As an avowed eco-feminist, Faith Wilding’s work addresses the deterioration of the natural world in her lifetime, specifically in South America and her native Paraguay. She depicts symmetrical dualities: up and down, in and out, open and closed, evoking mystical, personal, and esoteric narratives. The works express interconnectedness and spiritual exuberance, while exploring visionary iconology of the energy and force of growth.
Wilding’s practice emerged at the forefront of Feminist Art in Los Angeles during the late 1960s and 1970s. For the last 50 years, Wilding has lived as an activist and artist, with a fierce commitment to eco feminism. Wilding was a co-initiator of the Feminist Art Programs alongside Miriam Shapiro and Judy Chicago. The Feminist Art Program produced Womanhouse, an art installation and performance space focusing on collaborative and feminist ideas. Fueled by the explosion of female-focused work and research, Womanhouse sought to move beyond the predominantly male-centric art history. Wilding’s work continues to interrogate societal narratives, challenging the status quo in art-making, life, and politics.
Faith Wilding (b. 1943, Paraguay) has exhibited extensively worldwide since the late 1960s. A 2014 retrospective of Wilding’s work, Fearful Symmetries, travelled to five venues across the United States. Wilding’s work was also included in the seminal survey WACK! Art and the Feminist Revolution, organized by Cornelia Butler, which traveled from the Museum of Contemporary Art (Los Angeles) to the National Museum of Women (Washington DC), PS1 Contemporary Art Center (Long Island), and the Vancouver Art Gallery. This year marks the fiftieth anniversary of Womanhouse, an influential Los Angeles exhibition, installation, and performance space organized through the CalArts Feminist Art Program. At Womanhouse, Wilding’s Womb Room fiber installation and performance, Waiting, are some of the best known and highly influential works of the 1970s Feminist Art Movement. Wilding’s book “By Our Own Hands,” catalogues this important era experimentation and collaboration that defined west coast Feminist art during the early 1970s.
Wilding has exhibited at museums such as The Whitney Museum of American Art, New York, NY; The Hammer Museum, Los Angeles, CA; The Drawing Center, New York, NY; Documenta X, Kassel, Germany; the Institute of Contemporary Art/Boston, MA; the Singapore Art Museum, Singapore; the Reina Sofa Museum, Madrid, Spain; Centre for Contemporary Arts, Glasgow, Scotland; and the Bronx Museum of Art, New York, NY. Wilding is Professor Emerita of Performance Art at the School of the Art Institute of Chicago and has taught at institutions Cooper Union, New York University, the Woman’s Building in Los Angeles and the San Francisco Art Institute. While teaching at Carnegie Mellon University in the 1990s and 200s she was a co-founder of the cyberfeminist collective, subRosa. Wilding was awarded a Guggenheim Fellowship in 2009 and has been the recipient of numerous grants for the past five decades. In 2014, she was awarded the prestigious Women’s Caucus for Art Lifetime Achievement Award. Her publications include By Our Own Hands: The History of the Women Artists Movement in Southern California, 1970-76 (Double X, 1977) and Domain Errors! Cyberfeminist Practices! (Autonomedia, 2003). Wilding lives and works in Rhode Island.
The work of pioneering ecofeminist painter, sculptor, and activist Faith Wilding addresses the psychic and sociopolitical history of the body. — Hans Ulrich Obrist
Looking at this history of nascent West Coast feminist art, at what these women made because of the communities that they had with each other, offers an important lesson: personal and political self-formation is collaborative labor, it is difficult and tender, and it is a lifelong process. — Ashton Cooper
“Revisiting the Famed Feminist Exhibition Womanhouse with an Intersectional Lens”
Fifty years later, “Womanhouse” is back. Anat Ebgi is celebrating the West Coast’s defining blueprint for feminist art while reflecting and expanding upon it. What was once subversive can seem quaint against our current cultural landscape, but this show extols the 1972 exhibition for its triumphs as it coaxes it into the present context. — Neyat Yohannes
Di Paola’s curatorial approach is brave and impactful. By bringing together a selection of work made before, during and after the 1972 exhibition—including work by some of the core CalArts students as well as their collaborators—Di Paola engages and connects early feminist practices and strategies more broadly, emphasizing the collaborative and profound legacy of “Womanhouse” and the Feminist Art Program. — Lauren Guilford
WOMANHOUSE | Anat Ebgi Celebrates Forerunners of West Coast Feminist Art
Faith Wilding, Judy Chicago, and Mira Schor's works hang alongside one another for Anat Ebgi's celebration of the 50th anniversary of Womanhouse—the first female-centred art presentation in 1972, which paved the way for the experimental spirit of west coast feminist art. — Rory Mitchell
WOMANHOUSE | Greater LA: Check out new art exhibits
Back for its 50th anniversary, the exhibition focuses on a feminist perspective and highlights paintings, drawings, photographs, and sculptures from several key artists who were part of the original 1972 installation. — Lindsay Preston Zappas
WOMANHOUSE | 16 Standout Gallery Exhibitions to See in L.A.
