exhibited in two Guerrilla Girl books: 222:. 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'." In an interview with the magazine 651:, a billboard criticizing the fact that 87% of national funding for films goes to men, despite women playing an important part of Iceland's public and private sectors. In light of 2016's #Oscarssowhite campaign, the Guerrilla Girls updated the above billboards, presenting them on downtown Minneapolis streets for "Twin City Takeover". 1087:

only intensified, as the Guerrilla Girls presented their exhibitions in museums and even allowed their works to be collected by hegemonic institutions. Although some have questioned the efficacy, if not hypocrisy, of the group's working within the system that they originally denigrated, few would challenge their decision to let the

1062:, who handled the case, rejected the "bizarre" suggestion that defendants sporting gorilla masks be allowed to testify in his courtroom. He also stated that "Mundane court procedures for adjudicating legal rights and the ownership of property require direct and cross-examination of real persons with real addresses and attributes." 770:

slides and talk about the history of their work, how it has evolved. In the end, the GGs interact with audience members. New work is always included and gig material changes all the time. They have done hundreds of these events and have traveled to nearly every state as well as Europe, South America, and Australia.

750:, a down and dirty catalogue of "The Top Stereotypes from Cradle to Grave". Offering thumbnail histories for cultural clichés ranging from "Daddy's Girl", "the Girl Next Door", "the Bimbo/Dumb Blonde" to "the Bitch/Ballbreaker", each is given "trademark Guerrilla Girl treatment: pointed factoids and cool graphics". 613: 329:

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." 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

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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. Shaped by the 1970s women's movement, the Guerrilla Girls resolved to devise new strategies. Most noticeably, they realized that

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A year after its founding, the group expanded its 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,

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before the exhibition opened: “I think that some people can benefit from not being in the show.” He continued: “They will have to think about their work.” In reaction to the low proportion of women in the exhibition and McShine's bias, the Women's Caucus for the Arts led a protest with pickets across

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program was formed within the group, pairing a new member with an experienced Guerrilla Girl to bring them into the fold. Due to the lack of formality, the group is comfortable with individuals outside of their base claiming to be Guerrilla Girls; Guerrilla Girl 1 stated in a 2007 interview: "It can

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based on their designs at various events. The first posters were mainly black and white fact sheets, highlighting inequalities between male and female artists with regard to a number of exhibitions, gallery representation, and pay. Their posters revealed how sexist the art world was in comparison to

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During the height of the contemporary art movement in the late 20th century, many distinguished galleries lacked appropriate representation of female artists and curators. Museums were often privately funded by elites, predominately white males, meaning that museums were documenting power structures

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In their 45-page complaint, "Kahlo" and "Kollwitz" described themselves as the group's "guiding forces", even though the Guerrilla Girls were "informally organized, had no official hierarchy". Initially, they asked the court to stop Guerrilla Girls Broadband from calling themselves Guerrilla Girls

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Leading up to a highly publicized 2003 lawsuit, there was increasing animosity toward "Frida Kahlo" and "Käthe Kollwitz". Despite founding members' initial intention to create a non-hierarchal, equitable power structure, there was an increasing sense that two people were making "the final decisions

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An important part of Guerrilla Girls' outreach since 1985 has been presentations and workshops at colleges, universities, art organizations, and sometimes at museums. The presentations, known as "gigs", attract hundreds and sometimes thousands of attendees. In the gig, they play music, videos, show

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During the 2007 ART-ATHINA, the Guerrilla Girls projected "Dear Art Collector" in Greek onto the entrance's façade. In 2015, they projected their "Dear Art Collector" animation onto a museum façade, taking on collectors who fail to pay employees a living wage. To commemorate the 20th Anniversary of

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Upon their 1985 debut, the Guerrilla Girls were "lauded by the very establishment they sought to undermine". They have since exhibited at Tate Modern, Venice Biennale, Centre Pompidou, and MoMA, which additionally grants them a broader audience for their concerns. Since then, this relationship has

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Since 2005, the Guerrilla Girls have been invited to produce special projects for international institutions, sometimes for the very institutions, they have criticized. Offers that pose a dilemma are carefully considered, so as to avoid censure since one way to improve institutions is to criticize

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A 2005 Guerrilla Girl recount at the Met found that only 3% of the exhibited artists in the modern section were women, whereas the nude females constituted 83% of the nudes in those galleries. The 2012 Guerrilla Girl poster reported 4% women artists, and a figure of 76% female nudes, reflecting a

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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. The group is credited, above all, with sparking dialogue, and bringing national and international attention to issues of sexism

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Periodically, the Guerrilla Girls conducted "weenie" and "banana" counts, wherein members visited institutions like the Metropolitan Museum of Art and counted nudes, noting the ration of male-to-female subjects, as well as the ratio of male-to-female artists represented in the various collections.

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As the Guerilla Girls gained in popularity, tensions led to what the Girls later called the "banana split", as five members actually split from the collective. Soon after several members stepped aside to form Guerrilla Girls Broadband, "Kahlo" and "Kollwitz" moved to trademark the name "Guerrilla

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hosted "Guerrilla Girls: 1985-2015", an exhibition featuring most of the collective's production accompanied by a series of events including a talk/performance by Guerrilla Girl members Frida Kahlo and Käthe Kollwitz. The exhibition also showed the 1992 documentary "Guerrilla in Our Midst" by Amy

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In recognition of their work, the Guerrilla Girls have been invited to give talks at world-renowned museums, including a presentation at the MoMA's 2007 "Feminist Futures" Symposium. They have also been invited to speak at art schools and universities across the globe and gave a 2010 commencement

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in the art world and also making more direct, politicized interventions. In 1987, the image on this poster was first seen as peel-off stickers on gallery windows and doors in New York. Its medium, screen print on paper, has the words "We Sell White Bread" and are stamped on a slice of white bread

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Despite having routinely challenged art institutions to display more artists of color, both members and critics want the Guerrilla Girls to be more diverse. Their art was believed to be exclusive to white feminism and they addressed by creating a series of activist artworks addressing a range of

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in the form of posters, books, billboards, lectures, interviews, public appearances and internet interventions to expose disparities, discrimination, and corruption (the latter includes conflicts of interest within museums). They also often use humor in their work to make their serious messages

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in New York, like other major museums, had an entirely male or a predominantly male board of directors. It had a paucity of female artists on display, while, at the same time, art featuring female nudes were plentiful. The Guerrilla Girls were formed in 1985 with the purpose of exposing gender

374:, and the poster traversed lower Manhattan on New York City buses, until the MTA declined to renew their contract (evidently because they thought the fan handle looked phallic). In 2021, the Metropolitan Museum poster was donated to the Met, and in 2021–22, it was featured in the exhibition 1185:

The idea to adopt the gorilla as the group's symbol stemmed from a spelling error. One of the first Guerrilla Girls accidentally spelled the group's name at a meeting as "gorilla". Despite the fact that the idea of using a gorilla as a group symbol might have been accidental, the choice is

757:(reissued in 2012) parodies children's museum activity books. Meant to teach children how to both appreciate and critique museums, this book provides activities that reveal the problematic aspects of museum culture and major museum collections. In 2009, they produced a history of hysteria, 243:

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

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alongside a list of ingredients that includes the white male artists whose work is on display at the galleries. According to the poster, the galleries favored white, male artists, noting that the gallery "contains less than the minimum daily requirement of white women and non-whites".

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poster campaign, describing it as insensitive towards transgender people since it ties the female gender to estrogen, the same sort of essentialist link the Guerrilla Girls aim to critique. Aside from essentialism, the Guerrilla Girls have also been critiqued for failing to integrate

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and changes the way in which viewers are able to look at or understand the highly sexualized image. Further, the addition of the gorilla questions and modifies stereotypical notions of female beauty within Western art and popular culture, another stated goal of the Guerrilla Girls.

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The MoMA protest's lack of success in 1984 led to strategy meetings, which resulted in the formation of the Guerrilla Girls. The initial founding members were all white. The Guerrilla Girls conveyed their messages by wheat-pasted posters in downtown Manhattan, particularly in the

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This prompted negative reactions from both current and former Guerrilla Girls, who objected to "Kahlo" and "Kollwitz" claiming responsibility for having created the collective effort, as well as the flippancy with which they exchanged their anonymity for legal standing.

