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41-64Pp Review WAJ 28.2 circles. The catalogue thus supports the Professor of Art History and Director show traveled to the Brooklyn Museum, goal of the exhibition and is a major and Chief Curator at the Patricia and New York, April 13–July 22, 2018, and to contribution to its success. • Phillip Frost Art Museum at Florida Pinacoteca de São Paulo, São Paulo: Aug. 18–Nov. 19, 2018. International University in Miami. Carol Damian is an independent 2. A complete list of the artists can be found at https://hammer.ucla.edu/exhibitions/ curator and art writer specializing in the Note 2017/radical-women-latin-american-art- art of Latin America and the Caribbean 1. After opening at the Hammer Museum, 1960-1985/ (accessed July 20, 2018). and women artists. She is the former Los Angeles, Sept. 15 –Dec. 31, 2017, the Radical Eroticism: Women, Schneemann (b. 1939), Anita Art, and Sex in the 1960s Steckel (1930–2012), Marjorie Strider (1931–2014), and By Rachel Middleman Hannah Wilke (1940–93). University of California Press, 2018 Selected in part for their dif- ferent approaches to erotic Reviewed by Erin Devine themes, both materially and conceptually, each artist in he provocative title of Rachel her own way sought to Middleman’s new book unhinge the normative sexu- Tinsinuates a forthright and even ality by which women’s expe- tantalizing discourse on sex and gender. riences as active subjects had Readers will find, however, that the been marginalized. Spurred Fig. 1. Anita Steckel, New York Skyline (ca. 1971, no title’s operative word is radical, as the by what then were recent longer extant), oil on canvas silkscreened with found author sets out to evidence just how foundational texts, such as photo, 6 1/2’ x 8’. © Estate of Anita Steckel. revolutionary it was for women artists Simone de Beauvoir’s The of the 1960s to not only usurp the Second Sex (1949), Helen longstanding representations of woman Gurley Brown’s Sex and the Single Girl otherwise formalist sculpture toward the as sexual object but to lay claim to their (1962), the reports of Alfred Kinsey (1948), erotic, achieved through the sensual own sexuality as well. It is obvious to and later Kate Millet’s watershed Sexual qualities of tactility and evocation rather state that Middleman’s research is Politics (1970), the artists of Middleman’s than the directness of pictorialism.1 With timely in the moment of #MeToo, focus were representative of an emergent Lippard’s help, Middleman rescues although this prescience may be understanding of sex as a legitimate and Wilke’s sculpture from their reduction to burdened by any expectation that the pervasive tool of discrimination at the vaginal portraits, heretofore viewed as a book contributes some strategy toward expansive moment of the feminist and feminine intervention with the era’s gender parity. That would be much to sexual revolutions. By investigating dominant aesthetic. ask of a first major publication, but specifically their works that addressed sex With equal attentiveness, Middleman Middleman’s investigation of sexuality, and sexuality, and the relational power reinvestigates Schneemann’s 1964 Meat and how early feminist artists arrested dynamics enforced thereby, Middleman Joy, arguably one of the most enigmatic its aspect from visual culture, at least positions erotic art as operating within an works of the twentieth century. Precisely buoys the current challenges to important socio-political framework breaking down its elements, she positions patriarchal establishment. rather than the subgenre to which it is the work as a revelatory if not loosely rit- Middleman gives mention to the pri- often diminished. ualistic expression of sexual unrestraint, mary activities and concerns of African- Of Middleman’s survey, Wilke and equally abandoned to by its male and American women artists in this time- Schneemann have already been given female participants. If Meat Joy can be con- frame, aligned much as they were with due attention. However, she offers an sidered a celebratory heralding of 1960s civil rights, and to the contributions of analysis of Wilke’s lesser known sculp- sexual liberation, then Schneemann’s gay male artists to the widespread inter- tures that were produced at the cross- Fuses (1964-67) offered a demystification ference of dominant heteronormativity. roads of Minimalist and proto-Feminist of sex’s import to power. Using the spaces Her project, however, is fixed upon the art, rather than the “performalist” works of her home and personal relationship, interpretations of heterosexuality by for which the artist later became most Fuses was a filmic series that sought to straight women who would become known. Middleman’s understanding of embrace the everyday reality of sexual increasingly involved in the feminist these incongruent, genital forms is intimacy as well as emphasize equity in movement. Her analysis is developed hinged to Lucy Lippard’s 1966 essay romantic partnership. Middleman locates through case studies on the work of five “Eccentric Abstraction,” in which she these works in