Monday 21 Apr

Holy Ghost People

Holy Ghost People examines two sisters whose bond is torn — but by what? After her sibling has been missing for more than a year, Charlotte (Emma Greenwell, TV's Shameless) intends to find out.
04/15/2014 | Comments 0

No Holds Barred

RLJ Entertainment's new Blu-ray for No Holds Barred begins with what seems like dozens of trailers for movies starring pro wrestlers from the WWE talent pool. Each flick went direct to home video, but once upon a time — aka 1989 — one had to go to the multiplex to catch such a spectacle.
04/15/2014 | Comments 0

Knights of Badassdom

In 2008, the third act of the guy comedy Role Models used LARPing — live-action role-playing, that is — as a backdrop for our protagonists' lessons learned. Today, Knights of Badassdom extends that half-hour into a full feature, to the point where viewers are left not smiling, but exhausted. 
04/02/2014 | Comments 0

Switched on

Not everything on television has to appeal to mass audiences. In fact, with the further fractioning of viewership thanks to alternatives like Netflix and VOD, more series can afford to become more niche. Here are five examples of shows both past and present — and new to DVD and/or Blu-ray — that encompass some of the more outrageous ideas ever to go beyond boardroom discussion.
04/02/2014 | Comments 0

Confession of Murder

Seventeen years after slaying 10 women and getting away with it, the charismatic serial killer Du-sok (Park Si-hoo) comes clean with a Confession of Murder, in this 2012 South Korean crime thriller. He does so by publishing a book that dishes all the grisly details.
04/02/2014 | Comments 0
Home · Articles · Movies · Documentary · !Women Art Revolution

!Women Art Revolution

The female fight to be exhibited, not exploited, gets chronicled in '!Women Art Revolution.'

Rod Lott June 22nd, 2011

!Women Art Revolution
7:30 p.m. Thursday, 5:30 and 8 p.m. Friday-Saturday, 2 p.m. Sunday
Oklahoma City Museum of Art, 415 Couch, 236-3100

Pop quiz, hotshot: Can you name three female artists?

If you can’t immediately, there’s a good reason: Because for the near-entirety of our nation’s history, they’ve been denigrated, rather than displayed. It took a transformative, feminist movement known as Women Artists in Revolution birthed in the late 1960s to change that, and documentarian Lynn Hershman- Leeson chronicles every uphill step in “!Women Art Revolution,” playing Thursday through Sunday at Oklahoma City Museum of Art.

This “secret history” presents images and footage of some absolutely lovely and edgy works that went unseen, simply because their creators had no penis. (The doc also contains some artwork that’s utterly pretentious and seemingly pointless, just as some male artists produce, but that’s beside the point.) Museums simply wouldn’t grant females space.

A great many works featured are sexual in nature. The “Womanhouse” group installation of 1972 displayed fake breasts on its kitchen wall, while Martha Rosler’s 1977 video, “Vital Statistics of a Citizen, Simply Obtained,” depicts a woman being stripped of her clothing, all while being measured by a man in a lab coat. On a far more lighthearted side is Dara Birnbaum’s “Technology/ Transformation,” a 1978 loop of Lynda Carter as Wonder Woman, spinning into infinity.

As Hershman-Leeson notes, these were responses to the Miss America “ideal” by which society defined women, as well as the act of rape, which nearly half the Women Artists in Revolution members had experienced. Their identities, she says, were formed through their art.

A section on the 1980s focuses on the masked Guerilla Girls, whose protest tactics are so in-your-face, I’d like to see an entire documentary devoted to them. Anita Hill even figures in to the 1990s portion, and so does sickening, “Crucible”-esque news footage of congressman after congressman decrying Judy Chicago’s “The Dinner Party” installation as “pornographic.” That they were trying to ban art is disheartening enough; that they were all male only hammers home “!WAR”’s indisputable point.

Rough around its edges, the film boasts a jubilant score by Sleater- Kinney’s Carrie Brownstein, sung by indie darling Mary Timony. While it’s by no means an excellent documentary, it is an important one; rather than entertain, it enrages and enlightens.

  • Currently 3.5/5 Stars.
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