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The Guerrilla Girls' first color poster, which remains the group's most iconic image, is the 1989 Metropolitan Museum poster, which used data from the group's first "weenie count". In response to the overwhelming number of female nudes counted in the

567:, an interactive graffiti wall that enables women who don't see themselves as feminists the means to target gender issues with the hope that active participation will broaden their perspectives. In 2012, this traveled to Krakòw's Art Boom Festival. 161:

campaign throughout the next weeks and next season." Membership in the group has fluctuated over the years from a high of about 30 women to a handful of active members in 2015 According to Frida Kahlo, there have been a total of 65 members.

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the street from MoMA. Seven future members of the Guerrilla Girls participated in this protest, but when their pickets were ignored, some of the women began to seek what Frida Kahlo calls "a more media-savvy" method of reaching the public.

636:, which they updated and presented in 2007 as a banner outside Witte de With Center for Contemporary Arts. Since 2002, Guerrilla Girls Inc. have designed and installed billboards during the Oscars that address white male dominance in the 1116:

only enhance us by having people of power who have been given credit for being a Girl, even if they were never a Girl." Men are not allowed to become Guerrilla Girls but may support the group by assisting in promotional activities.

3296: 976:, the Guerrilla Girls navigated the differences between established and emerging feminist theory during the 1980s. "Alma Thomas" describes this grey-area that the Guerrilla Girls occupied as "universalist feminism", bordering on 337:

The posters were rude; they named names and they printed statistics (and almost always cited the source of those statistics at the bottom, making them difficult to dismiss). They embarrassed people. In other words, they

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In 2011, Columbia College Chicago's Glass Curtain Gallery and Institute for Women and Gender in the Arts and Media commissioned the first Guerrilla Girls survey of Chicago museums. The resulting banner entitled

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Although the Guerrilla Girls' protest art directed at the art world remains their most well-known work, throughout their existence the group has periodically targeted politicians, specifically conservative

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However, any precise information on the demographics of the Guerrilla Girls is impossible, for they have "staunchly, and problematically, resisted being surveyed as to the makeup of their own membership".

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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,

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Though this goal has never been explicitly stated by the group, in the history of Western art, primates have often been associated with the visual arts, and with the figure of the artist. The idea of

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Several Guerrilla Girls who are people of color have faced numerous challenges. Despite the Guerrilla Girls' stance against tokenism, some artists of color abandoned Guerrilla Girl membership due to

143:. According to GG1, identities are concealed because issues matter more than individual identities, "Mainly, we wanted the focus to be on the issues, not on our personalities or our own work." 2856: 2628: 601:

During Winter 2016, they participated in "Twin City Takeover", art exhibitions and art projects organized by a consortium of local art organizations sited around Minneapolis and St. Paul.

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Guerrilla Girls, who wear the masks of big, hairy, powerful jungle creatures whose beauty is hardly conventional ... believe all animals, large and small, are beautiful in their own way.

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In 1996 Guerrilla Girls came out with Planet Pussy in Monkey Business issue #4 in November 1996. This was a work about feminism and was published by Sike Burmeister and Sabine Schmidt.

306:. 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. 119:

engaging. The Guerrilla Girls are known for their "guerrilla" tactics, hence their name, such as hanging up posters or staging surprise exhibitions. To remain anonymous, members don

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Data gathered from their survey in the Met in 1989 showed that women artists had produced less than 5% of the works in the Modern Art galleries, while 85% of the nudes were female.

746:, a consciousness-raising comic book that sold 82,000 copies, as it explores how art history's male domination constrained several female artists' careers. In 2003, they published 322:. 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." 722:

In 2016, the Guerrilla Girls launched the "President Trump Announces New Commemorative Months" campaign in the form of stickers and posters, which they distributed during the

712: 3545: 2222: 1037: 1234:("art the ape of nature") maintains that the job of art is to "ape", or faithfully copy and represent nature. This was an idea first popularized by Renaissance thinker 1151:. Guerrilla Girls' "Carriera" is credited with the idea of using pseudonyms as a way to not forget female artists. Having read about Rosalba Carriera in a footnote of 719:, and spend money implementing statewide voter IDs. Their 2013 posters discussed the Homeland Terror Alert system and Arnold Schwarzenegger's gubernatorial campaign. 450: 445:

In addition to researching and exposing sexism in the art world, the Guerrilla Girls have received commissions from numerous organizations and institutions, such as

992:"was so embedded in that second-wave feminist and even pre-second-wave essentialism" that it fulfilled some assumption that all women artists are feminist artists. 4121: 1837: 3266: 1193:, or other images of trapped and tamed apes. In the 2010 SAIC Commencement, the comparison between institutionalized artists and tamed apes was explicitly made: 228:

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."

3344: 3741: 106:. The group formed in New York City in 1985, born out of a picket against the Museum of Modern Art the previous year. The core of the group's work is bringing 3620: 2792: 3124: 4047: 3986:, with essays by Joanna Gardner-Huggett, Neysa Page-Lieberman, Kymberly Pinder, and a foreword by Jane M. Saks, Columbia College Chicago, 2011, 2013, 2017. 5205: 4370: 1107:

Membership in the New York City group is exclusive, by invitation only, based on relationships with current and past members, and one's involvement in the

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Louise Bourgeois; The Spider, The Mistress & The Tangerine. Directed by Marian Cajori and Amei Wallach. 2008. New York, NY: Zeitgeist Films, 2009. DVD

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disparities in the contemporary art world. Initially, it did not plan to be a permanent organization. Its first press release, dated May 6, addressed its

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published their "Horror on the National Mall!", a one-page newspaper spread attacking the absence of diversity among tax-payer supported museums on the

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lower percentage of women artists and female nudes from 1985. A survey of other sections of the Metropolitan Museum gives different results. Art critic

683:. In 1991, the Artist and Homeless Collaborative invited them to work with homeless women to create posters in response to homelessness and the first 188:

highlight that era's explicit art world gender bias: "Kynaston McShine gave interviews saying that any artist who wasn't in the show should rethink

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with Guerrilla Girls using the names Frida Kahlo and Kathe Kollwitz conducted January 19 and March 9, 2008, by Judith Olch Richards, for the

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To shed light on inequality in the art world, the Guerrilla Girls have published numerous books. In 1995, they published their first book,

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sections, the poster asks, sarcastically, "Do women have to be naked to get into the Met. Museum?". Next to the text is an image of

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critiqued gender disparity in the contemporary art collections of the Art Institute of Chicago and the Museum of Contemporary Art.

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In 1987, the Guerrilla Girls published thirty posters in a portfolio entitled Guerrilla Girls Talk Back. One specifically,

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career." However, it has been suggested that these putative quotes stem from comments in an interview McShine gave to the

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Two members of the Guerrilla Girls join a panel discussion at the Rochester Art Center in 2016 in Rochester, Minnesota

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neighborhoods, which were home to both artists and the commercial galleries that served as their initial targets.

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In 2023, the Guerrilla Girls were featured in the episode "Bodies of Knowledge of the American streaming series

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the Guerrilla Girls' agenda has included sexism and racism in films, mass and popular culture, and politics.

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The group was also activists for equal representation of women in institutional art, and highlighted artist

5030: 3206: 2274: 1977: 704: 342: 3845: 3546:"The Guerrilla Girls' Bedside Companion to the History of Western Art (Penguin Random House Book Listing)" 1918:"Oral history interview with Guerrilla Girls Élisabeth Vigée LeBrun and Liubov Popova." January 19, 2008. 529:, demonstrated that the status of women artists in Turkey was better than in the rest of Europe. In 2007, 4418: 4258: 2358: 1340: 371: 3792:"Guide to the Guerilla Girls Archive, 1985-2010 | MSS.274 | Fales Library and Special Collections | NYU" 1394:, 2012–2017, Columbia College Chicago, Chicago Illinois (traveled to 10 additional venues around the US) 5200: 4726: 4660: 4284: 4279: 2077: 383: 177: 153: 3517: 3500: 3428:"Oral history interview with Guerrilla Girls Jane Bowles and Alma Thomas, 2008 May 8 – Oral Histories" 2629:"Art activists Guerrilla Girls take over the Twin Cities – Women in the World in Association with the 1932: 1401: 644: 5155: 4993: 4816: 4423: 3375: 2662: 1957: 953: 803: 386:

states that proportionately more female artists and fewer nudes are in the 18th century section, and

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To protest the dearth of female directors, the Guerrilla Girls distributed stickers during the 2001

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Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes'

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Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes

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Stein, Gertrude (Summer 2011). "Guerrilla Girls and Guerrilla Girls BroadBand: Inside Story".

