new-york

View of “Andrea Bowers,” 2011. Collaged posters: The New Woman’s Survival Guide, 2011. Framed, from left: Wanted By the Law, 2011; Angela Davis—You Are Welcome in This House (In Honor of Julian Madyun), 2011.

Andrea Bowers

Andrew Kreps Gallery

View of “Andrea Bowers,” 2011. Collaged posters: The New Woman’s Survival Guide, 2011. Framed, from left: Wanted By the Law, 2011; Angela Davis—You Are Welcome in This House (In Honor of Julian Madyun), 2011.

Published in Berkeley in 1973 and edited by Kirsten Grimstad and Susan Rennie, The New Woman’s Survival Catalog is a gazetteer of second-wave feminism, a directory of the era’s woman-run bookstores, law firms, credit unions, health clinics, and more. Andrea Bowers, whose documentary practice consistently considers grassroots activism, takes the Catalog as the context for “The New Woman’s Survival Guide,” her latest project. Or is it the project’s pretext? Or simply its text? That is, does gallery-based art borrowing content from an almost-forty-year-old activist sourcebook produce an independent work in dialogue with that activism? Or does the show become an exercise in radical chic and nostalgia? Or is the exhibition simply a way to bring a vision such as that found in the Catalog back into public space?

Such questions, of course, have to do with tensions regarding spectacle,

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