their time as signals to artists: Martha Edelheit (b. 1931), Carolee outlined a tendency in contemporary and gender equality, both reclaiming the FALL / WINTER 2018 59 power dynamics seen as inherent to het- Women see and know and experi- autobiographical, but always contesting erosexual relationships. ence their bodies and men’s bod- the representations of women as the Contingent with and reminiscent of ies—and there is no shame in this. object-not-subject of sex. The author Meat Joy, Martha Edelheit’s early erotic The only shame is the hypocrisy ... falters to consistently craft her argument paintings appear like a Klimtian which pretends we don’t even for the resistance of these works to panorama of bodies shown from above. know a “dirty joke.” ... We’re the modernist formalism, and much text is The Bacchanalian character of both entire subject matter of all those given to the reprise of seminal critics and Schneemann’s performance and jokes we’re not supposed to know historians of feminist art. Still, the Edelheit’s paintings present a frenzied the meaning of (149).2 resulting effort is foundational to aesthetic, perhaps evocative of a reframing the importance of the erotic burgeoning sexual awakening in which With the publicity surrounding the within the feminist art movement and power differences are suffocated Rockland exhibition, and the subversive the role it plays in gender equality. beneath forms. A visual metaphor for tactics of her photomontage, Steckel’s Kenneth Clark’s The Nude: A Study in new modes of sexual relating, so work was less erotic than political. For Ideal Form, published in 1956, set forth the palpably active are the energies of line instance, a phallus drawn onto a dollar standard concept of the nude as an and color in Edelheit’s compositions bill beneath the words “Legal Gender” expression of universal values. By the that any reference to dominance/ asserts, with Steckel’s trademark wit, end of the 1960s, women artists upended subordinance between male or female that the American economic system is those values and their consigned posi- figures is undetectable. It is important inextricable from male privilege. tions as allegory, muse, and sexual fanta- that Middleman positions this period of These points of labor and economics sy. As Middleman carefully outlines, they Edelheit’s output as an acute perception in relationship to artistic production can- invented new forms by which to reen- of the unfolding “personal and not be underemphasized in Middleman’s gage with the erotic content from which political” events of her time. Like thesis of radical art. At a time when they had been excluded, even daring to painters Joan Semmel and Sylvia Sleigh, women already had fewer opportunities bring into that content the female experi- by the early seventies Edelheit will for exhibition, these women risked fur- ence of the male body. Crossing the clear- focus her work to the male nude, joining ther exclusion by addressing the chal- ly demarcated line of object/subject other feminist artists in the urgent lenging if not forbidden subject of sexual- demanded their own liberty as sexual project of disrupting the male gaze. ity in their work. At the beginning of the beings and thus maneuvered their power This redirection in the output of sixties, eroticism in art featured predomi- to discern some bodies over others, a for- feminist painters is significant to nantly in exhibitions of Pop Art, where merly exclusive site of male privilege. At Middleman’s plotting of the evolution of the dynamics between sexuality and con- this propitious moment in women’s his- the feminist art movement, from the early sumerism could be played out, and very tory where we now find ourselves, sixties through the early seventies. For few women were invited to participate. Middleman’s book reconsiders sex and instance, she notes that submissions of Included in the First International Girlie the erotic if not as part of a revolutionary Edelheit’s early work of male nudes were Exhibition (1964) at Pace Gallery, Marjorie strategy toward gender parity then at rejected while the female nudes were not, Strider was able to break through that least as essential to the struggle. a condition that shifted considerably a restriction, exhibiting her illustrative decade later. And yet Anita Steckel’s often appropriations of the pin-up. Images Erin Devine is an artist, curator, and humorous incorporation of the penis, associated with the objectification of critic based in Washington DC. Her work outlined with oil paint onto huge women in popular culture, and participa- was recently included in the Venice silkscreened canvases of the New York tion in an exhibition that seemed to glori- International Performance Art Week, and City skyline (ca. 1971; Fig 1), was not too fy them, would be problematic to femi- a new work, Contrab®and, has been funny to local politicians or the trustees of nist artists a decade later if not for commissioned for the Torpedo Factory Rockland Community College in Suffern, Strider’s treatment of the subject.
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