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Throughout their existence, the Guerrilla Girls have gained the most attention for their bold

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into focus within the greater arts community and society at large. The Guerrilla Girls employ

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In addition to posting posters around downtown Manhattan, they passed out thousands of small

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explored the fact that most works owned by Venice's historical museums are kept in storage.

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1970s-era tools such as pickets and marches proved ineffective, as evidenced by how easily

224: 166: 4056: 8: 4979: 4948: 4519: 4484: 4228: 2728: 2680: 2430: 1298: 1160: 977: 848: 692: 531: 465:, contributing pieces to a show under the organization's "Protect the Human" initiative. 400: 172: 28: 5129: 4736: 4695: 4549: 4309: 4095: 4007: 3846:"11 Posters Celebrating 30 Years of the Guerrilla Girls – Magazine – Walker Art Center" 3482: 3474: 3211: 2985: 2570: 2526: 2402: 1962: 1661: 1623: 1375: 1345: 1235: 1217:

body, and the large, snarling gorilla head. The addition of the head detracts from the

1156: 1099: 964: 904: 860: 194: 3723: 2426:"Museums & Galleries: Feminism & Art – Guerrilla Girls Raid A Male Stronghold" 2245:"The Guerrilla Girls Talk Back: Exhibited by the National Museum of Women in the Arts" 1869: 1777: 1568: 526: 5024: 4903: 4751: 4741: 4716: 4655: 4474: 4469: 4022: 3987: 3966: 3952: 3938: 3924: 3903: 3791: 3709: 3684: 3678: 3486: 3242: 2957: 2914: 2861: 2706: 2514: 2504: 2111: 1719: 1322: 1238:

who alleged that "the artist in imitating nature only follows Nature's own command".

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The Hysterical Herstory Of Hysteria And How It Was Cured From Ancient Times Until Now

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Organizers with the Guerrilla Girls, Art+Feminism Knowledge Edit-a-thon, Minneapolis

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In the spring of 1985, seven women launched the Guerrilla Girls in response to the

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To begin with, the gorilla in popular culture and media is often associated with

1144: 787: 507: 454: 115: 4665: 3310: 2878:"'Speak Out on Inauguration Day': Words at the Whitney Museum Take Aim at Trump" 2173: 1550: 794:

Three Guerrilla Girls appeared on the Stephen Colbert show on January 14, 2016.

616:

Guerrilla Girls billboard in Los Angeles protesting white male dominance at the

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no matter what you said". Several Guerrilla Girls felt that their second book,

926:"Guerrilla Girls" The Verge Center for the Arts, Sacramento, California (2017) 827: 617: 553: 140: 136: 3154: 2876:

Russeth, Andy Battaglia; Battaglia, Andy; Russeth, Andrew (January 20, 2017).

2567:"Facts, Humor, Fake Fur: The 2016 Guerrilla Girls Twin Cities Takeover – WeDo" 1148: 1120: 903:"Guerrilla Girls: Not Ready to Make Nice, 30 Years and Still Counting", 2015, 802:

Early solo exhibitions included: "The Night the Palladium Apologized" (1985),

5144: 4898: 4832: 4554: 4449: 4317: 4158: 2813: 2793:"From Iceland – The Boys' Club: Men Are Strong And Carry Around Big Cameras?" 2710: 2518: 1074: 676: 637: 557: 536: 424: 319: 1246: 612: 5054: 5048: 4918: 4690: 4509: 4494: 4489: 4464: 4459: 4223: 4148: 4002: 2976: 2724: 2138:

Satirical Warfare: Guerrilla Girls' Performance and Activism from 1985-1995

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nevertheless pertinent to the group's overall message in several key ways.

923:"The Guerrilla Girls and La Barbe", 2016, Gallery mfc-micheledidier, Paris. 742:, a compilation of 50 works plus a self-interview. In 1998, they published 315: 261: 120: 3343:

Richards, Judith Olch; Hurston, Zora Neale; Martin, Agnes (May 17, 2008).

2698: 843:"Not Ready to Make Nice: The Guerrilla Girls in the Art World and Beyond" 5036: 4928: 4923: 4888: 4811: 4771: 4685: 4559: 4514: 4504: 4479: 4428: 2015: 1385: 1266: 1210: 1198: 1136: 1128: 1029: 911: 549: 299: 124: 3478: 711:

on a billboard adjacent to a football stadium to advertise her plan to:

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Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art".

2733: 1140: 840:"Guerrilla Girls" (2007), Hellenic American Union Galleries, Athens, GR 629: 523:

The Future for Turkish Women Artists as Revealed by the Guerrilla Girls

481:, was a poster made to gradually widen their focus, tackling issues of 446: 395: 357: 132: 4011: 3178:"Here Are the Guerrilla Girls on 'The Late Show with Stephen Colbert'" 3020: 1838:"Interview with Guerrilla Girls Rosalba Carriera and Guerrilla Girl 1" 1619:"The Guerrilla Girls, After 3 Decades, Still Rattling Art World Cages" 1523:"Taking it to the Street: the Guerrilla Girls' Struggle for Diversity" 565:

I'm not a feminist, but If I were this is what I'd complain about ...

294:(Beard) meets the Guerrilla Girls at the Palais de Tokyo (Paris, 2013) 4913: 4868: 4766: 4711: 4670: 4499: 3935:

Confessions of the Guerrilla Girls, with an Essay by Whitney Chadwick

2933: 1711:

Confessions of the Guerrilla Girls, with an essay by Whitney Chadwick

1218: 1214: 1190: 1112: 988:(2003–13) campaign. Regarding the former, "Alma Thomas" worried that 498:

Guerrilla Girls wear gorilla masks whenever making public appearances

412: 408: 310: 245: 215: 103: 3963:

The Guerrilla Girls' Bedside Companion to the History of Western Art

2954:

The Guerrilla Girls' Bedside Companion to the History of Western Art

1584:"The Guerrilla Girls' fight against discrimination in the art world" 1372:

Guerrilla Girls: Not Ready to Make Nice, 30 Years and Still Counting

1123:

generally based on dead female artists. Members go by names such as

5094: 5060: 4534: 3984:

Not Ready to Make Nice: Guerrilla Girls in the Art World and Beyond

3239:"Art at the Center: Guerrilla Girls – Calendar – Walker Art Center" 2483: 1019:

The Guerrilla Girls Bedside Companion to the History of Western Art

990:

The Guerrilla Girls Bedside Companion to the History of Western Art

982:

The Guerrilla Girls Bedside Companion to the History of Western Art

949: 744:

The Guerrilla Girls Bedside Companion to the History of Western Art

684: 583: 494: 303: 291: 233: 4605: 4040: 3155:"Guerrilla Girls Talk The History Of Art vs. The History Of Power" 3125:"Guerrilla Girls. Exposición retrospectiva | Bilbao International" 2501:

Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond

1392:

Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond

726:

in Los Angeles and New York City, as well as the J20 event at the

430:

The Guerrilla Girls infiltrated the bathrooms of the newly opened

5000: 4806: 4403: 3621:"Guerrilla girl power: Have America's feminist artists sold out?" 3518:"The Guerrilla Girls, 'estrogen bombs' and exclusionary feminism" 3426:

Richards, Judith Olch; Bowles, Jane; Thomas, Alma (May 8, 2008).