An exhibition exploring the spirit of experimentation and collaboration that fueled West Coast Feminist art in the first half of the ’70s, with ephemera and photographs from the original “Womanhouse,” as well as other work from the period. — Sarah Cascone
WOMANHOUSE | Your Concise Los Angeles Art Guide for March 2022
Anat Ebgi and LAND are revisiting WOMANHOUSE, tracing a history of feminist art in the West Coast and how it continues to reverberate today. — Matt Stromberg and Elisa Wouk Almino
With her larger body of work in mind, Fossils feels like an X-ray, revealing Wilding’s five-decade drumbeat in irreducible terms: gestation, birth, growth, survival, death, repeat. — Rachel Elizabeth Jones
Faith Wilding, foremother of feminist art, draws on activist history in new shows at Brown, Tufts
“Performance and community were such an important part of the way feminist artists made their way through the world,” said Kate Kraczon, director of exhibitions and chief curator of the Bell Gallery. “Faith’s work — her decades of activism, getting arrested, doing performances with entrails — it just doesn’t make it into the historical record the way objects do.” —Cate McQuaid
"Teaching has played a huge role in my life... I learned from my students, which is the best part. A student taught me how to use gold leaf." —Faith Wilding
Artists to follow if You Like Georgia O’Keefe: Faith Wilding
A fierce eco-feminist activist, Wilding aims to encourage her viewers to reflect on their own relationship with nature. The sinuous forms in her watercolors make reference to both the female form and the greater natural world, and address notions of the aging body and the decline of nature over her lifetime, especially in her native Paraguay. —Juliana Lopez
"Things were kind of exciting and scary... you know you had to kind of take sides at that time. I didn't know I was going to sitting there with seventy women talking about how to have an orgasm. A lot of us were delicate flowers that had been reared in New York or some other nice city... We crafted all these performances around experiences of domesticity and living in the house." —Faith Wilding
Faith Wilding, “In the Beginning, Everything Was Green: Embodiment, Ritual, and Cyberfeminism
In this rumination, inspired by Donna Huanca’s exhibition at the Marciano Art Foundation, Faith Wilding spins a thought-web that connects nodes of feminist and cyberfeminist thinking and making and links Huanca, Donna Haraway, Hildegard von Bingen, and Wilding herself in a process of making with. —artillery
The sensual and the spiritual collide in the paintings of Faith Wilding
Several of the newer pieces invoke illuminated letters and stained-glass windows. The intimate landscape of the female body becomes pure visual rhythm. Tree roots spread into veins. The differences between sensual and spiritual collapse, as all becomes beauty. —Leah Ollman
Shannon Stratton: On Feminism, Faith Wilding and CAA
"Across 4 decades the work maintained these themes about the body and emergence and recombination: cocoons, moths, mermaids and other hybrid creatures, wombs, leaves/pods, etc. They occur again and again. And they form an interesting trajectory away from Womb Room and Waiting, Faith’s iconic early work. Faith’s material handling and use of color is quite consistent throughout her lifetime. She is a fabulous colorist." —Shannon Stratton
Feminism is a philosophy of justice and an everyday socio-political practice. Different cultural and political moments demand and give birth to new tactics and practices, but the desires are basically the same, I think. Due to networked internet and media cultures, change seems to happen more quickly these days; but if you look closely, the issues, desires, and goals are still the same. —Faith Wilding
Faith Wilding: Fearful Symmetries at the Miller Gallery
This big exhibit’s centerpiece might well be the series of six larger-than-life shaped-canvas oil paintings of leaves, hung in the high-ceilinged third-floor gallery. The leaves, more brown than green, are detached from any tree, and dance across the wall, their crisped edges sinuous, alive even in death. —Bill O'Driscoll
Although made three and a half decades after the “Natural Parables,” the recent works employ similar conceptual strategies and iconography, raising questions about the relevance of the gendered tropes she invokes in this present political moment. —Lauren DeLand
The feminist energies of William Blake and Faith Wilding take over Chicago
Where Blake wrote about the messes between nature and humankind on the cusp of the Industrial Revolution, Wilding currently explores what she calls “cyborg feminism.” She believes we are on the edge of our own kind of gendered industrial revolution, if not already living in it. —KT Hawbaker
When Indigenous Politics and Environmental Catastrophe Collide: A Review of Faith Wilding at Western Exhibitions
Grounded in her unusual upbringing in the Paraguayan Bruderhof Anabaptist commune, these pieces blend memoir and myth, art and activism. This two-part show pairs a group of drawings and paintings made during the 1980s with a set of mixed-media works made more recently in response to similar concerns. —Luke Fidler
The radical nature of Faith Wilding’s fantastical watercolors
"I use beauty as a terrorist tactic, to make people look, to suck them in. Then they look closer and they will see my message and my content.” —Faith Wilding
Wilding’s creative work addresses the recombinant, reproductive, and distributed bio-tech and war body in 2D media, audio, video, digital media, installations, and performances. —Brainard Carey
