Installation view: Foreground: Lady Sasquatch (Bunny) (2006-2010); Found textiles, taxidermy supplies, appliqué borg, styrofoam, wood. Recommended Reading (2010); Wallpaper of photocopied drawings. Both by Allyson Mitchell and courtesy of the artist and Katharine Mulherin Gallery, Toronto. I’m With Problematic / Women’s Studies Professors Have Class Privilege, from the series Creep Lez, (2012): Altered t-shirts with iron-on transfer and vinyl letters Courtesy of the artist and Katharine Mulherin Gallery, Toronto. Image courtesy of Vox Populi.
Alien She is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
The exhibition’s title, Alien She, is a reference to a Bikini Kill song of the same name. The lyrics are about the negotiation of normalized gender roles, the uneasy line between feminist critique and collectivity, and the process of coming to a feminist consciousness, with the repeated refrain, “She is me, I am her.” More broadly, Alien She conjures the possibilities of identity, self-determination and subversion. In the face of alienation and bigotry, Riot Grrrl fostered community, action and creation. This exhibition provides a view into the passion and diversity of the original Riot Grrrl movement, and highlights how these ideas have broadened, evolved and mutated in the work of contemporary artists.
Photo Gallery
Installation view: Foreground: Archive Music Vitrines, Various Artists, Lenders, each vitrine represents a different geographical region with riot grrrl ephemera from that region including CD’s, pins, records, cassette tapes, flyers, stickers, patches, t-shirts, books and other various objects. Midground: Riot Grrrl Manifesto, text from “what is riot grrrl” by unknown author produced for Alien She by the Miller Gallery. Flyer Wall (c. 1991-present), Various Artists, Lenders, from Riot Grrrl related shows, conventions and meetings internationally, solicited from institutional and personal archives through open calls, word-of-mouth and invitations. Zine Archive, Various Artists, (1991-2013), A sampling of zines and distribution catalogues primarily from the original Riot Grrrl movement. The zines cover a range of topics such as sexism, empowerment, fat activism, mental illness, gender identity, violence, racism, homophobia and sex work. Image courtesy of Vox Populi.
Installation view: Zine Archive (1991-2013), Various Artists, A sampling of zines and distribution catalogues primarily from the original Riot Grrrl movement. The zines cover a range of topics such as sexism, empowerment, fat activism, mental illness, gender identity, violence, racism, homophobia and sex work. Image courtesy of Vox Populi.
Installation view: Foreground: Archive Music Vitrines, Various Artists, Lenders, each vitrine represents a different geographical region with riot grrrl ephemera from that region including CD’s, pins, records, cassette tapes, flyers, stickers, patches, t-shirts, books and other various objects. Midground: Riot Grrrl Manifesto, text from “what is riot grrrl” by unknown author produced for Alien She by the Miller Gallery. Flyer Wall (c. 1991-present), Various Artists, Lenders, from Riot Grrrl related shows, conventions and meetings internationally, solicited from institutional and personal archives through open calls, word-of-mouth and invitations. Zine Archive, Various Artists, (1991-2013), A sampling of zines and distribution catalogues primarily from the original Riot Grrrl movement. The zines cover a range of topics such as sexism, empowerment, fat activism, mental illness, gender identity, violence, racism, homophobia and sex work. Image courtesy of Vox Populi.