1171: 420: 219: 4019:

Satiric Impersonations: From Aristophanes to the Guerrilla Girls

916:"Not Ready to Make Nice: Guerrilla Girls 1985-2016", 2016–2017, 548:(Disturbing The Peace) poster, whose texts addressed anti-women 4873: 4776: 2121: 870:"The Guerrilla Girls" (2002), Fundacíon Bilbao Arte, Bilbao, ES 655: 99: 95: 4136: 3767:"Collection of the Center for the Study of Political Graphics" 3068: 2415:"Guerrilla Girl Gig", SUNY Stony Brook, New York, October 2016 687:. Between 1992 and 1994, Guerrilla Girl posters addressed the 3647:"School of the Art Institute of Chicago Commencement Address" 3394:"Frida Kahlo, Diego Rivera and the rise of Mexican Modernism" 3073: 2136: 910:"Media Networks: Andy Warhol and the Guerrilla Girls", 2016, 438:

on the walls. In 1998, Guerrilla Girls West protested at the

76: 4090: 3824: 3796:

Fales Library and Special Collections | New York University

3504: 3270: 2336: 1466:"The Guerrilla Girls: 30 years of punking art world sexism" 1447: 1316: 204: 3996:

Raidiza, Kristen. "An Interview with the Guerrilla Girls,

3119: 3117: 2893:"Protesters Demand MoMA Drop Trump Advisor from Its Board" 968:

Anonymous MCAD student protest against the Guerrilla Girls

658:, season 11., in which they presented a new body of work. 4021:. Carbondale: Southern Illinois University Press, 1994. 3979:. London: Warburg Institute, University of London, 1952. 3977:

Apes and Ape-Lore in the Middle Ages and the Renaissance

3592:"Guide to the Guerrilla Girls Archive 1985-2010 MSS.274" 3161:. The Late Show with Stephen Colbert. January 14, 2016. 2593:"11 Posters Celebrating 30 Years of the Guerrilla Girls" 1748:"Guerrilla Girls speak on social injustice, radical art" 959: 276: 3870: 3114: 2875: 786:. To mark the 30th anniversary of the Guerrilla Girls, 16:

Activists protesting sexism and racism in the art world

3568: 3566: 3311:"The Guerrilla Girls: Using Art to Stage a Revolution" 2611:"Guerrilla Girls: giving the art world hell since 85'" 2400:

Carol Vogel. "Subdued Biennale forgoes shock factor".

1163:, identities have only been made public posthumously. 1036:

Girls, Inc." to distinguish their realm from those of

214:

When asked about the masks, the girls answer "We were

3342: 2831: 2083:"Was Picasso a faux communist / Matters of Influence" 1860: 1858: 733: 580:

Do women Have To Be Naked To Get into Boston Museums?

4371:

Heresies: A Feminist Publication on Art and Politics

4080:

Guerrilla Girls: "You have to question what you see"

3923:. San Francisco, California: Chronicle Books, 2020. 3706:

Apes and Ape Lore in the Renaissance and Middle Ages

3425: 3563: 2981:"Masks Still in Place but Firmly in the Mainstream" 1382:

