THE NEW MUSEUM OF CONTEMPORARY ART AS A PLACE OF COMMUNICATION FOR THE. “SECOND WAVE” FEMINIST ART WORLD
THE NEW MUSEUM OF CONTEMPORARY ART AS A PLACE OF COMMUNICATION FOR THE. “SECOND WAVE” FEMINIST ART WORLD

Summary/Abstract: This abstract underlines the relationship between exhibitions held at Tucker’s New Museum of Contemporary Art during the 1980’s and the “Second Wave” Feminist Art World. Within the museum ambit, Tucker was a pioneer in dealing with themes such as diversity and how sexual sensitivity can affect artistic representation.Tucker’s interest lay in tackling concepts which, for various reasons, such as market, political and sexual discrimination, were not necessarily visible. The museum was conceived as a laboratory of ideas connected to issues of everyday life.The Tucker exhibitions which handled the relationship between sexuality and its varied forms of expression were:“Extended Sensibilities: Homosexual Presence in Contemporary Art,” 1982; “Difference: On Representation and Sexuality”, 1984; “Let the Record Show”, 1987. These exhibitions were the first to reflect systematically on how art was a means to bring together differing points of view regarding sexuality: the European approach and North American approach. Presently, the debate inherent to art and feminist criticism is flourishing, and there is a proliferation of literature regarding “Second Wave” art practice and criticism between the 1970’s and 1980’s (Kate Mondloch 2012). According to some currents of thought, the 1980’s were characterized by “theoretical feminism": a model of psychoanalytical and poststructuralist criticism, wholly dedicated to language, representation and the psyche. According to both Kelly and Kolbowski, there is no general concept of feminism but a concept born and developed in differing ways and at different times. This underlines the problem of a general periodization of the various forms of Feminist Art.

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