Global Feminisms: New Directions in Contemporary Art — Part 2
Global Feminisms situates itself within a sequence of art shows that have sought to correct the traditional Western prejudice against women artists, as well as against artists who come from outside the European and American art centers.
24 May 2007
Joel Simpson
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Visual Arts
Global Feminisms situates itself within a sequence of art shows that have sought to correct the traditional Western prejudice against women artists, as well as against artists who come from outside the European and American art centers.
Its premise is that the humanist universalism that Western Euro-American art has claimed for itself in fact comprises a narrow concept of what is human, making for a pitifully cramped notion of “universality.”
JOEL SIMPSON has been photographing since he was a teenager in the 1960s. Since then he's pursued careers in college teaching (English, French and Italian), jazz piano, and music software. His photographic art work has shown in six New York area galleries, as well as in Texas, Massachusetts, Colorado, and Seattle, and has been published in View Magazine (Brussels), and in the Center for Fine Art Photography’s Artist Showcase. In the fall of 2007 there will be a major article on his body projections in Eyemazing, a photography quarterly published in Amsterdam, for which he is the New York correspondent. From 2003 to 2006 he wrote for M: The New York Art World, and he is currently curating a large photography show at the Williamsburg Art and Historical Center in Brooklyn, NY, entitled Sun-Pictures to Mega-Pixels: Archaic Processes to Alternative Realities (www.wahcenter.org).