Media Networks: Andy Warhol and the Guerrilla Girls

3652:. Guerrillagirls.com. May 22, 2010. Archived from 2749:"NEA, Valdez, Guerilla Girls, S. Lacy, Billboards" 2547:"Guerrilla Girls launch art protest targeting MFA" 2081: 1855: 1197:And last, but not least, be a great ape. In 1917, 1181:was influential to the concept of a Guerilla Girl. 847:(2012–2017) Traveled to Monserrat College of Art; 502:In 2005, the group exhibited large-format posters 394:, that it took centuries in Greek antiquity until 1905:Chave, Anna C. "The Guerrilla Girls' Reckoning." 419:supported by the New York City Public Art Fund. 5142: 5105:List of culture jamming organizations and people 2168: 2166: 1077:; Public Works: Artists' Interventions 1970s–Now 881:On the heels of "Not Ready to Make Nice" were: 3376:"No No's: Guerrilla Girls at the State Theatre" 2141:(MA thesis). University of Wisconsin–Milwaukee. 2110:(excerpt). Profile books/Liveright Publishing. 1581: 1348:, Sweden. September 29, 2018 – January 27, 2019 806:; "Guerrilla Girls Review the Whitney" (1987), 4853:Reverend Billy and the Church of Stop Shopping 3261: 3259: 3195: 2808: 2806: 2498: 2333:"'We Sell White Bread', Guerrilla Girls, 1987" 1209:The gorilla is also typically associated with 544:, the University of Quebec commissioned their 4621: 4122: 3231: 2219:!Women Art Revolution – Spotlight at Stanford 2163: 1978:"13 Artists Who Highlight the Power of Words" 661: 4209:Elizabeth A. Sackler Center for Feminist Art 4075:Elizabeth A. Sackler Center for Feminist Art 3742:"Center for the Study of Political Graphics" 1714:. New York: Harper Perennial. 1995. p. 1657:"A Living Artists Show at the Modern Museum" 1335: 891:"Art at the Center: Guerrilla Girls", 2016, 695:(done for the march on Washington in 1992), 442:, over low representation of women artists. 376:Prints: Revolution, Resistance, and Activism 135:, as well as writers and activists, such as 5206:International artist groups and collectives 4387:Why Have There Been No Great Women Artists? 4187:New York School of Applied Design for Women 3256: 3069:"Guerrilla Girls Conferencia / Performance" 2803: 2444: 761:. MFC-Michèle Didier published it in 2016. 184:Comments attributed to the show's curator, 4628: 4614: 4138:Feminist art movement in the United States 4129: 4115: 2681:"The Guerrilla Girls' Complete chronology" 2531:: CS1 maint: location missing publisher ( 2445:Falkenstein, Michelle (November 1, 2000). 2190:. Amnesty International UK. Archived from 1741: 1739: 1737: 1735: 1545: 1543: 1420:Feminist art movement in the United States 1289:Center for the Study of Political Graphics 897:"Front Room: Guerrilla Girls", 2016–2017, 27: 3921:Guerilla Girls: the art of behaving badly 3226:"Guerrilla Girls, 18 June – 18 July 2021" 2890: 2215:"Artist, Curator & Critic Interviews" 1366:Guerrilla Girls: Exposición Retrospectiva 1269:overwrote the 1988 Gorilla Girls' poster 755:The Guerrilla Girl's Museum Activity Book 590:, the Guerrilla Girls updated their 2003 459:Witte de With Center for Contemporary Art 4175:American Association of University Women 2773:. Art-for-a-change.com. February 5, 2006 1866:"Guerrilla Girls Bare All: An Interview" 1835: 1831: 1829: 1827: 1825: 1823: 1821: 1339: 1245: 1170: 1098: 1068: 1023: 963: 885:"The Male Graze: Guerilla Girls", 2021, 772: 611: 493: 341: 285: 171: 3165:from the original on December 12, 2021. 2035: 1732: 1654: 1612: 1610: 1608: 1606: 1551:"Guerrilla Girls | Artist Profile" 1540: 1521:Cordova, Ruben C. (November 28, 2021). 1520: 1460: 1368:, 2013, Alhóndiga Bilbao, Bilbao, Spain 236:also represents a major group concern. 5211:American artist groups and collectives 5143: 4787:Society for Indecency to Naked Animals 4063:, Los Angeles. Accession No. 2008.M.14 3937:. New York City: HarperCollins, 1995. 3338: 3336: 3334: 3332: 3201: 3175: 2327: 2325: 2269: 2267: 2265: 2134: 1745: 1648: 1344:Guerrilla Girls Portfolio Exhibition, 1276: 1271:The Advantages of Being a Woman Artist 784:School of the Art Institute of Chicago 512:Where Are the Women Artists of Venice? 461:(2007). They have also partnered with 4609: 4334:WACK! Art and the Feminist Revolution 4181:National Association of Women Artists 4110: 4100:a video from a talk presented at the 3902:. Montreal: Galerie de l'UQAM, 2010. 3900:Guerrilla Girls: Disturbing the Peace 3703: 3683:. London: Penguin. 2003. p. 46. 3618: 3614: 3612: 3584: 3515: 3454: 3450: 3448: 3421: 3419: 3417: 3415: 3369: 3367: 3365: 3267:"Andy Warhol and the Guerrilla Girls" 2951: 2891:Vartanian, Hrag (February 23, 2017). 2299: 2297: 2295: 2212: 2102: 2076: 1975: 1901: 1899: 1897: 1895: 1893: 1891: 1889: 1887: 1818: 1616: 1516: 1514: 1512: 1510: 1508: 1362:, 1987, The Clocktower, New York City 1295:Fales Library and Special Collections 997:Minneapolis College of Art and Design 960:Second-wave feminism and essentialism 489: 277:Work: actions, posters and billboards 269:could ignore 200 protestors from the 94:, female artists devoted to fighting 5216:1985 establishments in New York City 5171:Organizations based in New York City 4275:The Women's Building (San Francisco) 4234:National Museum of Women in the Arts 4097:The Feminist Future: Guerrilla Girls 3809: 3712:, University of London. p. 291. 3373: 2723: 2663:"The Guerrilla Girls Take Minnesota" 2356: 1603: 1506: 1504: 1502: 1500: 1498: 1496: 1494: 1492: 1490: 1488: 1166: 1094: 1011: 873:"Guerrilla Girls: Takeover" (2021), 578:In 2012, an advertising truck towed 5191:20th-century American women artists 4635: 3329: 2998: 2499:Page-Lieberman, Neysa, ed. (2012). 2322: 2305:"We sell white bread (2012-143.17)" 2262: 2225:from the original on March 26, 2018 1655:Brenson, Michael (April 21, 1984). 1398:GUERRILLA GIRLS: GRÁFICA, 1985-2017 730:and the Fire Fink protest at MoMA. 709:Even Michele Bachman believes. ... 468:They were interviewed for the film 152:rather than art. Historically, the 13: 4265:Women's Art Resources of Minnesota 3892: 3609: 3445: 3412: 3386: 3362: 3001:"Bitches, Bimbos and Ballbreakers" 2911:Confessions of the Guerrilla Girls 2292: 1933:"Brooklyn Museum: Guerrilla Girls" 1884: 1360:Guerrilla Girls Review the Whitney 1305:Madison Museum of Contemporary Art 740:Confessions of the Guerrilla Girls 734:Work: publications and merchandise 14: 5232: 4597:Feminist movements and ideologies 4032: 3501:"Guerrilla Girls Stumble at MCAD" 3176:Miller, M.H. (January 14, 2016). 1868:. Guerrilla Girls. Archived from 1802:. Guerrilla Girls. Archived from 1776:. Guerrilla Girls. Archived from 1582:Bettina Baumann (March 8, 2017). 1485: 1273:with their own messages in 2007. 671:. Those criticized have included 3863: 3746:collection-politicalgraphics.org 3516:Jones, Hannah (April 20, 2016). 1976:Cohen, Alina (January 5, 2019). 1617:Ryzik, Melena (August 5, 2015). 972:Emerging at the tail end of the 930: 810:; and "Guerrilla Girls" (1995), 764: 748:Bitches, Bimbos and Ballbreakers 647:, the Guerrilla Girls displayed 504:Welcome to the Feminist Biennale 4782:Sisters of Perpetual Indulgence 4239:New York Feminist Art Institute 3838: 3784: 3759: 3734: 3716: 3697: 3671: 3639: 3538: 3509: 3493: 3303: 3289: 3219: 3169: 3147: 3089: 3061: 3035: 3013: 2992: 2970: 2945: 2927: 2903: 2884: 2869: 2849: 2824: 2785: 2771:"Guerrilla Girls vs. King Kong" 2763: 2741: 2717: 2691: 2673: 2655: 2621: 2603: 2585: 2559: 2539: 2492: 2471: 2453: 2438: 2418: 2409: 2394: 2376: 2350: 2237: 2206: 2180: 2145: 2128: 2096: 2070: 2029: 2004: 1995: 1969: 1950: 1925: 1912: 1792: 1766: 1702: 1676: 656:Art in the Twenty-First Century 594:poster, which had premiered in 398:created the first female nude, 4722:Barbie Liberation Organization 4586:Women in the art history field 4270:Woman's Building (Los Angeles) 3471:10.1080/00043249.2011.10791003 3021:"Books by the Guerrilla Girls" 2939:The New York Times Book Review 2479:"Guerrilla Girls Plant a Bomb" 2135:Rhyner, Stephanie (May 2015). 