As Wilding conjectured in Where is the Feminism in Cyberfeminism, “But if grrrl energy and invention were to be coupled with engaged political theory and practice... Imagine!” —Isabella Scott
Faith Wilding: Fearful Symmetries at UHCL Art Gallery
Her idiosyncratic versions of natural objects like this are some of the most visually pleasing pieces in the show, including the wall of shaped paintings of mammoth leaves. —Robert Boyd
SmartMom Rebooted: A Cyberfeminist Art Collective [subRosa] Reflects on its Earliest Work of Art
As activist feminist artists, subRosa is committed to continue to research and comment on new developments in feminist health and reproductive technologies, as well as to find ways to represent them critically, accurately, and artistically. We despair that hard-won policies of reproductive “choice” for women, gay and transgender people are still embattled nationally, and that reproduction still demands great sacrifices and struggle in the lives and dreams of so many. —Faith Wilding & Hyla Willis
A feminist artist, revisited: Faith Wilding at Armory Center for the Arts
...Wilding’s career, which has spanned 40 years and also includes drawing, painting and performance, has been largely ignored. But a gorgeous retrospective, originally organized by Chicago art space Threewalls and now on view at Pasadena’s Armory Center for the Arts, does much to rectify that lapse. —Sharon Mizota
The longstanding institutional mistrust of art like Wilding’s, and the millennial generation’s occasionally amnesiac relationship to early feminist history, suggest that there is critical work left to be done. —Benjamin Lord
Rather than “waiting for him to pay attention to me”—“him” being the male-dominated art world—Wilding instead formed her own circle, taking part in Judy Chicago’s Feminist Art Program and the program’s creation of Womanhouse in Los Angeles. Though her retrospective in 2015 is long overdue, it presents a practice not of waiting but of gradual, insistent growth. —Travis Diehl
My personal and collective work focuses on physical/psychic states of the contemporary body violently cobbled together from natural, cultural, and technological fragments; recombinants with monstrous possibilities. My art uses beauty as a transformational tactic. —Faith Wilding
Faith Wilding wants us to remember that we have bodies and that those bodies can feel joy and pain and terror. And so she makes drawings. “We search for signs of the body,” she wrote in a recent essay. “We need constant affirmation …” —Eileen Townsend
It is ironic and yet by now, completely expected, that much more attention has been showered upon a generation of young men. For veteran feminists like Wilding, it continues to be a literal waiting game. —Jenni Sorkin
A polymath learned in subjects from antiquity to William Blake, Wilding infuses her watercolor abstractions with intellectual fervor. The artist's recent collaborative works with subRosa and Critical Art Ensemble extend her activism to topics like reproductive rights and genetics. —Modern Painters
Known for her groundbreaking oeuvre as a second-wave feminist artist, this retrospective of Faith Wilding's pseudo-scientific imagery is punctuated by found material and poetic, handwritten text. —Robin Dluzen
"I want to be a mentor and a resource. That’s really why we did all that work in the ’60s and ’70s: so future generations of young women and men wouldn’t have to; so we’d have a different world. Perhaps we have only done a bit, but that’s my bit." —Faith Wilding
Inevitably, Wilding’s renowned feminist background coats the show with political and historical overtones. However, her artwork also stands tall on a separate stage: that of Faith Wilding’s impassioned journey through life. Bodies, plants, moths and horses memorialize loss, catharsis, transformation and renewal. —Faith Wilding
Wilding’s work may have been made during feminism’s second wave, but it is increasingly becoming absorbed into the fourth through recreations like these that are scattered across YouTube, Vimeo, and Tumblr. —Alicia Eler
The emphasis on physical experience and gender is shown here in the continuity of the works as an open question... Wilding refers to these works as 'Recombinants' because they combine traditional and newer media and also because they deal with the current psychological state of physicality. —Monika Vykoukal
Interview with Faith Wilding by Amy Jin Johnson on “Womanhouse”
"We spent quite a few weeks all of the students running around in these different neighborhoods in LA looking for a place. We found a mansion in Hollywood, researched the deeds, found the owner and CalArts rented it for a dollar for the year... The first four weeks at least was actually spent learning building skills." —Faith Wilding
I'm interested in an imminent, radical art that uses convulsive beauty as a transformational tactic. My work addresses the psyche-somatic states of the contemporary body: a recombinant war body violently cobbled together from nomadic social, cultural, and political fragments. —Faith Wilding
"That [the internet] is the place where many people first encounter feminism and any kind of knowledge of it. It's incredibly important to have critical, political, and activist feminism represented on the net and actively happening on the net." —Faith Wilding
Substantial Disturbance: An Interview with Faith Wilding
"In my own case I experienced it something like this: Feminist art (and the Feminist Art Program which produced Womanhouse) was cutting-edge and hot in the 70s; condemned and silenced as essentialist and non-theoretical in the 80s; rediscovered, imitated, and historicized in the 90s; and food for dissertations, publications, exhibitions, and new formations–especially cyberfeminist formations in the 21st Century." —Faith Wilding
