I was commissioned by the Columbus Museum of Art to create performance works that engage with the museum’s collection in innovative ways and, at the same time, incite conversation around the longstanding gender imbalance in the art world.

As part of Equal Pay Day (April 12, 2016), my team of OSU women writers and performers intervened in the CMA’s collection through Disparity/Disruption, a series of scripted and improvisational performances and performance art.

Collaborators and performers included:

the fives by Alexandra Davis (BA, Theatre). Less than 5% of art held in museums worldwide is by women. In this piece, Davis uses 5% of the floorspace in the CMA’s Derby Court to create work that speaks to this disparity.

Ecstatic Viewer by Jackie Hedeman (MFA, Creative Writing). Anchored to Alison Saar’s Nocturne Navigator, Hedeman asks: what does it mean to love a piece of art that is not for you?

Disreguard by Amanda Loch (BA, Theatre). Asking “what kind of society do we agree to live in when we are conditioned to ignore systems of power?”, Loch will serve as a gallery associate, monitoring the room in which Artemesia Gentileschi’s Bathsheba hangs in the CMA.

Unheard and Unseen by Karie Miller (PhD, Theatre). On the second floor of the CMA, a docent has gone rogue.

Is There No Truth In Beauty by Molly Olguín (MFA, Creative Writing). An alternative audio tour of work by women in the CMA, this Guide by Cell experience wrestles with the author’s and the viewer’s tastes.

Wait Til You See Eleanor Davis by Samantha Tucker Iacovetto (MFA, Creative Writing). Eleanor Davis’s work was right here. Wasn’t it?

A Matter of Perspective: The Life of Artemesia Gentileschi by Tyrrell Woolbert (PhD, Theatre). Artemesia’s father hired Agostino Tassi to teach her “perspective.” Whose have we accepted, though, as we have chronicled her life?

With Boxed In, an installation from Joshua Quinlan (MFA, Scene Design) in the main lobby of the CMA.