In this week’s newsletter: ?H?idden creators ?reveal how invisibility can be a shield and spotlight in an era of relentless self?exposure
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In 1985, an anonymous group of women disguised in gorilla masks burst on to the art scene in New York. At night, the Guerrilla Girls, as they named themselves, fly-posted around the city: funny, eye-catching posters highlighting gender and racial biases in museums and galleries. (“Do women have to be naked to get into the Met. Museum?” read one now-famous poster.) “Of course, we were afraid that if we blew the whistle on some of [the art world’s] most powerful people, we could kiss off our art careers,” a founding member explained in an interview for their 1995 book. “But mainly, we wanted the focus to be on the issues, not on our personalities or our own work.”
The collective is still active; 55 members have come and gone over the years. When giving interviews, they use pseudonyms borrowed from dead women artists: Frida Kahlo, Lee Krasner, Käthe Kollwitz. Only a handful of their true identities have been revealed over the years, mostly after their deaths or due to lawsuits. But this week, a Guerrilla Girl made headlines when she chose to unmask herself on her own terms. “I’d had a pact with another Girl that whoever died first, the survivor would bring her out,” said the 83-year-old artist Joyce Kozloff (codename: Liubov Popova). “But I suddenly realised that if I were dead, I couldn’t tell the story my way.”
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In this week’s newsletter: ?H?idden creators ?reveal how invisibility can be a shield and spotlight in an era of relentless self?exposure• Don’t get The Guide delivered to your inbox? Sign up hereIn 1985, an anonymous...
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