The exhibit features a historical section as well, devoted to DIY relics like zines, hand-printed posters and music playlists. S., Canada, South America and Europe, the cassettes and t-shirts provide an impressively far-reaching portrait of what it meant to be part of the "boy-girl revolution." Together, the pieces on view form an open-ended image of the past and present face of Riot Grrrl, from the sounds of Bratmobile to the pages of I’m With Problematic / Women’s Studies Professors Have Class Privilege, from the series Creep Lez, Allyson Mitchell, 2012.Altered t-shirts with iron-on transfer and vinyl letters.Best known for the whip-smart lyricism of her solo records, Case also plays in indie rock supergroup The New Pornographers, runs an alternately earnest and hilarious Twitter feed, and operates a small farm in Vermont, where she lives.She is so unguarded and casual onstage that one might assume everything comes easy to her.But I loved my city, we were the biggest underdogs ever.” Case began to hang around Tacoma’s Kennedy World Theater, a community-minded rock club, and quickly found a new home.
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Taking its name from a Bikini Kill song, the collected artworks reflect on, challenge and continue feminist critiques of the '90s, evoking the diversity of identities and senses of self-determination that have sprung forth in the years since.
Some contributions are extremely personal, such as July's performance, "The Swan Tool." Dating back to 2000-2002, the work tells the story of woman who grapples with her will to live or die, eventually deciding to bury herself in a hole, only to intensify her personal confrontation with life and death.
The Riot Grrrl movement exploded in the 1990s, bringing feminist perspectives to the forefront of punk culture.
Using zines, music and a general flair for the DIY aesthetic, icons like Kathleen Hanna and Allison Wolfe tackled not only the sexist sentiments infiltrating punk and art scenes, but the violent and homophobic attitudes that surrounded them.