Contemporary Feminism: Practice, Theory, and Activism—An Intergenerational Perspective
"My own artistic beginnings were concurrent with my committed participation in the "second wave" feminist movement in the United States... I still use interdisciplinary research, real life experiences, and feminist analysis of sociopolitical issues to make work that isn't media-specific but situational." —Faith Wilding
Examining the visualizing and communications technologies that extend but also subtend us, Wilding's fabulous, recombinant, monstrous bodies and viscous, puckered vulvae acknowledge but also productively negotiate the effects of the flesh machine on our contemporary existence. —Amelia Jones
Perspectives on a Brave New World and Some Familiar Ones
Blending science fiction with science fact, nightmarish surrealism with the marvels of modern medicine, Faith Wilding has constructed an elaborate, thought-provoking meditation on reproductive technology. —Helen A. Harrison
The viewer feels enveloped in an organic space -- eerily, disconcertingly in utero. Or that was how I felt watching Ms. Wilding, swathed in a flea-market muffler not of her own knitting, assemble the structure in the unheated museum a week before the show's opening. —M.G. Lord
The erotic allure of an armored body continues in our current fashion world of corsets, leather, steel studs, and chains. The elegant artifice of clothing (armor) attracts us (amour). And releasing the body from its confinement in an act of love reveals to us what we ardently desire and fear—the real body. —Faith Wilding
I think we've seen a rise in the careers of women artists—some but not a lot. Many of these post-feminist artists are getting a lot of attention now, really riding in on all of the work that we did, which historically happens, but my generation of feminist artists has still been really invisible." —Faith Wilding
"For me, it's very difficult to separate that imagery from myself. It's a very unfashionable way to think about your art; maybe much too personal." —Faith Wilding
...Feminist artists must continue to seek new voices for the unheard, the suppressed, and the silenced, and to find ways to enter and change the art system so that their work may be seen more widely and have a greater influence. They must continue to create an interventionist art that poses uncomfortable questions, disrupts unity, and interrupts received notions about female being. —Faith Wilding and Miriam Shapiro
Faith Wilding Talks to Louise Moore | The Core of My Life
"A lot of the images and concerns in my work come from years of research into female mythology and spiritualism, and goddess iconology, but I don't like to generalize. In order to make these images, I have to bring those concerns back to myself, I have to connect it with my own personal history which is an unusual one." —Faith Wilding
Seed Work was designed as an international piece for the United Nations Conference on Women in Copenhagen. The seeds and flyer (reproduced here) were presented to the conference by Betsy Damon. My intention was to design a simple, strongly symbolic action which could be carried out by women anywhere in the world, and which reflected the life-sustaining heritage of female work. —Faith Wilding
"I want my leaves to express all the human emotions and experiences of the body and spirit... Nature totally wiped me out as a child. I spent hours making garments out of leaves, collecting them, talking to them. Images from childhood are the strongest. Everything that happens after gets translated through those images." —Faith Wilding
"Judy and I share similarities in our visual images. There's lots of vagina in our work, but it's not about vaginas. Rather, we are inventing a new form language radiating a female power which cannot be conveyed in any other way at this time... these images are universal, for they are are about being a human body in the world... a holy body: which knows, thinks, pains, remembers, works, imagines, dreams, yearns, aspires, and which may not be violated." —Faith Wilding
"Subject matter is of prime importance," Wilding noted. "It speaks to all aspects of women's lives and experience." However, these artists are not satisfied to merely depict problems; they want to involve audiences in seeking solutions, thus going beyond the objectives of early feminist art-education pieces. —Jacqueline Skiles
By Our Own Hands | The Women Artists Movement | Faith Wilding
It is impossible to read Faith Wilding's By Our Own Hands and not compare where you were and what you were doing during the last seven years in California while the Feminist Art Movement was making its impact through all our consciousnesses—raised or otherwise. The book is good... Any one of the chapters could make an in-depth study: Future historians, take note. —Ruth Askey
WOMANHOUSE was conceived as an homage to all those women who have thrown their creative energies into decorating a home, feathering a nest. For tickets, reservations and information you may call WOMANHOUSE at 666-9313." —EVERYWOMAN
In our work in the studio we have found that this is the image that we want to work with most. Again and again we make cunts, cunts and more cunts. This isn where we end again and it will probably be with us for a long time, for as Helen Diner says, "Woman is there abyss, sensing everything." —Faith Wilding
“Feminist Matter(s): Propositions and Undoings” (installation)
Pittsburgh Biennial, Miller Gallery, (Sep-Dec, 2011) subRosa.
