RSS Feed


Now everyone is an insider!

In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.

If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at

  • Wednesday, October 4, 2017

    Announcing the Student Picks 2017-18 Winners!


    The Student Picks Sweepstakes ended on September 24, and we have our seven winners!

    Student Picks gives students the chance to curate their own personal, individual art show using works from the Museum, on view for one day in the Cunningham Center for Prints, Drawings and Photographs. Six lucky students are chosen by lottery as part of a campus-wide sweepstakes that takes place each September.

    Image: Lorraine O’Grady. American, born 1934. Art Is... (Troupe with Mlle Bourgeoise Noire). 1983 (printed 2009). C-print. Purchased with the Dorothy C. Miller, class of 1925, Fund.

    Starting this year, Student Picks is part of the museum's new Thursday Late Nights programming and will be taking place on the last Thursday of each month of the academic year. 

    We picked three winners and an alternate each from the paper and online ballots.

    This year’s Student Picks winners are ...

    October 26, 2017: Ana Porro '19 

    November 30, 2017: Kaila Temple '18

    January 25, 2018: Yasmine Vera '20

    February 22, 2018: Katie O'Hara '18

    March 29, 2018: Samantha Linder '18

    April 26, 2018: Nicole Bearden '19J

    September 27, 2018: Molly Megan '19

    Congratulations to our newest student curators!

  • Tuesday, September 26, 2017

    STUDENT PICKS | Psychic Playgrounds: Reshaping Reality


    Kim Taedong. Korean, born 1978. #018 (Boy standing near concentric circles) from the Day Break Series, 2011. Digital pigment print. Image courtesy of the artist. Purchased with the Jane Chace Carroll, class of 1953 and Eliot Chace Nolen, class of 1954 fund.

    For me, creating this “Psychic Playground” is a self-revealing process. The whole show was led by a vague feeling of weirdness that exists in the reality and an idea of distorted space.

    How do representations of daily life enact possibilities in other dimensions? What did I want these everyday spaces to be? How can these spaces be distorted under humans’ cerebral manipulation? In other words, through these pieces, I tried to reveal sites of reinvention: moments when reality is recreated in the artist’s perception and when unreal objects begin to interact with everyday events. There are many elements coexisting in this show: chaos, fantasy, ambiguity, encounter, illusion, augmented reality and so on. Sometimes those pieces communicate with one another, but sometimes they can stand alone and speak to something extraordinary in daily life. This is a psychic playground for you to discover an unexpected reality. 

    Laurie Simmons. American, born 1949. Study for Long House (Bedroom with Mirror). 2002.Cibachrome mounted on plexiglass. Smith College Museum of Art.
    Purchased with gifts from Laura Resnic Brounstein, class of 1984, and the John W. Cavanaugh Family Foundation (Lisa Cavanaugh, class of 1978)

    Student Picks is now part of SCMA's new Thursday Late Nights programming. September's show will be accompanied by a mocktail party and student preview of the special exhibition "A Dangerous Woman: The Art of Honoré Sharrer." Though the Sharrer program begins at 6 pm and is for Smithies exclusively, Student Picks will be open to the public from 4 pm to 8 pm in the Cunningham Center for Prints, Drawings, and Photographs.

  • Friday, September 22, 2017

    On Mierle Laderman Ukeles’s “Dressing to Go Out/Undressing to Go In” (or, Don’t Try This At Home)

    Mierle Laderman Ukeles. American, born 1939. Dressing to Go Out/Undressing to Go In. 1973 (printed 1998)
    95 gelatin silver prints mounted on foam core with chain and dust rag. Smith College Museum of Art.
    Purchased with the Judith Plesser Targan, class of 1953, Fund.

    The essay “The Personal Is Political” by Carol Hanisch was published in the the volume Notes from the Second Year: Women's Liberation in 1969. Hanisch’s text sparked a global conversation around the importance of multiracial feminism and introduced the idea that a woman’s political and social struggle is dependent on her individual identity because women are economically oppressed by the government and its’ institutions. Implications of this issue can be seen in Dressing to Go Out/Undressing to Go In (1973) by radical feminist performance artist and postmodern pioneer Mierle Laderman Ukeles. I would argue that this artwork is not about domestic femininity, but it is meant to open conversation about the capitalized female body within the broken economic systems that profits from its’ [the body’s] physical labour.