1836:Richards, Judith Olch (2007). 1631: 1575: 1557: 1454: 1436: 1329:Whitney Museum of American Art 1081: 835:Mason Gross School of the Arts 826:"Guerrilla Girls: 1985-2013", 797: 407:In 1990, the group designed a 1: 5151:American contemporary artists 5043:Max Headroom signal hijacking 4254:Washington Women's Art Center 4014:. Accessed February 27, 2013. 3982:Page-Lieberman, Neysa (ed.). 3503:, Radio Program, 2016-05-31, 2108:Civilisations: How Do We Look 1430: 984:(1998) and the controversial 974:second-wave feminist movement 952:, silencing, disrespect, and 863:; North Michigan University: 607: 434:, placing stickers regarding 427:representative of the group. 392:Civilisations: How Do We Look 362:Jean-Auguste-Dominique Ingres 255: 4294:Exhibitions or installations 3728:The Art Institute of Chicago 3619:Adams, Guy (April 8, 2009). 3499:Cherneff, Lila, 2015-12-28, 1201:wrote a short story titled " 935: 542:École Polytechnique massacre 281: 252:and racism within the arts. 47:New York City, United States 7: 4419:Women Artists in Revolution 4259:Women Artists in Revolution 3627:. Independent Print Limited 3129:www.bilbaointernational.com 3043:"Guerrilla Girls 1985-2015" 1408: 1119:Guerrilla Girls' names are 1073:Guerrilla Girls display at 724:Women's March on Washington 586:to participate in the 2013 10: 5237: 4727:Billboard Liberation Front 4661:Broadcast signal intrusion 4000:, and the Toxic Titties". 3575:. "Girls Behaving Badly", 2713:– via Open WorldCat. 2012:"Guerilla Girls Talk Back" 1922:. Smithsonian Institution. 1252:The Advantages of Being a 689:1992 presidential election 662:Politics and social issues 582:around Boston. Invited by 415:that was placed along the 178:Victoria and Albert Museum 154:Metropolitan Museum of Art 146: 5082: 5031:Saint Stupid's Day Parade 5017: 4994:Temporary Autonomous Zone 4973:Schrödinger's Cat Trilogy 4957: 4861: 4825: 4704: 4643: 4594: 4573: 4437: 4396: 4362: 4344: 4293: 4196: 4167: 4144: 4085:October 19, 2018, at the 3965:. London: Penguin, 1998. 3951:. London: Penguin, 2003. 3374:Lodu, Mary (March 2016). 3097:"Guerrillas in Our Midst" 2952:Girls, Guerrilla (1998). 2913:. HarperPerennial. 1995. 2051:(8): 21–2. Archived from 1909:70.2 (2011): 102-11. Web. 1565:"Guerilla Girls Bare All" 1336:Other notable exhibitions 1291:, Culver City, California 1241: 1038:Guerrilla Girls BroadBand 816:Career surveys include: 804:Palladium (New York City) 390:writes in her 2018 book, 248:where they perceived it. 90:is an anonymous group of 71: 61: 51: 43: 35: 26: 5176:Culture of New York City 4966:The Illuminatus! Trilogy 4581:List of feminist artists 4379:The Feminist Art Journal 4061:Getty Research Institute 4052:Archives of American Art 3998:Dyke Action Machine DAM! 3523:Twin Cities Daily Planet 3432:Archives of American Art 3349:Archives of American Art 2188:"Press releases in 2014" 1920:Archives of American Art 1842:Archives of American Art 1388:, London, United Kingdom 1325:, Minneapolis, Minnesota 1283:Art Institute of Chicago 1089:Getty Research Institute 845:Columbia College Chicago 632:invited them to present 5067:Portland Urban Iditarod 4838:Church of the SubGenius 4797:Veterans of Future Wars 4676:Guerrilla communication 4285:Women's Studio Workshop 4280:Women's Interart Center 4197:Venues or organizations 2797:The Reykjavik Grapevine 2309:artmuseum.princeton.edu 2036:Tallman, Susan (1991). 1966:blog, January 24, 2006. 1746:Cooper, Ashton (2010). 1425:Guerrilla Girls On Tour 1402:São Paulo Museum of Art 1042:Guerrilla Girls On Tour 899:Baltimore Museum of Art 875:Nasher Sculpture Center 707:, they displayed their 645:Reykjavík Arts Festival 563:In 2009, they launched 537:Mall in Washington, DC. 176:Guerrilla Girls at the 5221:Women in New York City 5073:Pillow fight flash mob 4939:Kerry Wendell Thornley 4909:Malaclypse the Younger 4424:Women's Caucus for Art 4345:Films or documentaries 4219:Feminist Art Coalition 4057:Guerilla Girls records 2089:The Weekend Australian 1937:www.brooklynmuseum.org 1415:Feminist art criticism 1349: 1262: 1228: 1207: 1203:A Report to an Academy 1182: 1104: 1091:house their archives. 1078: 1060:Judge Louis L. Stanton 1032: 969: 865:Stony Brook University 822:San Rafael, California 778: 713:ban same-sex marriages 701:1992 Los Angeles riots 697:gay and lesbian rights 626:Sundance Film Festival 621: 499: 440:San José Museum of Art 432:Guggenheim Museum SoHo 423:also became a popular 352: 340: 295: 290:French feminist group 271:Women's Caucus for Art 181: 5186:Collective pseudonyms 4987:Book of the SubGenius 4732:Billionaires for Bush 4353:!Women Art Revolution 4154:Feminist art movement 4089:, video interview by 3704:Jason, H. W. (1952). 3205:(February 10, 1995). 3135:on September 21, 2016 2503:. Chicago, Illinois. 2174:"April 2, 2001 Issue" 1343: 1249: 1224: 1195: 1174: 1102: 1072: 1027: 967: 857:Georgia Museum of Art 776: 728:Whitney Museum of Art 615: 497: 483:racial discrimination 471:!Women Art Revolution 463:Amnesty International 451:Fundación Bilbao Arte 345: 335: 289: 175: 4102:Museum of Modern Art 3730:. November 19, 2022. 3550:Penguin Random House 3297:"Collection Landing" 2753:www.juliethebolt.net 2727:(February 8, 2001). 2705:. November 1, 2021. 2573:on February 23, 2017 2194:on February 13, 2012 1800:"Interview Magazine" 1754:. Columbia Spectator 1690:. September 20, 2018 1571:on January 13, 2014. 1311:Museum of Modern Art 853:Fairfield University 812:Printed Matter, Inc. 679:, and most recently 167:Museum of Modern Art 4980:Principia Discordia 4949:Robert Anton Wilson 4485:Helen Frankenthaler 4229:Lesbian Art Project 4006:. 1 (2007): 39–48. 3916:. 3 (2007): 166–89. 2979:(January 4, 2004). 2865:. October 19, 2012. 2669:. January 21, 2016. 2643:on January 16, 2016 2637:nytlive.nytimes.com 2617:. February 1, 2016. 2431:The Washington Post 2279:collection.cmoa.org 2080:(August 20, 2022). 1872:on January 13, 2014 1780:on January 13, 2014 1404:, São Paulo, Brazil 1384:, (display), 2016, 1356:, 2018, Los Angeles 1299:New York University 1285:, Chicago, Illinois 1277:Notable collections 849:Krannert Art Museum 693:reproductive rights 532:The Washington Post 479:We Sell White Bread 401:Aphrodite of Knidos 23: 5130:Operation Mindfuck 4737:The Bubble Project 4696:Tactical frivolity 4550:Carolee Schneemann 4310:Three Weeks in May 3933:Guerrilla Girls. 3898:Boucher, Melanie. 3659:on October 5, 2013 3400:. October 24, 2019 3212:The New York Times 3077:. February 9, 2015 3049:. January 30, 2015 2986:The New York Times 2759:on March 25, 2012. 2403:The New York Times 2357:Robinson, Walter. 2078:Allen, Christopher 1963:The New York Times 1662:The New York Times 1624:The New York Times 1464:(April 29, 2015). 1354:Beyond the Streets 1350: 1346:Mjellby Art Museum 1263: 1236:Giovanni Boccaccio 1183: 1157:Rainer Maria Rilke 1153:Letters on Cézanne 1105: 1079: 1033: 970: 905:Abrons Arts Center 779: 649:National Film Quiz 622: 525:, commissioned by 521:Their 2006 poster 518:them from inside. 