2010
“The Long Loch: How do We Go On From Here”, CCA, Glasgow
International, (Installation and paintings) with Kate Davis
2009
“A Studio of Their Own”, Fresno Museum of Art, Fresno, CA
“Re-Act Feminism”, (performance) Akademie der Künste, Berlin
“Cell-Track: DIY Cell Lab”, (performance) Vitoria, Spain, sR
“Miss-Placed Women”, (performance) PSi conference, Zagreb, sR
2008
“WACK! Art and the Feminist Revolution”, PS 1 New York, (performance/Womb Room) and at Vancouver Art Gallery, Vancouver, Canada.
“A Week With/Without Women”, Academy of Arts, Zagreb, sR (Performances and installation at Gallery Nova).
“Gestations” New York University at Skopje, Macedonia (performances)
““Gender Battle” Centre for Contemporary Art, Santiago de Compostela (drawings, photos)
U-GEN-A-Chix” Performance, City of Women Festival, Ljubljana, Slovenia, sR
2007
“WACK! Art and the Feminist Revolution.” MoCA, LA (Perform/Installation) “Womb Room”
“Artist Body,” Centre d’Art Contemporaine, Geneva (performance/video)
“Feast of Affects,” Feeltank, Gallery 400, Chicago, IL (subRosa performance and installation)
“Encore” Gallery 4000, Chicago, IL , (“Wait-With” performance)
2006
“Love is Strong as Death,” (sR,Perform/Installation), Brown University
“Yes Species” Contemporary Art Space (EACC), Castellon, Spain (sR)
“Full Frontal,” Corbett vs. Dempsey Gallery, Chicago, IL, (drawings)
2005
“Yes Species,” (Performance and Installation), 1-0-1 Intersex, Neue Gesellschaft für Bildende Kunst, Berlin, Germany. (sR)
“EPIDERMIC: DIY Cell Track Lab” and “Cell Track: Mapping the Appropriation of Life Materials,” ( Performance/Installation), in YOUGenics, exhibition curated by Ryan Griffis, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, IL.(sR)
“International Markets of Flesh 2,” (Performance), Arte Nuevo InteractivA’05, Merida, Mexico. (sR)
2004
“Can You See Us Now?” (Installation & Performance),
The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams, MA. (sR)
“Infecting the Sick Society: Performance as Virus” and “Mapping Biopower: a guided walk with subRosa,” (Performances), Crossroads in Cultural Studies Conference, University of Illinois, Urbana-Champaign, IL.
“Cell Track: Mapping the Appropriation of Life Materials,” (Exhibition) Biennial of Electronic Art, Perth, Australia. (sR)
2003
“YOUGenics: Exploring the Social Implications of Genetic Technologies,” (Performance), Southwest Missouri State University, Art and Design Gallery, Springfield, Missouri.
“International Markets of Flesh,” (Performance), Ex Teresa Arte, Mexico City. sR
“Cloning Cultures,” (Performance), La Salle, SIA School of Art, Singapore. sR
“Matrixial Technologies,” (Artist Residency), National University of Singapore. sR
“The Spaces Between Us,” (Exhibition/Performance), Kunsthaus, Dresden (Drawings, Paintings, Sculpture)
2002
“Biopower Unlimited!,” (Performance) with subRosa, Bowling Green State University, Ohio. sR
“Sex and Gender in the Biotech Century,” (Performance) with subRosa, St. Mary’s College, Maryland. sR
“US Premium Grade AAA Eggs,” (Performance) with subRosa, Bowling Green State University, Ohio. sR
“Virtual Maintenance,” (Internet and Live Performance) with Marion von Osten, Institut fuer Buechkunst und Grafik, Leipzig, Germany.
2001
“Expo EmmaGenics,” (Commissioned Performance) with subRosa, Intermediale, Mainz, Germany. sR
“subRosa Projects,” International Sculpture Conference, PGH, PA.
“Double/Shift,” (Commissioned Performance), Custom House, Singapore. (Performance with Marge Yun)
Arrows of Desire: Harry Gould Harvey IV and Faith Wilding, Bell Gallery, Brown University, Providence, RI
Recovery, P.P.O.W., New York, NY
Staying with the Trouble, Tufts University Art Gallery, Medford, MA
Host, Edel Assanti, London, UK (online exhibition)
2020
Good Company: Pt. 1, Anat Ebgi, Los Angeles, CA
Garden of Time: Textiles as Nature Poem, Mendes Wood DM, São Paulo, BR
I Want to Feel Alive Again, Lyles & King, New York, NY
2019
Where Art Might Happen: The Early Years of CalArts, Kestner Gesellschaft, Hanover
2018
Still I Rise: Feminisms, Gender, Resistance, Nottingham Contemporary, Nottingham, UK; also traveled to De La Warr Pavillion, Bexhill-on-Sea, UK (catalog)
Axis Mundo: Queer Networks in Chicano L.A., Hunter College, New York, NY (catalog)
2017
Axis Mundo: Queer Networks in Chicano L.A., Museum of Contemporary Art, Los Angeles, CA (catalog)
2018
Mystic Body: Elizabeth Mputu and Faith Wilding, Res., London, UK
“Women’s Work,”(Collages), Roger Smith Gallery, NYC.
