From December 2003 to March 2004, the Baltic Centre for Contemporary Art in Gateshead,UK played host to an exhibition of feminist artworks by American artists Nancy Spero and Kiki Smith. These women carved their names into art history as influential leaders for female artists of contemporary times. With commentary by the exhibition's curator, Jon Bird, the half-hour documentary Otherworlds takes us into the imaginations of Spero and Smith and reveals their metamorphic journey as pioneers of the Feminist Art Movement.
Nancy Spero
KiKi Smith
Throughout the film, the viewer is presented with a juxtaposition of these two artists as they worked under the same times and artistic movement, but ultimately viewing different methods of reaching the same point. Smith describes growing up in an artistic home and never achieving the dream shared by all seniors of having her own studio immediately after school. This is the time of most uncertainty for young artists, as they await the jumpstart that will get their careers going. Add the fact that as a woman, Smith's chances of success were minimal compared to her male counterparts. Fortunately, the advice from her father to "trust [her] work" seemed to keep her in the state of serenity she presents in her interview. Her hands-on approach to sculpting and drawing is a true sign of an artist whose work is an extension of her own self. It was uncharted territory to explore the subject of femininity from the eyes of an actual woman. But as Smith says, you have to "use what's used against you" in order to be called an innovator in the arts. She reversed the idea that the male perspective of the female figure was the only perspective out there. As someone who lives femininity, Smith presents the female form in an honest and natural way that looks beyond the sexual aspects associated with it.
Mary Magdalene (1994)
by Kiki Smith
cast silicon bronze
The biblical figure associated with lust,
is presented by Smith as a victim of her society.
Whereas Smith was easygoing throughout her struggle, Spero displayed adamancy about showing the truth to the world. She became involved in the growing antiwar movements of the late 20th century as a means of attracting an audience for her feminist beliefs as well. The War Series she painted allowed her to criticize the war through the atrocities and subjugations experienced by innocent civilians- specifically the sexual and humiliating crimes against women. These shocking portrayals of injustice captured the core beliefs of the Feminist Art Movement. The world would take notice that women had a lot to say and present on the status quo, and Spero showed no fear about doing do it. Despite being known for her more outrageous works, Spero made a new statement in 2001 when she designed the mosaic for the 66th Street-Lincoln Center. Titled Artemis, Acrobats, Divas and Dancers,the mosaic is a beautiful celebration of women, instead of an indignation on their treatment by men. A creation of her final years, the mosaic encapsulates the real strength of femininity that Spero had tried intensely to free.
Masha Bruskina/ Gestapo Victim (1994)
by Nancy Spero
handprinting and printed collage on paper; photo by David Reynolds
Spero utilized appropriations of war victims in her work.
Artemis, Acrobats, Divas and Dancers (2001)
by Nancy Spero
mosaic in the 66th Street-Lincoln Center
A beautiful work in an unlikely location,
mirroring the inner strength hidden in women.
Otherworlds exhibits the art and lives of two important female artists of the late 20th century. Through their stories and views, we get an idea about the struggles of the Feminist Art Movement as it inserted itself as a major occurrence in art history. The fact that they evolved themselves along the way shows that just as they did their part to shape the art world, so too did the art world shape the lives of Kiki Smith and Nancy Spero.
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