500: 490:Public commissions 353: 296: 182: 63:Official language 21: 5201:Anonymous artists 5138: 5137: 5025:Notre-Dame Affair 4752:Improv Everywhere 4742:Cacophony Society 4656:Billboard hacking 4603: 4602: 4475:Mary Beth Edelson 4470:Elaine de Kooning 4318:The Sister Chapel 4027:978-0-8093-1868-1 4017:Schechter, Joel. 3971:978-0-14-025997-1 3961:Guerrilla Girls. 3957:978-0-14-200101-1 3947:Guerrilla Girls. 3850:www.walkerart.org 3817:"Guerrilla Girls" 3771:www.oac.cdlib.org 3724:"Guerrilla Girls" 3710:Warburg Institute 3690:978-0-14-200101-1 3243:Walker Art Center 3228:, artnight.org.uk 3101:Women Make Movies 3023:. Guerrilla Girls 2862:Los Angeles Times 2729:"The West Indies" 2275:"CMOA Collection" 2159:. April 29, 1998. 2153:"Masking for Art" 2092:. pp. 14–15. 2038:"Guerrilla Girls" 1958:"Women in Chains" 1806:on August 5, 2014 1639:"MoMA Fact Sheet" 1444:"Guerrilla Girls" 1376:Abron Arts Center 1323:Walker Art Center 1232:ars simia naturae 1167:Gorilla symbolism 1095:Members and names 1012:Internal disputes 1008:into their work. 1006:intersectionality 999:criticized their 893:Walker Art Center 861:DePauw University 634:Birth of Feminism 596:The Village Voice 588:Meltdown Festival 546:Troubler Le Repos 436:female inequality 417:West Side Highway 384:Christopher Allen 112:racial inequality 85: 84: 5228: 5156:Feminist artists 5100:Critique of work 5090:Anti-consumerism 4884:Captain Midnight 4762:Merry Pranksters 4651:Art intervention 4630: 4623: 4616: 4607: 4606: 4545:Rachel Rosenthal 4520:Georgia O'Keeffe 4455:Louise Bourgeois 4326:The Dinner Party 4131: 4124: 4117: 4108: 4107: 4044: 4043: 4041:Official website 3919:Guerilla Girls. 3887: 3886: 3884: 3882: 3867: 3861: 3860: 3858: 3856: 3842: 3836: 3835: 3833: 3831: 3813: 3807: 3806: 3804: 3802: 3788: 3782: 3781: 3779: 3777: 3763: 3757: 3756: 3754: 3752: 3738: 3732: 3731: 3720: 3714: 3713: 3701: 3695: 3694: 3675: 3669: 3668: 3666: 3664: 3658: 3651: 3643: 3637: 3636: 3634: 3632: 3616: 3607: 3606: 3604: 3602: 3588: 3582: 3570: 3561: 3560: 3558: 3556: 3542: 3536: 3535: 3533: 3531: 3513: 3507: 3497: 3491: 3490: 3452: 3443: 3442: 3440: 3438: 3423: 3410: 3409: 3407: 3405: 3390: 3384: 3383: 3371: 3360: 3359: 3357: 3355: 3340: 3327: 3326: 3324: 3322: 3317:. August 6, 2020 3307: 3301: 3300: 3293: 3287: 3286: 3284: 3282: 3273:. Archived from 3263: 3254: 3253: 3251: 3249: 3235: 3229: 3223: 3217: 3216: 3199: 3193: 3192: 3190: 3188: 3173: 3167: 3166: 3151: 3145: 3144: 3142: 3140: 3131:. Archived from 3121: 3112: 3111: 3109: 3107: 3093: 3087: 3086: 3084: 3082: 3065: 3059: 3058: 3056: 3054: 3039: 3033: 3032: 3030: 3028: 3017: 3011: 3010: 2996: 2990: 2974: 2968: 2967: 2949: 2943: 2936:. "Art Attack". 2931: 2925: 2924: 2907: 2901: 2900: 2888: 2882: 2881: 2873: 2867: 2866: 2853: 2847: 2846: 2844: 2842: 2828: 2822: 2821: 2810: 2801: 2800: 2799:. June 24, 2015. 2789: 2783: 2782: 2780: 2778: 2767: 2761: 2760: 2755:. Archived from 2745: 2739: 2738: 2721: 2715: 2714: 2695: 2689: 2688: 2677: 2671: 2670: 2659: 2653: 2652: 2650: 2648: 2639:. Archived from 2625: 2619: 2618: 2607: 2601: 2600: 2589: 2583: 2582: 2580: 2578: 2569:. Archived from 2563: 2557: 2556: 2552:The Boston Globe 2543: 2537: 2536: 2530: 2522: 2496: 2490: 2489: 2488:. June 19, 2013. 2475: 2469: 2468: 2457: 2451: 2450: 2442: 2436: 2435: 2422: 2416: 2413: 2407: 2398: 2392: 2391: 2380: 2374: 2373: 2371: 2369: 2359:"Festive Venice" 2354: 2348: 2347: 2345: 2343: 2329: 2320: 2319: 2317: 2315: 2301: 2290: 2289: 2287: 2285: 2271: 2260: 2259: 2257: 2255: 2241: 2235: 2234: 2232: 2230: 2210: 2204: 2203: 2201: 2199: 2184: 2178: 2177: 2176:. April 2, 2001. 2170: 2161: 2160: 2149: 2143: 2142: 2132: 2126: 2125: 2100: 2094: 2093: 2085: 2074: 2068: 2067: 2065: 2063: 2057: 2042: 2033: 2027: 2026: 2024: 2022: 2008: 2002: 1999: 1993: 1992: 1990: 1988: 1973: 1967: 1954: 1948: 1947: 1945: 1943: 1929: 1923: 1916: 1910: 1903: 1882: 1881: 1879: 1877: 1862: 1853: 1852: 1850: 1848: 1833: 1816: 1815: 1813: 1811: 1796: 1790: 1789: 1787: 1785: 1770: 1764: 1763: 1761: 1759: 1743: 1730: 1729: 1706: 1700: 1699: 1697: 1695: 1680: 1674: 1673: 1671: 1669: 1652: 1646: 1645: 1643: 1635: 1629: 1628: 1614: 1601: 1600: 1598: 1596: 1579: 1573: 1572: 1567:. Archived from 1561: 1555: 1554: 1547: 1538: 1537: 1535: 1533: 1518: 1483: 1482: 1480: 1478: 1458: 1452: 1451: 1440: 1319:, United Kingdom 1133:Rosalba Carriera 1109:contemporary art 1050:Erika Rothenberg 887:Museum of London 877:, Dallas, Texas. 753:Their 2004 book 681:Michele Bachmann 643:During the 2015 573:Chicago Museums 367:Grande Odalisque 351:(1814) by Ingres 348:Grande Odalisque 327:Louise Bourgeois 186:Kynaston McShine 81: 78: 31: 24: 20: 5236: 5235: 5231: 5230: 5229: 5227: 5226: 5225: 5196:Political masks 5181:Culture jamming 5161:Feminist theory 5141: 5140: 5139: 5134: 5110:Performance art 5078: 5013: 5008:Steal This Book 4953: 4857: 4848:Psychogeography 4821: 4792:Space Hijackers 4757:Luther Blissett 4747:Guerrilla Girls 4700: 4639: 4637:Culture jamming 4634: 4604: 4599: 4590: 4569: 4530:Louise Nevelson 4433: 4409:Guerrilla Girls 4392: 4358: 4340: 4289: 4249:tArt Collective 4213:Brooklyn Museum 4192: 4163: 4140: 4135: 4087:Wayback Machine 4071:Brooklyn Museum 4067:Guerrilla Girls 4039: 4038: 4035: 3895: 3893:Further reading 3890: 3880: 3878: 3877:(in Portuguese) 3869: 3868: 3864: 3854: 3852: 3844: 3843: 3839: 3829: 3827: 3815: 3814: 3810: 3800: 3798: 3790: 3789: 3785: 3775: 3773: 3765: 3764: 3760: 3750: 3748: 3740: 3739: 3735: 3722: 3721: 3717: 3702: 3698: 3691: 3677: 3676: 3672: 3662: 3660: 3656: 3649: 3645: 3644: 3640: 3630: 3628: 3625:The Independent 3617: 3610: 3600: 3598: 3590: 3589: 3585: 3581:. May 30, 2005. 3571: 3564: 3554: 3552: 3544: 3543: 3539: 3529: 3527: 3526:. Adaobi Okolue 3514: 3510: 3498: 3494: 3453: 3446: 3436: 3434: 3424: 3413: 3403: 3401: 3392: 3391: 3387: 3372: 3363: 3353: 3351: 3341: 3330: 3320: 3318: 3309: 3308: 3304: 3295: 3294: 3290: 3280: 3278: 3277:on May 15, 2016 3265: 3264: 3257: 3247: 3245: 3237: 3236: 3232: 3224: 3220: 3207:"Art in Review" 3203:Cotter, Holland 3200: 3196: 3186: 3184: 3174: 3170: 3153: 3152: 3148: 3138: 3136: 3123: 3122: 3115: 3105: 3103: 3095: 3094: 3090: 3080: 3078: 3067: 3066: 3062: 3052: 3050: 3041: 3040: 3036: 3026: 3024: 3019: 3018: 3014: 2999:Zeisler, Andi. 2997: 2993: 2975: 2971: 2964: 2950: 2946: 2942:. July 30, 1995 2932: 2928: 2921: 2909: 2908: 2904: 2889: 2885: 2874: 2870: 2855: 2854: 2850: 2840: 2838: 2830: 2829: 2825: 2818:Guerrilla Girls 2812: 2811: 2804: 2791: 2790: 2786: 2776: 2774: 2769: 2768: 2764: 2747: 2746: 2742: 2722: 2718: 2697: 2696: 2692: 2685:Guerrilla Girls 2679: 2678: 2674: 2661: 2660: 2656: 2646: 2644: 2627: 2626: 2622: 2609: 2608: 2604: 2591: 2590: 2586: 2576: 2574: 2565: 2564: 2560: 2545: 2544: 2540: 2524: 2523: 2511: 2497: 2493: 2477: 2476: 2472: 2459: 2458: 2454: 2443: 2439: 2424: 2423: 2419: 2414: 2410: 2406:. June 13, 2005 2399: 2395: 2390:. June 2, 2005. 