Category Archives: Exhibitions

Cunt Quilt (Home) at Queens Museum October 2018

October 28, 2018

Dozens of participants gathered on a crisp Fall afternoon for the Q4 2018 Stitch n Bitch at Queens Museum as part of the S.T.E.P exhibition opening. Feminists across the spectrum laid out a palette of donated women’s underwear on the museum floor in preparation for the latest City of Today for Feminine Urbanism flag. Cunt Quilt (Home) is a house logo with a symbolic “keyhole” opening in place of an inviting door and was co-created by a diverse group of individuals who discussed housing vulnerability from gentrification to globalization. After sharing stories of eviction, homelessness, nuisance abatement and immigration; the group consensus that housing is a basic human right was central to the discussion. Shortly thereafter, an image was formed by critiquing existing logos against the collaborator’s own experiences. Four hours later, a spectrum of vibrant, multi-colored panties were stitched and pinned onto a stained, Queen sized bed sheet to represent the intersectional feminist movement’s fundamental demand: Access to Housing.





Q4 Stitch n Bitch at Queens Museum

A Quilt is a Public Square

Stitch n Bitch Sunday 08/28/2018 1-6pm 

@ Queens Museum S.T.E.P. opening

Buildings are logos for culture. Returning to it’s origin story at Tomorrowland World’s Fairgrounds in Queens, The City of Today for Feminine Urbanism will be hosting a Stitch n Bitch to address the ongoing housing crisis in its many forms ranging from gentrification to globalization. The Q4 Cunt Quilt will be created in an image central to the immigrant and low-income urban experience: residential vulnerability. Today’s city habitat is a stark contrast from the utopian American Dream vision outlined by The City “documentary” film released at the 1939 World’s Fair. Or is it? An architectural version of Birth of a Nation: the film nostalgically depicts a utopian, suburban neighborhood falling victim to the evils of city life and it’s intersectional threats. Today, these isolated, single family subdivisions have been visually replaced by an equally segregated horizon line of skyscrapers whose sexy silhouettes are a bar graph of economic violence- only a decade after the housing crisis and nearly a century after the Great Depression. At eye level, poor doors and nuisance abatement evictions plague the modern industrial complex with homelessness and decreasing public space. In anticipation of a monumental midterm election, we will turn out and speak up over a public square in the form of a stained, Queen sized bed-sheet.       
We will perform our citizenship and discuss ways to decentralize our choir preaching as a survival strategy for the upcoming election during the Stitch n Bitch. Stitch n Bitches are craft salons where all walks of life are welcome to make and celebrate the political heritage of quilts such as Arpilleras Desaparecidos, Railroad Codes, and Concentration Quilts. Feminists including women, men and non-binary individuals gather to maintain citizenship, build consensus and constructively critique. Stitching donated, worn-out women’s underwear onto a Queen-sized bed sheet; participants will quilt politically relevant images in a democratic, crowd-sourced fashion. A protest flag for the City of Today for Feminine Urbanism (Femilia), the Cunt Quilt is born on protester’s backs at marches to demonstrate an intersectional women’s movement. A performance of citizenship in three acts; the Underwear Audit accounts for our bodies, the Stitch n Bitch builds solidarity, and the Cunt Quilt holds our governing bodies accountable. The project will continue until there is a woman in the WhiteHouse.


Queens Museum, formerly World’s Fair 1940: Women stitching a “Bachelor’s Fancy” pattern for the American Art Today Pavilion during the first anniversary of the national film release of The City 

Cunt Quilt at Queens Museum S.T.E.P.

Cunt Quilt in Saunter Trek Escort Parade group show at Queens Museum 10/28-12/2/2018

Queens Museum opening Sunday October 28, 2018 12-6pm
S.T.E.P seeks to be an overlapping convergence and entanglement of walking, walk-based works and programming, mobilizing throughout New York.  S.T.E.P embraces the many ways and bodies we walk while asking how walking as a creative act can challenge notions and open conversations around visibility, gender, labor, exploration, counter-mapping, colonialism, feminism, motherhood, contesting borders, community building, calling out gentrification, street harassment, (dis)ability, carbon debt, who sets the pace and measurement of the world, the power of dreams, and our entanglements between all of these and one another. 