Installation view: Foreground: Archive Music Vitrines; Various Artists, Lenders; each vitrine represents a different geographical region with riot grrrl ephemera from that region including CD’s, pins, records, cassette tapes, flyers, stickers, patches, t-shirts, books and other various objects. Midground: Riot Grrrl Manifesto; text from “what is riot grrrl” by unknown author produced for Alien She by the Miller Gallery; Flyer Wall (c. 1991-present), Various Artists, Lenders, from Riot Grrrl related shows, conventions and meetings internationally, solicited from institutional and personal archives through open calls, word-of-mouth and invitations; Zine Archive, Various Artists, (1991-2013), A sampling of zines and distribution catalogues primarily from the original Riot Grrrl movement. The zines cover a range of topics such as sexism, empowerment, fat activism, mental illness, gender identity, violence, racism, homophobia and sex work. Background: FREE TEXTS (2011-2012, updated 2013), Free downloadable PDF files of texts found online and tear-off tab flyers. By Stephanie Syjuco and courtesy of the artist and Catharine Clark Gallery, San Francisco. This project was updated for Alien She, and includes texts selected by the artists in the exhibition. Image courtesy of Vox Populi.
Installation view: View of Alien She Exhibition from the main entrance of Vox Populi in Philadelphia, PA, Spring 2014. Image courtesy of Vox Populi.
Installation view: I’m Dying Up Here (Glitter Drapes) inkjet print (AP) (2010- ongoing); I’m Dying Up Here (Double Spot) inkjet print (AP) (2010- ongoing); I’m Dying Up Here (Open Mic) inkjet print (AP) (2010- ongoing); Archive of Feelings – One Love Leads to Another inkjet print (AP) (2008). By Tammy Rae Carland and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Archive of Feelings – Vaguely Dedicated inkjet print (AP) (2008); Lesbian Beds – Untitled (Lesbian Bed #1), Untitled (Lesbian Bed #7), Untitled (Lesbian Bed #8), Untitled(Lesbian Bed #13),Untitled (Lesbian Bed #5),Untitled(Lesbian Bed #4), (2002) All Lesbian Beds images are inkjet prints and all are artist’s proofs. By Tammy Rae Carland and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Archive of Feelings – One Love Leads to Another inkjet print (AP) (2008); Archive of Feelings – Sisterhood is Powerful , inkjet print (AP) (2008); Archive of Feelings – Vaguely Dedicated inkjet print (AP) (2008); Lesbian Beds – Untitled (Lesbian Bed #1), Untitled (Lesbian Bed #7), Untitled (Lesbian Bed #8), Untitled(Lesbian Bed #13),Untitled (Lesbian Bed #5), All Lesbian Beds images are inkjet prints and all are artist’s proofs. By Tammy Rae Carland and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: The Counterfeit Crochet Project (Critique of a Political Economy)(2006-ongoing) Yarn, downloadable PDF instructional guide for creating knockoff logos; Proxy Audio Manifestation (Total Bootleg Collection) (2010), 128 handmade ‘bootleg’ cd replica objects. Both by Stephanie Syjuco and courtesy of the artist and Catharine Clark Gallery, San Francisco. Image courtesy of Vox Populi.
Installation view: The Counterfeit Crochet Project (Critique of a Political Economy)(2006-ongoing), Yarn, downloadable PDF instructional guide for creating knockoff logos; FREE TEXTS (2011-2012, updated 2013), Free downloadable PDF files of texts found online and tear-off tab flyers. Both by Stephanie Syjuco and courtesy of the artist and Catharine Clark Gallery, San Francisco. Image courtesy of Vox Populi.
Installation view: The Counterfeit Crochet Project (Critique of a Political Economy)(2006-ongoing); Yarn, downloadable PDF instructional guide for creating knockoff logos; FREE TEXTS (2011-2012, updated 2013), Free downloadable PDF files of texts found online and tear-off tab flyers. Both by Stephanie Syjuco and courtesy of the artist and Catharine Clark Gallery, San Francisco. Image courtesy of Vox Populi.
Installation view: View of Alien She Exhibition from the back entrance of Vox Populi in Philadelphia, PA, Spring 2014. Image courtesy of Vox Populi.