2382: 2381: 2377: 2367: 2365: 2355: 2351: 2341: 2339: 2331: 2330: 2323: 2313: 2311: 2303: 2302: 2293: 2283: 2281: 2273: 2272: 2263: 2253: 2251: 2243: 2242: 2238: 2228: 2226: 2211: 2207: 2197: 2195: 2186: 2185: 2181: 2172: 2171: 2164: 2151: 2150: 2146: 2133: 2129: 2118: 2101: 2097: 2075: 2071: 2061: 2059: 2058:on July 2, 2013 2055: 2040: 2034: 2030: 2020: 2018: 2010: 2009: 2005: 2000: 1996: 1986: 1984: 1974: 1970: 1955: 1951: 1941: 1939: 1931: 1930: 1926: 1917: 1913: 1904: 1885: 1875: 1873: 1864: 1863: 1856: 1846: 1844: 1834: 1819: 1809: 1807: 1798: 1797: 1793: 1783: 1781: 1772: 1771: 1767: 1757: 1755: 1744: 1733: 1726: 1708: 1707: 1703: 1693: 1691: 1682: 1681: 1677: 1667: 1665: 1653: 1649: 1641: 1637: 1636: 1632: 1615: 1604: 1594: 1592: 1580: 1576: 1563: 1562: 1558: 1549: 1548: 1541: 1531: 1529: 1519: 1486: 1476: 1474: 1459: 1455: 1442: 1441: 1437: 1433: 1411: 1378:, New York City 1338: 1331:, New York City 1313:, New York City 1301:, New York City 1279: 1258: 1255: 1244: 1169: 1145:Julia de Burgos 1097: 1084: 1014: 962: 938: 933: 800: 788:Matadero Madrid 767: 736: 717:voter ID checks 664: 610: 527:İstanbul Modern 508:Venice Biennale 492: 455:Istanbul Modern 284: 279: 258: 218:before we were 149: 116:culture jamming 88:Guerrilla Girls 75: 64: 54: 22:Guerrilla Girls 17: 12: 11: 5: 5234: 5224: 5223: 5218: 5213: 5208: 5203: 5198: 5193: 5188: 5183: 5178: 5173: 5168: 5163: 5158: 5153: 5136: 5135: 5133: 5132: 5127: 5125:Surreal humour 5122: 5117: 5112: 5107: 5102: 5097: 5092: 5086: 5084: 5080: 5079: 5077: 5076: 5070: 5064: 5058: 5052: 5046: 5040: 5034: 5028: 5021: 5019: 5015: 5014: 5012: 5011: 5004: 4997: 4990: 4983: 4976: 4969: 4961: 4959: 4955: 4954: 4952: 4951: 4946: 4941: 4936: 4931: 4926: 4921: 4916: 4911: 4906: 4901: 4896: 4891: 4889:Captain Crunch 4886: 4881: 4879:Reverend Billy 4876: 4871: 4865: 4863: 4859: 4858: 4856: 4855: 4850: 4845: 4840: 4835: 4829: 4827: 4823: 4822: 4820: 4819: 4814: 4809: 4804: 4799: 4794: 4789: 4784: 4779: 4774: 4769: 4764: 4759: 4754: 4749: 4744: 4739: 4734: 4729: 4724: 4719: 4714: 4708: 4706: 4702: 4701: 4699: 4698: 4693: 4688: 4683: 4678: 4673: 4668: 4663: 4658: 4653: 4647: 4645: 4641: 4640: 4633: 4632: 4625: 4618: 4610: 4601: 4600: 4595: 4592: 4591: 4589: 4588: 4583: 4577: 4575: 4571: 4570: 4568: 4567: 4562: 4557: 4552: 4547: 4542: 4540:M. C. Richards 4537: 4532: 4527: 4525:Barbara Kruger 4522: 4517: 4512: 4507: 4502: 4497: 4492: 4487: 4482: 4477: 4472: 4467: 4462: 4457: 4452: 4447: 4445:Alison Bechdel 4441: 4439: 4435: 4434: 4432: 4431: 4426: 4421: 4416: 4414:The Waitresses 4411: 4406: 4400: 4398: 4394: 4393: 4391: 4390: 4383: 4375: 4366: 4364: 4360: 4359: 4357: 4356: 4348: 4346: 4342: 4341: 4339: 4338: 4330: 4322: 4314: 4306: 4297: 4295: 4291: 4290: 4288: 4287: 4282: 4277: 4272: 4267: 4262: 4256: 4251: 4246: 4244:SOHO20 Gallery 4241: 4236: 4231: 4226: 4221: 4216: 4206: 4204:A.I.R. Gallery 4200: 4198: 4194: 4193: 4191: 4190: 4184: 4178: 4171: 4169: 4165: 4164: 4162: 4161: 4156: 4151: 4145: 4142: 4141: 4134: 4133: 4126: 4119: 4111: 4105: 4104: 4093: 4077: 4064: 4054: 4045: 4034: 4033:External links 4031: 4030: 4029: 4015: 3994: 3980: 3973: 3959: 3945: 3931: 3917: 3910: 3894: 3891: 3889: 3888: 3862: 3837: 3808: 3783: 3758: 3733: 3715: 3696: 3689: 3670: 3638: 3608: 3583: 3578:The New Yorker 3573:Jeffrey Toobin 3562: 3537: 3508: 3492: 3444: 3411: 3385: 3361: 3328: 3302: 3288: 3255: 3230: 3218: 3194: 3168: 3146: 3113: 3088: 3060: 3047:MataderoMadrid 3034: 3012: 2991: 2969: 2962: 2944: 2926: 2919: 2902: 2883: 2868: 2848: 2823: 2802: 2784: 2762: 2740: 2716: 2699:"Planet pussy" 2690: 2672: 2654: 2631:New York Times 2620: 2602: 2584: 2558: 2538: 2510:978-0929911434 2509: 2491: 2470: 2452: 2437: 2417: 2408: 2393: 2375: 2349: 2321: 2291: 2261: 2236: 2213:Anon. (2018). 2205: 2179: 2162: 2144: 2127: 2117:978-1781259993 2116: 2095: 2069: 2028: 2003: 1994: 1968: 1956:Carpetbagger: 1949: 1924: 1911: 1883: 1854: 1817: 1791: 1765: 1731: 1724: 1701: 1675: 1647: 1630: 1602: 1589:Deutsche Welle 1574: 1556: 1539: 1484: 1453: 1434: 1432: 1429: 1428: 1427: 1422: 1417: 1410: 1407: 1406: 1405: 1395: 1389: 1379: 1369: 1363: 1357: 1337: 1334: 1333: 1332: 1326: 1320: 1314: 1308: 1302: 1292: 1286: 1278: 1275: 1256: 1253: 1243: 1240: 1175:The 1933 film 1168: 1165: 1125:Käthe Kollwitz 1096: 1093: 1083: 1080: 1046:Jerilea Zempel 1013: 1010: 961: 958: 937: 934: 932: 929: 928: 927: 924: 921: 914: 908: 901: 895: 889: 879: 878: 871: 868: 841: 838: 831: 828:Azkuna Zentroa 824: 808:Clocktower PS1 799: 796: 782:speech at the 766: 763: 735: 732: 663: 660: 609: 606: 554:Ancient Greece 491: 488: 411:featuring the 283: 280: 278: 275: 257: 254: 195:New York Times 191: 148: 145: 141:Harriet Tubman 137:Gertrude Stein 129:Käthe Kollwitz 83: 82: 77:guerrillagirls 73: 69: 68: 65: 62: 59: 58: 55: 53:Region served 52: 49: 48: 45: 41: 40: 37: 33: 32: 15: 9: 6: 4: 3: 2: 5233: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5187: 5184: 5182: 5179: 5177: 5174: 5172: 5169: 5167: 5166:Political art 5164: 5162: 5159: 5157: 5154: 5152: 5149: 5148: 5146: 5131: 5128: 5126: 5123: 5121: 5118: 5116: 5113: 5111: 5108: 5106: 5103: 5101: 5098: 5096: 5093: 5091: 5088: 5087: 5085: 5081: 5074: 5071: 5068: 5065: 5062: 5059: 5056: 5053: 5050: 5047: 5044: 5041: 5038: 5035: 5032: 5029: 5026: 5023: 5022: 5020: 5016: 5010: 5009: 5005: 5003: 5002: 4998: 4996: 4995: 4991: 4989: 4988: 4984: 4982: 4981: 4977: 4975: 4974: 4970: 4968: 4967: 4963: 4962: 4960: 4956: 4950: 4947: 4945: 4942: 4940: 4937: 4935: 4932: 4930: 4927: 4925: 4922: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4900: 4899:Abbie Hoffman 4897: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4867: 4866: 4864: 4860: 4854: 4851: 4849: 4846: 4844: 4841: 4839: 4836: 4834: 4833:Discordianism 4831: 4830: 4828: 4824: 4818: 4815: 4813: 4810: 4808: 4805: 4803: 4800: 4798: 4795: 4793: 4790: 4788: 4785: 4783: 4780: 4778: 4775: 4773: 4770: 4768: 4765: 4763: 4760: 4758: 4755: 4753: 4750: 4748: 4745: 4743: 4740: 4738: 4735: 4733: 4730: 4728: 4725: 4723: 4720: 4718: 4715: 4713: 4710: 4709: 4707: 4703: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4652: 4649: 4648: 4646: 4642: 4638: 4631: 4626: 4624: 4619: 4617: 4612: 4611: 4608: 4598: 4593: 4587: 4584: 4582: 4579: 4578: 4576: 4572: 4566: 4563: 4561: 4558: 4556: 4555:Cindy Sherman 4553: 4551: 4548: 4546: 4543: 4541: 4538: 4536: 4533: 4531: 4528: 4526: 4523: 4521: 4518: 4516: 4513: 4511: 4508: 4506: 4503: 4501: 4498: 4496: 4493: 4491: 4488: 4486: 4483: 4481: 4478: 4476: 4473: 4471: 4468: 4466: 4463: 4461: 4458: 4456: 4453: 4451: 4450:Lynda Benglis 4448: 4446: 4443: 4442: 4440: 4438:Notable women 4436: 4430: 4427: 4425: 4422: 4420: 4417: 4415: 4412: 4410: 4407: 4405: 4402: 4401: 4399: 4395: 4388: 4384: 4381: 4380: 4376: 4373: 4372: 4368: 4367: 4365: 4361: 4355: 4354: 4350: 4349: 4347: 4343: 4336: 4335: 4331: 4328: 4327: 4323: 4320: 4319: 4315: 4312: 4311: 4307: 4304: 4303: 4299: 4298: 4296: 4292: 4286: 4283: 4281: 4278: 4276: 4273: 4271: 4268: 4266: 4263: 4260: 4257: 4255: 4252: 4250: 4247: 4245: 4242: 4240: 4237: 4235: 4232: 4230: 4227: 4225: 4222: 4220: 4217: 4214: 4210: 4207: 4205: 4202: 4201: 4199: 4195: 4188: 4185: 4182: 4179: 4176: 4173: 4172: 4170: 4166: 4160: 4159:Women artists 4157: 4155: 4152: 4150: 4147: 4146: 4143: 4139: 4132: 4127: 4125: 4120: 4118: 4113: 4112: 4109: 4103: 4099: 4098: 4094: 4092: 4088: 4084: 4081: 4078: 4076: 4072: 4068: 4065: 4062: 4058: 4055: 4053: 4049: 4046: 4042: 4037: 4036: 4028: 4024: 4020: 4016: 4013: 4009: 4005: 4004: 3999: 3995: 3993: 3989: 3985: 3981: 3978: 3974: 3972: 3968: 3964: 3960: 3958: 3954: 3950: 3946: 3944: 3943:0-04-440947-8 3940: 3936: 3932: 3930: 3929:9781452175812 3926: 3922: 3918: 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