“A Decade of Women’s Performance Art,” Los Angeles, CA.
1993
“Immanent Domain,” (Collages), The Drawing Center, New York.
“Cadavre Exquis,” (Collage), The Drawing Center, New York, and traveled to the Corcoran Gallery of Art, The Foundation for Contemporary Art (Mexico City), The Santa Monica Museum, and the Forum (St. Louis, MO).
“The Abject in American Art” (video) Whitney Museum of Art, NY.
“Things to make our eyes happy,” (Collages), Muranushi Lederman Gallery, NY.
Screenings of “Vulva de/ReConstructa” at Akademie der Bildenden Kuenste, Vienna; and Nevada State University, Reno.
2000
“Vulva De/Re Constructa,” Video ( with Christina Hung), Taxispalais, Innsbruck, Austria.
“SmartMom” WEB Page and Installation with Hyla Willis, MICA, Baltimore; and University of Montana (Billings, Bozeman, Missoula).
“Sex and Gender Ed Show” WEB page, Digital Secrets, ASU, Tempe.
1999
Video (with OBN) “What is Cyberfeminism?” ZKM, Karlsruhe
1998
“Duration Performance,” (Computer Animation) Work & Culture show, Landesmuseum, Linz, and at Ars Electronica Center, Linz.
“Society for Reproductive Anachronisms”, Web page, CD-ROM and performance with Critical Art Ensemble.
1997
“WomEnhouse: Domesticity for the 90’s” WWW pages in collaboration with Los Angeles Women in Architecture.
“Let’s Make A Baby” electronic children’s book on the new reproductive technologies. Produced in collaboration with Critical Art Ensemble and published on CD-ROM by mute. Exhibited at Documenta X, and on the Web.
“Waiting” performance included in “Not for Sale” a video on the history of feminist art by Laura Cottingham. Premiered at MOMA, NY, and distributed nationally by Hawkeye Productions.
1996
Writer/Producer: “Drift(hers): A Radio Romance”, 45 minute original radio drama. Broadcast nationally on NPR and Pacifica Radio.
“WomEnhouse” collaborative WWWEB work with women artists and critics. Exhibited in “Sexual Politics” show, Armand Hammer Museum, Los Angeles, CA.
1989-1991
Co-producer, SOUNDPLAY, a 26-part series of international radio dramas. Broadcast on National Public Radio and in Europe.
1984-1988
Associate Producer, THE BECKETT FESTIVAL OF RADIO PLAYS. Broadcast nationally in the US, and in Britain, Germany, and Austria.
1989
Writer/Producer, “Hildegard and I,” Original radio drama, broadcast on National Public Radio and Pacifica Radio.
1987
Writer/Co-Producer, “Hildegard und Ich,” Original radio drama commissioned, produced, and broadcast by RIAS Berlin, and WDR Cologne.
1984
Producer for original radio works commissioned from Elizabeth Swados and Susan Griffin. Broadcast on National Public Radio.
1976
“Imago Femina,” Soundpiece commissioned by Douglass College; broadcast on Pacifica Radio (l978).
1973
“Waiting,” performed for documentary of Womanhouse by KCET-TV, Los Angeles, and for 45 minute color film Womanhouse by Johanna Demetrakos. Has been distributed and screened worldwide.
Performs and appears in “Judy Chicago and the California Girls,” film by Judith Dancoff.
Performs and appears in “Atmosphere,” a color film by Judy Chicago.
Performed “Waiting” on a one-hour special on women artists on Channel 68, Los Angeles, CA.
Publications, Books
2022
Watch Faith Wilding's Performance of "Waiting" from her 1974 Film Womanhouse, Autre, Hans Ulrich Obrist
2021
Art in California, Jenni Sorkin, Thames & Hudson
2018
Faith Wilding’s Fearful Symmetries, University of Chicago Press, illustrated monograph with essays by Shannon Stratton, Amelia Jones, Jenni Sorkin, et al.
2005
Yes Species, subRosa and James Pei-Mun Tsang, (Spanish/English edition), EACC, Castellon, Spain.
Yes Species, subRosa and James Pei-Mun Tsang, (German/English edition) Sabrosa Books, Chicago/Pittsburgh.
2003
Domain Errors: Cyberfeminist Practices, Eds. M. Fernandez, M.M. Wright, F. Wilding. A subRosa Project. (Autonomedia: New York, 2003).
1998
READ ME: Asci Culture and The Revenge of Knowledge, Autonomedia Books, Eds. G. Lovinck, F. Wilding, D. McCarty, P. Schultz, et al.
1977
By Our Own Hands: The History of the Women Artists' Movement in Southern California 1970-77. Los Angeles: Double X.
