Arts & Culture
Linda Pace Foundation Executive Director on Going Public
Published: January 22, 2014
For the major exhibition [“Global Feminisms,” 2007], you took this new structure and you made an exhibition with the work not just from [the U.S.], but from everywhere.
I do not personally want to restrict the definition of feminism to America. I would fear that that would make a show unbelievably white-centric, European-American centric.... For me it was so much more interesting to think about a larger picture, about what does it mean to be a feminist in Afghanistan? Or to look at Guatemala, and the Democratic Republic of the Congo. The issues we deal with as women in America, we could potentially argue, are not as grand as what women cope with in other parts of the world. Therefore, the feminist content of our artistic production reflects that. While that’s absolutely so important—reproductive rights, fighting inequality—we are not creating works like Michèle Magema under the Congolese regime, dealing with horrific life or death situations as a woman.
How does this global focus relate to your curatorial role with the Linda Pace Foundation?
Well, Linda’s a great example of somebody who came of age as part of the 1970’s generation, and who became a real patron. Linda traveled the world, [and] helped bring artists from all over the world to Artpace, and into her own collection, which is major. And it’s important [that] 50 percent, or close to it, of her collection is by women. From all over the world. This is a huge responsibility as the executive director: to takes what she collected, as a curator, and to make it publicly available.