Participating Artists/Collaborators Ariel Abrahams + Tal Gluck, Francheska Alcantara, Artcodex (Mike Estabrook + Vandana Jain),   Annie Berman,   Tom Bogaert, Becky Brown + Annette Cords, Compassionate Action Enterprises (Joan Giroux + Lisa Marie Kaftori),  Xenia Diente,   Magali Duzant, Katie Etheridge + Simon PersighettiBrendan Fernandes,   ray ferreiraGudrun Filipska + Carly Butler,   Alexander FreemanDavid HelbichClaire Hind + Gary WintersLisa Hirmer,  Maya Kaminishi JeffereisWalis Johnson,  Federico JordanKyla KeglerKubra Khademiillesha Khandelwal ,  Dominika Ksel,  gil lopez, Mary Magsamen + Stephan HillerbrandCoralina Rodriguez MeyerLisa Rose MyersKristyna and Marek MildeSara Morawetz Clare QualmannMorag Rose + The Loiterers Resistance MovementJulie Poitras Santos, Marcos Serafim + Jefferson Kielwagen + Steevens Simeon, SleepWalks (Lee Pembleton + Andrea Williams),  Stephanie Stinggay, Camille Turner  aka Miss Canada, Geert Vermeire  + Stefaan van Biesen + Simona Vermeire plus Jevijoe Vitug.

Cunt Quilt at Flux Factory Queens Air Rights Exhibition April 2018

Air Rights Exhibition at Flux Factory  April 7th – May 12, 2018

Flag Raising, 5pm Saturday, April 7th The Windmill Community Garden Flux Factory

Curated by Christina Freeman

Cunt Quilt Air Rights Statement

The Cunt Quilt is the official flag for the City of Today for Feminine Urbanism to be flown at FluxFactory’s Air Rights space. Airing the nation’s laundry after the 2016 US election, the artist began a national Underwear Audit to collect worn-out women’s underwear to sew onto Queen-sized bedsheets by feminists at quarterly craft gatherings. Born on protester’s backs at marches, the quilts represent an intersectional women’s movement. A performance of citizenship in three acts; the Underwear Audit accounts for our bodies, the Stitch n Bitches builds feminist solidarity, and the Cunt Quilt holds our governing bodies accountable. The project will continue until there is a woman in the Whitehouse.

Like the Queens immigrant community (unwavering in the face of brutal forces), the Air Rights Cunt Quilt occupies a marginal, yet symbolic space in a larger movement. The Cunt Quilt migrates its origins from the “Arpilleras” (South American sculptural quilts) craft tradition to North America.  Arpilleras originated during the modern Chilean genocide and spread across marginalized communities. The forbidden narrative textile reliefs were a form of political resistance and economic independence made by mourning indigenous mothers with clothing scraps from their “Desaparecidos” (disappeared) children. Arpilleras were performed at protests and sold as subversive souvenirs depicting everyday life under the Pinochet dictatorship. Translated to the North American context – where quilt history ranges from Betsy Ross’ first American flag, to Sojourner Truth’s underground railroad maps and Suffragette sewing circles; the Cunt Quilts are a guide to building solidarity and making invisible women’s power present in North American politics.

Air Rights

While air rights are conventionally framed in terms of potential real estate development, the term legally defines who may “control, occupy, or use the vertical air space above a property.” Playing with this idea, air rights here point to the value of (vertical) community space as a site for creative expression, stemming from the first amendment of the Bill of Rights. In this series, artists are invited to occupy the air space traditionally reserved for governments, symbols of nationhood, and real estate developers, exercising their first amendment right to freedom of speech.

Coralina Rodriguez Meyer is an indigenous South-American Brooklyn based artist who translates structural violence into minority heirlooms. Raised queer between the rural American South and the Caribbean, she mends her mixed-race, latinx, semi-able identity into satirical booby-traps. Coralina performs her citizenship by engaging viewers to become builders of their humorous, hysteric future. She began building the City of Today for Feminine Urbanism in 2009 to propose intimate solutions for urban scale problems. After studying painting at MICA, she completed her architecture BFA at Parsons (2004), and studio art MFA at Hunter College (2013). Coralina held fellowships at the Artist’s Institute NY, SU Florence Italy and the UDK Berlin to study Nazi utopian architecture with Hito Steyerl. In 2012 she researched her Inca heritage at the Museo de Sitio Machu Picchu fellowship, to create works connecting the khipu social structures to urban American iconography. She has been a resident of Mildred’s Lane and the Bronx Museum AIM program. Coralina received awards from VSA Arts, the Kennedy Center, NYFA, Scholastics and Young Arts. She has been featured in the NY Times, Village Voice, Hyperallergic, Paper Magazine, Univision, Nylon Magazine and Jezebel. Coralina’s work has been exhibited at Bronx Museum, Miami Art Museum, the Smithsonian Museum International Gallery, Miami University Museum, Kunstlerhaus Brethanien Berlin, NYU Kimmel Center, Bitforms, Andrew Edlin, AIR gallery, KMAC Museum and the Corcoran.