Articles in Books
2009
“Gestations in a Studio of Their Own: The Feminist Art Program in Fresno, CA, 1970-71” A Studio of Their Own: The Legacy of the Fresno Feminist Experiment, Ed. Laura Meyer, CSU Fresno Press, 2009
2008
“Common Knowledge and Political Love, Tactical BioPolitics: Eds. Beatriz da Costa and Kavita Philip (Boston: MIT Press, 2007)
2004
“Sex and Gender in the Biotech Century,” BioMediale: Contemporary Society and Genomic Culture, Ed. Dmitry Bulatov, National Center for Contemporary Arts, Kaliningrad.
2003
“Duration Maintenance,” Norm Der Abweichung, Ed. Marion Von Osten (Institut für Theorie der Gestaltung und Kunst). Zurich: Edition Voldemeer.
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Sarai Reader 03: Shaping Technologies, Delhi: Sarai/CSDS.
2002
“Becoming Autonomous,” technics of cyber<>feminisim, Ed. Claudia Reiche and Andrea Sick. Bremen: thealit Frauen.Kultur.Labor.
2001-2002
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Klone und Mutanten. Ed. Dr. Birgit Richard and Sven Druehl, KunstForum Books, Frankfurt, Germany.
2000-2001
“Monstrous Domesticity,” M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism. Ed. Susan Bee, Mira Schor (Duke University Press: Durham, NC, 2000).
“Next Body,” Feminism and Visual Culture: A Reader .Ed. Amelia Jones. (Routledge, NY. 2001).
“Waiting” and “Where is Feminism in Cyberfeminism” Feminist Art Theory . Ed. Hillary Robinson. (Blackwells: UK, 2001)
“Virtually Embodied,” The Multiple Mutable Subject. St. Norberts Contemporary Art Center, Winnipeg, Canada.
“Die Vulva mit Einem Kleinen Unterschied” Politiken des Sexuellen Ed. Doris Guth, et al (Turia & Kant, Vienna, Austria. 2000).
1998
“Work at Home/Home at Work,” READ ME, Autonomedia Books.
1997
“As Above, So Below.” (with CAE) Flesh Machine, (Critical Art Ensemble), NY: Autonomedia Books.
1994
“The Feminist Art Programs at Fresno and CalArts, 1970-75.” The Power of Feminist Art, Ed. Norma Broude and Mary Garrard. New York: Harry N. Abrams.
1989
“The Feminist Art Movement Southern California Style, 1970-80.” Yesterday and Tomorrow: California Women Artists. New York: MidMarch Arts Press.
1975
“Waiting.” (Performance Script) Judy Chicago, Through the Flower. NY: Doubleday.
Articles in Journals
2011
“Bodies Unlimited: A decade of subRosa’s Art Practice,” Vol 28, n.paradoxa: International feminist art journal, July 2011.
2004
“Donde esta el Feminismo en el Ciberfeminismo?” in Lectora: Journal of Women and Textuality, Barcelona, vol 10.
2002
“Situating Cyberfeminisms,” (with Maria Fernandez) Debats, 2002, Valencia, Spain (illustrated profile of Wilding and subRosa work).
“Gestohlene Rhetorik: Die Aneignung der Wahl durch die Art Industrien,” Kunstforum International, January-March 2002, Volume 158.
2001
“Economies of ART (Assisted Reproductive Technologies),” nparadoxa #8, London, Summer, 2001 (6 page text/image).
1999-2000
“Don’t Tell Anyone We Did It,” Documents, Summer 1999.
“Roundtable on the State of Feminism,” Art Journal, Winter, 2000.
“Notes Toward the Political Condition of Cyberfeminism” (with Critical Art Ensemble) CAA, Art Journal, NY, Summer, l998, The Cyberfeminist Reader
“Where is the Feminism in Cyberfeminism?”, nparadoxa N.3 , London, Summer issue on Women in New Media.
“Duration Performance: The Art of Feminized Maintenance Work,” on-line publication for Intertwinedness II at Ars Electronica Center, Linz, Austria.
1997
“As Above, So Below.” Left Curve. No.21. San Francisco.
“Material Realities.” Catalog essay for “Between the Acts,” New York: Art in General.
1995
“Monstrous Domesticity.” M/E/A/N/I/N/G. #18. New York.
“(Teaching) Painting in the Age of Virtuality.” Painting. Cooper Union School of Art publication.
1989
“Silence.” Contribution to “Forum on Art Discourses.” M/E/A/N/I/N/G #5. New York.
“Blood and Milk: Musings on the Wound and the Breast.” M/E/A/N/I/N/G #6. New York.
Hawbaker, KT, "The feminist energies of William Blake and Faith Wilding take over Chicago," Chicago Tribune, December 20, 2017.
Fidler, Luke, "When Indigenous Politics and Environmental Catastrophe Collide: A Review of Faith Wilding at Western Exhibitions," New City Art, December 4, 2017.
Cardoza, Kerry, "The radical nature of Faith Wilding’s fantastical watercolors," Chicago Reader, November 15, 2017.