    The hurried, active quality of the photographs that comprise the work allows viewers a glimpse into what ‘motherhood’ could have looked like for a working female artist during one of the more pivotal moments of second-wave feminism in America.

    Mierle Laderman Ukeles, Dressing to Go Out/Undressing to Go In (detail) 

    The images show the artist and her children in their apartment. Both children are seated, and appear to be waiting patiently as Ukeles helps them meticulously fasten Mary-Jane style footwear: a task that, perhaps by now is nearly ritualistic to them as a morning routine. Next, Ukeles is shown reaching behind the torso of one of the children to adjust the jacket — a gentle, maternal gesture, judging by the size of the tiny child in relation to both Ukeles and the coat. She then places the second coat on the second child, perhaps a bit more hurried this time as if they are on an actual schedule.

    Continuing the sequence, one of the children begins a small dance weaving a long scarf around her neck. Approximately three-fourths in the sequence, there is a visual shift as the children scramble to de-layer themselves again, discarding their clothes on the floor. Compositionally the photographs capture the task by using repetitive framing and sequential imagery. The actions in each image are more than a second in- time apart from each other, leading viewers to believe that Ukeles may have selected the photographs to emphasize that each still is equally contributing to the overall meaning of the work.

    Instead of a final picture in the corner, Ukeles has attached a chain and dust rag allowing the work to operate as a three-dimensional object, versus a two-dimensional window on the world.

    Mierle Laderman Ukeles, Dressing to Go Out/Undressing to Go In (detail) 

    Dressing to Go Out/Undressing to Go In was created only a few short years after “The Personal Is Political” was published, and the phrase became part of popular culture. Ukeles wrote her own artist manifesto that same year, (“Maintenance Art 1969!”) in which she outlined her proposal that labor, and in particular, women’s domestic labor, could be seen as art.

    The bulk of Ukeles’s other work is in performance, although her practice is generally grounded in social outreach ideas including paid maternity leave, a higher minimum-wage, and other humanist objectives concerning the social welfare of others. Her work can also be seen to relate to the systematic suffering and invisibleness of exploited work groups within the American economic system, which is how I am choosing to frame my discussion about this artwork. From factories to fashion workers: Women workers, broadly speaking, are the bodies that make up the physical infrastructure of capitalism. By creating pieces that expose labour fallacies artists like Ukeles may be able to reclaim some agency for those who are silenced. 

    Mierle Laderman Ukeles, Dressing to Go Out/Undressing to Go In (detail) 

    Although this piece, and other works created by Ukeles, can be seen to comment on capitalism’s interdependence on domestic labour to fuel its’ mode of production, that is a topic that I don’t know if the artist is necessarily asking viewers to do here. Placing an artwork in a metaphorical box of social justice, and assuming that it is speaking toward a socio-political feminist ideology, is like assuming that all of postmodernisms — and its’ contemporaries— are a piercing call to justice, which, frankly, they aren’t. That act of classification is what a Modernist critic would refer to as a “cliche” or an inherent flaw: that identity will never be able to represent itself in full because the social construct of visual reality has made it nearly impossible to take ourselves (and our labouring bodies) out of the art discussion. This lobbies for the idea that art for art’s sake is nearly nonexistent, and that work will always have some sort of disturbing or challenging quality depending on one’s social understanding of it.

    And though the maker here is a woman, the work also reaches a level of understanding of the subordination of more than just those who share that identity. The phrase "The Personal is Political" was also adopted by multicultural feminist movements, which moved away from using the word "feminism" to mean only white women activists.

    Despite the fact that the images are drawn from the artist's personal experiences, I believe it is a mistake to assume that this work is about Ukeles's personal identity as a feminist, or that it is speaking directly to women's institutional oppressions. Thus, what is often lost when considering a body of work, such Mierle Laderman Ukeles's "maintenance art," is assuming that the piece is drawing from Western-feminism and ignoring other contemporary ideas. Art of any provocative nature will stir productive conversations, without making explicit statements. Mierle Ukeles'sDressing to Go Out/Undressing to Come Inthus engages ideas that were pertinent to her time and continue to be a rich subject for exploration today.

    Mierle Laderman Ukeles. American, born 1939. Dressing to Go Out/Undressing to Go In. 1973 (printed 1998)
    95 gelatin silver prints mounted on foam core with chain and dust rag. Smith College Museum of Art.
    Purchased with the Judith Plesser Targan, class of 1953, Fund.