Cunt Quilt (Hourglass) at Social Justice activist gathering IWNBQ February 2018

Saturday, February 17, 2018

I Will Not Be Quiet!


I Will Not Be Quiet seeks to bring women in a supportive setting, where they can share their concerns about the future, educate themselves on pressing topics and brainstorm ways that they can, together, take action.  From the Women’s March to the #MeToo movement, more women are speaking out and taking action about the laws and legislators that affect their choices, their opportunities, and their livelihood. I Will Not Be Quiet is an activist group that encourages women to exercise their constitutional right to freedom of speech and assembly and promotes the notion that together, as a community, we are stronger…and louder! Our agenda is clear:
We are here; 
we will not relent; 
we will not be treated differently; 
we will not be quiet.

To celebrate our one-year anniversary, we are inviting the women of New York to come listen, learn, rant, and rave about the politics, policies, and phenomenal people who are pushing for change, powering the movement, and providing important shoulders to cry on and stand on as we build each other up and onward.


Cunt Quilt (Liberty Belle) at Salisbury University Gallery curated by Fem Four January 2018


“Still They Persist” Protest Art of the 2017 Women’s Marches
January 29 – March 31, 2018

Salisbury University Gallery, 109 Fulton Hall Salisbury, MD
Curated by Maria Seda-Reeder; Organized by the FemFour

With the aim of keeping the words and images made and deployed by human rights advocates who took to the streets of cities around the country this past January circulating within the public sphere, FemFour, a group of Cincinnati-based artists and arts advocates, put together a traveling, ever-evolving archive of over 150 posters and placards, sculptures, textiles, and photo documentation from the day collected by the arts philanthropist and collector Sara M. Vance Waddell. This particular iteration of the exhibition also includes items created by local participant in the Women’s Marches and collected by the University Archives.

FemFour Lecture | February 15, 2018
111 Fulton Hall, 5:30 pm

About the FemFour
Initially intended to populate a large wall space in her personal home gallery, art collector, philanthropist, perennial board member, and museum docent volunteer Sara M. Vance Waddell began soliciting signs from artists as soon as she knew there would be a Women’s march on Washington. Enlisting the help of independent curator and art critic Maria Seda-Reeder as well as Wave Pool Gallery’s Executive Director and social practice artist Calcagno Cullen, the group then brought on board the Contemporary Arts Center’s Curator of Education, Jaime Thompson to round out their mission: keeping the words and images of progressive activists and allies in the minds and hearts of the public.



Cunt Quilt (Liberty Belle) at Kentucky Museum of Arts & Crafts curated by Fem Four December 2017

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Still They Persist:

Protest Art from the 2017 Women’s March

December 16, 2017 – January 7, 2018

3rd Floor Gallery

Donor & Member Preview Friday, December 15  from 6-8pm

Curator Talk Saturday, January 6  at 3pm

Organized by the FemFour: a group of Cincinnati-based arts/artist advocates Calcagno Cullen, Maria Seda-Reeder, Jaime Thompson and Sara M. Vance Waddell.

According to event organizers, an estimated 500,000 marchers traveled to Washington DC on January 21st, 2017 for the Women’s March on Washington. Another 4.5 million people participated in this peaceful protest worldwide.

Art collector, philanthropist, perennial board member and volunteer museum docent Sara M. Vance Waddell had the foresight to reach out to her network to request signs from participants as soon as she knew there would be a Women’s March on Washington.  As her request began to circulate, it became clear that the work itself behooved ongoing documentation and a more public audience. With the aim of keeping the words and images made for this march circulating in the public sphere, a collective named the “FemFour” was established to organize this evolving archive of posters, placards, sculptures, textiles and photo documentation of the international event.  The objects were donated by artists, found by friends, worn by activists, carried by allies and otherwise held as objects of resistance against authoritarianism on that day—and on many subsequent days since.

Enlisting the help of March participants and friends Calcagno Cullen, Maria Seda-Reeder, Jaime Thompson, the generous assistance of Dr. Carolyn Mazloomi and other passionate artists, friends, and activists, the group took up the ongoing care and documentation of these ephemeral objects. One of these vehicles is a catalogue with essays from artists and scholars, in which all sale proceeds benefit Heartfelt Tidbits – a Cincinnati-based non-profit refugee service organization. The FemFour’s hope is that by returning to that site of resistance, we might continue to recognize and resist tyranny in its many manifestations.