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Conceptual Art, Feminism, and Their Discontents A UNIVERSITY OF CALIFORNIA SAN DIEGO Don’t Need You: Conceptual Art, Feminism, and their Discontents A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Melinda Guillén Committee in charge: Professor William N. Bryson, Chair Professor Alena Williams, Co-Chair Professor Lisa Cartwright Professor Shelley Streeby Professor Mariana Razo Wardwell 2019 Copyright Melinda Guillén, 2019 All Rights Reserved The Dissertation of Melinda Guillén is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Chair University of California San Diego 2019 iii DEDICATION To the next generation of my family: beautiful Tatiana, it takes strength to be gentle and kind so please trust your strength always and go where it takes you; Nadia, the artist, (and my mini-me)—there are many songs hidden throughout this work, I hope you hear them and write your own; and to wild little Mikey, ain’t nobody worried about you! It is now your turn to start some trouble! iv EPIGRAPH Love, peace, and harmony? Love, peace, and harmony? Oh, very nice Very nice Very nice Very nice But maybe in the next world The Smiths v TABLE OF CONTENTS Signature Page ................................................................................................................... iii Dedication .......................................................................................................................... iv Epigraph ...............................................................................................................................v Table of Contents ............................................................................................................... vi List of Figures ................................................................................................................... vii Acknowledgements ........................................................................................................... ix Vita ................................................................................................................................... xii Abstract of the Dissertation ............................................................................................ xiii Introduction: “The Personal is Conceptual” ....................................................................... 1 Chapter One: “Elusive Success and Possible Happiness: Dissolving Forms and Feminism with Lucy Lippard” .............................................................................. 35 Chapter Two: “You Stand Corrected: The Radical Personhood of Adrian Piper” ........... 89 Chapter Three: “Big Mouth Strikes Again: Lee Lozano’s Reducible Self” ................... 146 Conclusion: “Conceptual Joy and Personal Power” ....................................................... 196 Bibliography ................................................................................................................... 213 vi LIST OF FIGURES Figure 1.1: Lucy R. Lippard, Six Years: the Dematerialization of the Art Object from 1966 to 1972; a Cross-Reference Book of Information on Some Esthetic Boundaries... (New York: Praeger, 1973). http://cargocollective.com/shitbirthday/Six-Years-The- Dematerialization-of-the-Art-Object-from-1966-to-1972 .................................................42 Figure 1.2: Lucy R. Lippard, Six Years: the Dematerialization of the Art Object from 1966 to 1972; a Cross-Reference Book of Information on Some Esthetic Boundaries... (New York: Praeger, 1973). Photo by Zachary Sachs. https://www.domusweb.it/en/art/2013/01/15/materializing-six-years-.html .....................63 Figure 2.1: Adrian Piper, The Mythic Being: I Embody Everything You Most Hate and Fear, 1975, Oil crayon on gelatin silver print. 8 x 10 in. (20.3 x 25.4 cm). Collection Thomas Erben, New York. © Adrian Piper Research Archive Foundation Berlin. https://www.artsy.net/article/artsy-editorial-adrian-pipers-massive-moma-survey-will- force-face-prejudices ........................................................................................................112 Figure 2.2: Adrian Piper, Self-Portrait as Nice White Lady, 1995, Black and white autophoto with oil-crayon drawing, 18 ¼” × 14 ¼”46.4. The Studio Museum in Harlem; © Adrian Piper Research Archive Foundation Berlin Photo: Marc Bernier. https://www.studiomuseum.org/node/60854 ...................................................................124 Figure 2.3: The Mythic Being: Doing Yoga, 1975. Six silver gelatin prints, each 8" x 10" (20.3 x 25.4 cm). Detail: #1 of 6. #7506.1. Photo credit: James Gutmann. Private collection. © Adrian Piper Research Archive Foundation Berlin. http://adrianpiper.com/art/the_mythic_being-doing_yoga.shtml ................................... 