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Vernita Nemec
Vernita Nemec (born 1942 in Painesville, Ohio), also known by the performance name Vernita N'Cognita, is a visual and performance artist, curator, and arts activist based in New York City. She earned her BFA at Ohio University in 1964 and has resided in New York City since 1965.〔(Viridian Artists: Staff. ) Retrieved 09/03/2014〕 She is also known for her soft stuffed sculpture,〔''New York Magazine'' 6, no. 9 (February 26, 1973): 24.〕 collages,〔("Vernita Nemec's Endless Junkmail Scroll," ''Artdaily'', 30 May 2006. ) Retrieved 09/02/2014.〕〔(Stephanie Rose Bird, "Artists at Detritus Feature Salvaged Materials," ''Mother Earth Living'', January/February 2003. ) Retrieved 09/02/2014.〕 artist's books,〔(Joan Flasch Artists' Book Collection. ) Retrieved 09/02/2014.〕 photographs, and installations.〔(Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base: Vernita E Nemec AKA N'Cognita. ) Retrieved 09/02/2014〕〔(The Woman's Building: Digital Image Archive. ) Retrieved 09/03/2014.〕〔(Woman's Building Image Archive, Otis College of Art and Design. ) Retrieved 09/03/2014〕 Nemec adopted the pseudonym "N'Cognita," a pun on incognito, as a way to honor artists who have not become well-known.〔
== Early work ==
Nemec began her multifaceted career in art making, curating, and arts activism in 1969, at MUSEUM: A Project for Living Artists.〔Jeff Ault, ed., ''Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social Text Collective'' (University of Minnesota Press, 2002), 21.〕 That year, with Carolyn Mazzello,〔''Feminists Who Changed America, 1963–1975'' (University of Illinois Press, 2006), 304 and 334〕 she originated and contributed to ''X-12'', one of the first exhibitions to feature only women artists.〔(【引用サイトリンク】url=https://www.brooklynmuseum.org/eascfa/feminist_timeline/plain_text.php )〕〔〔Vernita Nemec, "X-12," ''Womanart'' 1, no. 1 (Summer 1976): 4–7.〕 In the early 1970s, she was a member of Art Workers Coalition and Women Artists in Revolution (WAR), along with Nancy Spero, Leon Golub, Cindy Nemser, and Lucy Lippard. She also wrote for the feminist art periodical, ''Womanart''.〔Susan Bee and Mira Schor, ("Feminist Art: A Reassessment" ), ''M/E/A/N/I/N/G Online #4'', Feminist Forum (2007). Retrieved 09/02/2014.〕 Nemec worked with other arts activist groups, including Art Against Aparthied and Political Art Documentation Distribution (PAD/D).〔(【引用サイトリンク】url=http://www.leftmatrix.com/pad.html )〕
Nemec became an artist-member of SOHO 20 Gallery in 1975.〔Ellen Lubell, “SoHo 20,” ''Womanart'' 1, no. 1 (Summer 1977): 16.〕 For her second solo show at SOHO 20, Nemec painted the gallery’s 50-foot wall orange and covered it with orange paper, pencil and xerox self-portraits, stuffed dolls with her own face, and fabric silhouettes, as “a recording of the artist’s life (real or imaginary) and an exercise in self-searching."〔Jill Dunbar, “Vernita Nemec,” ''Womanart'' 2, no. 2 (Winter 1977–78): 34.〕
In 1978, Nemec, Barnaby Ruhe, and Bill Rabinovitch organized the Whitney Counterweight, an exhibition that protested the elitism of the Whitney Biennial. As she explained to Grace Glueck of the New York Times, "We've felt from the beginning that the idea of the Whitney Biennial as an overview of American art was a very limited concept."〔(Grace Glueck, "Art People," ''New York Times'', February 13, 1981. ) Retrieved 09/02/2014.〕
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