2015
Lord, Benjamin, "Faith Wilding at The Armory Center for the Arts and LOUDHAILER," Contemporary Art Review Los Angeles, Issue 3, 2015.
Guertin, Carolyn, “From Cyborgs to Hactivists: Postfeminist Disobedience and Virtual Communities” on www.electronicbookreview.com
Cotter, Holland, “Hometown of Utopia and Dissent,” NYTimes, July 23, 2004.
Blocker, Jane. What the Body Cost: Desire, History, and Performance, Minneapolis, University of Minnesota Press.
Thompson, Nato and Gregory Sholette, eds., The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life, MASS MoCa, North Adams, MA, 121-126.
2003
Ault, Julie, Alternative Art New York 1965-1985. (Full Page Photo of “Womb Room”).
Anker, Suzanne and Dorothy Nelkin, The Molecular Gaze: Art in the Genetic Age, New York, Cold Spring Harbor Laboratory, (Images from “Embryoworld”).
Blocker, Jane, Bodies Sought and Doubted: Historiography and Performance Art, Minnesota, University of Minnesota Press, (Photos and Texts of “Waiting”).
Chicago, Judy. Through the Flower: My Struggle as A Woman Artist.. New York: Doubleday. (photos and text of “Waiting”).
Woman as Viewer. (Catalog) Winnipeg: Winnipeg Art Museum.
1972
Womanhouse. (Catalog). Los Angeles: California Institute of the Arts.
Time Magazine. Article on Womanhouse.
Collections
Institute of Contemporary Art, Boston
The Hammer Museum
The Art Institute, Chicago
Minneapolis Institute of Art
RISD Museum
The University Club of Chicago
Marciano Collection
Videos
Faith Wilding: Fossils
Faith Wilding in conversation with Art Historian Jenni Sorkin.
October 2021
Sisters of the Sun: Faith Wilding and Sarah Ann Weber
Faith Wilding and Sarah Ann Weber in conversation with George William Price, Director of Collections, University Club of Chicago. On the occasion of Anat Ebgi’s presentation for Frieze Viewing Room, Chicago Tribute section.
May 2020
Faith Wilding and Lucy Lippard: Then & Now at the University of Michigan
In this conversation with Faith Wilding—multidisciplinary artist; recognized authority on feminist art theory and cyber feminism; and founding member of the Feminist Art Program at CalArts—Lucy Lippard discusses her work and the current creative-political climate in the US.
Co-presented by the Penny Stamps Speaker Series and Stamps Gallery, with support from American Culture, History of Art, and the University of Michigan Museum of Art (UMMA).
![This image depicts an artwork by Faith Wilding titled "Gold Leaf Kite." This artwork was created in 2021 and measures 30" x 22" [HxW] (76.2 x 55.88 cm). Its medium is Watercolor, graphite, and gold leaf on paper, framed.](https://anatebgi.com/wp-content/uploads/2023/05/Faith-Wilding_FW1223_1683763068.jpg)
![This image depicts an artwork by Faith Wilding titled "Leaf Series: Red Tongue." This artwork was created in 1976-78 and measures 84" x 48" [HxW] (213.36 x 121.92 cm). Its medium is Oil on canvas.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1106_1663196784.jpg)
![This image depicts an artwork by Faith Wilding titled "Leaf Series." This artwork was created in 1976-78 and measures 78" x 48" [HxW] (198.12 x 121.92 cm). Its medium is Oil on canvas.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1210_1663196724.jpg)
![This image depicts an artwork by Faith Wilding titled "Leaf Seeds." This artwork was created in 2020 and measures 24" x 16" [HxW] (60.96 x 40.64 cm). Its medium is Watercolor, gold leaf, ink, and collage on papyrus.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1122_1663196776.jpg)
![This image depicts an artwork by Faith Wilding titled "Gold Leaf Kite." This artwork was created in 2021 and measures 30" x 22" [HxW] (76.2 x 55.88 cm). Its medium is Watercolor, graphite, and gold leaf on paper.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1223_1663196713.jpg)
![This image depicts an artwork by Faith Wilding titled "Serpent." This artwork was created in 2017 and measures 12" x 4 ¹⁄₂" [HxW] (30.48 x 11.43 cm). Its medium is Papier mache and papyrus, illuminated in gouache, gold leaf, and ink.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1142_1663196759.jpg)
![This image depicts an artwork by Faith Wilding titled "Flesh petals." This artwork was created in 1971 and measures 42" x 27 ³⁄₄" [HxW] (106.68 x 70.49 cm). Its medium is Graphite on paper, framed.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1047_1663196805.jpg)
![This image depicts an artwork by Faith Wilding titled "Carapaces III." This artwork was created in 1973 and measures 27" x 39" [HxW] (68.58 x 99.06 cm). Its medium is Watercolor, graphite, and gold leaf on paper.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1203_1663196733.jpg)