129 Figure 2.4-2.9: Adrian Piper, The Mythic Being: A–108 (Kant), 1975, oil crayon on gelatin silver print, 25 1⁄2 × 17 3⁄4". https://www.artforum.com/print/201807/david- velasco-on-the-art-of-adrian-piper-76329 ....................................................................... 133 Figure 2.10: Aspects of the Liberal Dilemma, 1978. Mixed media installation: Empty wall, black and white photograph framed under reflective Plexiglas, 18 x 18” (45.7 x 45.7 cm); audio tape, lighting. #78004. Collection University of California Art Museum. © Adrian Piper Research Archive Foundation Berlin. ....................................................... 140 vii Figure 2.11: Aspects of the Liberal Dilemma, 1978. Mixed media installation: Empty wall, black and white photograph framed under reflective Plexiglas, 18 x 18” (45.7 x 45.7 cm); audio tape, lighting. #78004. Collection University of California Art Museum. © Adrian Piper Research Archive Foundation Berlin. ....................................................... 142 Figure 2.12: Aspects of the Liberal Dilemma, 1978. Mixed media installation: Empty wall, black and white photograph framed under reflective Plexiglas, 18 x 18” (45.7 x 45.7 cm); audio tape, lighting. Photo by Melinda Guillén, Hammer Museum, Los Angeles, 2018................................................................................................................................. 143 Figure 3.1: Lee Lozano, Boycott (1971), https://timeline.com/lee-lozano-boycott-women- 20d7e892e6b ................................................................................................................... 148 Figure 3.2: Robert Smithson, Untitled (Venus with lightning bolts), 1964, Work on Paper, Mixed media with collage on paper, James Cohan Gallery. ............................... 154 Figure 3.3: Lee Lozano, No title (let them eat cock), ca. 1961, Graphite and crayon on paper, 45.8 x 30.5 cm / 18 x 12 in, Hauser & Wirth, London. ....................................... 154 Figure 3.4: Lee Lozano, No title (cock in pocket), 1962, ballpoint pen and crayon on paper, 7 x 6”, The Estate of Lee Lozano, LOZAN 31035. https://karmakarma.org/exhibitions/olympia-karma-at-galerie-patrick-seguin/works/... 156 Figure 3.5: Lee Lozano, No title (she bites), 1962, crayon and graphite on paper, 8 ¾” x 11 ¾”, Private Collection. http://cdn.artobserved.com/2011/01/Lee_Lozano_Moderna_Museet_Stockholm_Retrospe ctive_2010_She_Bites.jpg .............................................................................................. 159 Figure 3.6: Lee Lozano, Dropout, Notebook 1, (1969), The Estate of Lee Lozano. http://thisistomorrow.info/articles/lee-lozano. ................................................................ 168 Figure 4.1: Lucy Lippard, Adrian Piper, Sol LeWitt, Jerry Kearns (December 1982; photograph by Jeffrey Evans) Adrian Piper, “Sol, 1928-2007,” APRAF Berlin: Sol LeWitt, 1928 – 2007, 2007, http://www.adrianpiper.com/art/sol.shtml ......................... 210 viii ACKNOWLEDGEMENTS I would like to thank the Adrian Piper Research Archive Foundation (Berlin), The Estate of Lee Lozano, UC San Diego Department of Visual Arts, Getty Research Institute Special Collections, and Laura Schwartz, Visual Arts Librarian at Geisel for combined and varied forms of research support. I would like to thank my committee for their support and critical insight throughout this arduous and beautifully strange journey. Thank you to my wonderful Chair, Norman Bryson, for your endless support of my ideas, trust in my work, and unfettered encouragement of my institutional deviance! To my Co-Chair, Alena Williams, thank you for your thoughtful and measured feedback, your belief in my project, and recognition of its significance to the field. I would not be at this stage had it not been for your guidance at many a critical moment. To Mariana Botey, thank you for always challenging me and demonstrating that infiltration is not only possible but also a necessity. Thank you to Shelley Streeby for your invaluable critical perspective and for all that you introduced to me in your Social Movements & Culture seminar. I have bountiful appreciation and gratitude Lisa Cartwright for your generous pragmatism and leadership. Well, the pleasure, the privilege, is mine! In the last six years, I have had the good
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