Installation view: Gay Bashers Come And Get It (2011), Jacquard-Woven Cotton and Lurex, hand-dyed fabric, crank-knit yarn, thread; Sisters Are Doing It For Themselves Jacquard-Woven Cotton and Lurex, hand-dyed fabric, crank-knit yarn, thread. By L.J. Roberts and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: We Couldn’t Get In. We Couldn’t Get Out. (2006-2007); Crank-knit yarn, hand-woven wire, steel poles. Mom Knows Now (2003); Hand-knit yarn; Both by L.J. Roberts and both courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Feminist Body Pillow (2013), Hand printed t-shirts, jeans; Music vitrine; There is a group, if not alliance, walking there too, whether or not they are seen (2013), Driftwood, work boots, socks. By Ginger Brooks Takahashi and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Collected works (2001-2008), 2013, A complete collection of LTTR journals with artist multiples and audio recordings; A Wave of New Rage Thinking (2013) cardboard letters, video slideshow documentation of performances and events. By Ginger Brooks Takahashi and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Feminist Body Pillow (2013), Hand printed t-shirts, jeans; Untitled (Diagram of Influences), a personal document of projet MOBILIVRE BOOKMOBILE project (2001-2006) drawing, color photographs; By Ginger Brooks Takahashi and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Time Outside of Time (tabletop); Time Outside of Time (hands); Time Outside of Time (meal); Time Outside of Time (windows); Time Outside of Time (yellow); Time Outside of Time (beer), (2010 – ongoing), All Time Outside of Time images are inkjet prints and all are artist’s proofs; Handmade Nation (2008) video slideshow and book ,dimensions variable; Sign Painters (2012) video slideshow and book dimensions variable; By Faythe Levine and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Time Outside of Time (bridge); Time Outside of Time (library); Time Outside of Time (bulletin board); Time Outside of Time (net); Time Outside of Time (band); Time Outside of Time (food); Time Outside of Time (tabletop); Time Outside of Time (hands); Time Outside of Time (meal); Time Outside of Time (windows); Time Outside of Time (yellow); Time Outside of Time (beer),(2010 – ongoing), All Time Outside of Time images are inkjet prints and all are artist’s proofs; Handmade Nation video slideshow & book ,dimensions variable; Sign Painters video slideshow & book dimensions variable; By Faythe Levine and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Time Outside of Time (bridge); Time Outside of Time (library); Time Outside of Time (bulletin board); Time Outside of Time (net); Time Outside of Time (band); Time Outside of Time (food), (2010 – ongoing), All Time Outside of Time images are inkjet prints and all are artist’s proofs; Handmade Nation video slideshow & book ,dimensions variable; Sign Painters video slideshow & book dimensions variable; By Faythe Levine and courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Foreground: Ladies Sasquatch (2006-2010), Found textiles, taxidermy supplies, appliqué borg, styrofoam, wood. Background: We Couldn’t Get In. We Couldn’t Get Out. (2006-2007); Crank-knit yarn, hand-woven wire, steel poles. Mom Knows Now (2003); Hand-knit yarn; Both by L.J. Roberts and both courtesy of the artist. Image courtesy of Vox Populi.
Installation view: Foreground: Ladies Sasquatch (2006-2010); Found textiles, taxidermy supplies, appliqué borg, styrofoam, wood. Recommended Reading (2010); Wallpaper of photocopied drawings; Both by Allyson Mitchell and courtesy of the artist and Katharine Mulherin Gallery, Toronto. Image courtesy of Vox Populi.
Installation view: Foreground: Lady Sasquatch (Bunny) (2006-2010); Found textiles, taxidermy supplies, appliqué borg, styrofoam, wood. Recommended Reading (2010); Wallpaper of photocopied drawings. Both by Allyson Mitchell and courtesy of the artist and Katharine Mulherin Gallery, Toronto. I’m With Problematic / Women’s Studies Professors Have Class Privilege, from the series Creep Lez, (2012): Altered t-shirts with iron-on transfer and vinyl letters Courtesy of the artist and Katharine Mulherin Gallery, Toronto. Image courtesy of Vox Populi.
Alien She is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators.
