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University of Florida Thesis Or Dissertation Formatting HER CHARMING HAND: ESSENTIALISM, ARTISTIC TOUCH AND FEMINIST ART FROM THE 1960S AND 70S By LESLEY GAMBLE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2010 1 ©2010 Lesley Gamble 2 I give myself permission to reinvent this history. –Carolee Schneemann, Imaging Her Erotics 3 ACKNOWLEDGEMENTS I find it difficult to articulate embodied experiences within western epistemic systems, where writing still remains the primary guarantor of one’s existence. Thus I wish to acknowledge the emotional, spiritual and physical as well as intellectual support and encouragement offered to me by a great many people without whom this project would never have come to fruition. With deep gratitude I thank my chair Melissa Hyde, who encouraged me to apply to the program and has supported my endeavor throughout. I will always be grateful for her bright, munificent spirit; intellectual and critical acumen; vast patience and unflagging wit, as well as her calm and sensible approach to my moments of anxiety and manic bravado. Without her support this dissertation would not have been written. I would also like to thank Eric Segal, Victoria Rovine, and Trysh Travis for their valuable comments and critical insights; their accessibility and willingness to engage have been instrumental to my ability to advance through this program in a timely fashion. I wish to acknowledge the support of the University of Florida, from the Ruth McQuown Scholarship during my early graduate studies to the University of Florida Graduate Alumni Fellowship that allowed me to complete my degree. The invaluable assistance of Laura Robertson, Senior Associate in the College of Fine Arts, kept me reassuringly on track as I trod the institutional labyrinth. I would also like to thank Shannon Jackson and Trinh T. Minh-ha at the University of California at Berkeley for their intellectual generosity and feedback, and Shannon Flattery, the 2006 UCB artist in residence, for inviting me to join her Touchable Stories project in Richmond. My life is far richer for that experience and the surprising camaraderie I discovered when I became a foreigner right down the road. During my time in California I also had the good fortune 4 to meet, play with and be inspired by Annie Sprinkle and Elizabeth Stephens. Donning a white coat and a hubcap to create a healing ritual for the Love Art Lab has been one of my happiest professional moments. Other California friends and cohorts I wish to acknowledge and would really prefer to hug right now include: Nancy Leatzow, Vicki Noble, Jennifer Berezan, Joan Marler, Arisika Razak, Max Dashu, Celeste Hirschman, Danielle Harel, Caroline Smart, Danielle Kitt, Steve Curley, Beth Senger, Erin Walsh, Dev Juventin, Annette Gates, Rocky and Robin Anderson, Ed Ehrgott, Lee Glickstein, Henry Kaiser (who sends me big surprises in little packages), Rhiannon Welch, Alutha Jamancar, Nicole Daedone and the slowsexploradors at OneTaste San Francisco. Ah California. Here at home in Gainesville I am deeply grateful for my sustaining local correspondents, the many people who have conspired in one form or another to nurture me through this project: Michelle Gould, guiding light astro-oracle, night light fuzzy-bunny and love monster supreme; Bill Stephenson, mysterious Zen chortler of the greater and lesser headscratchings; David Ogorman, not good at “turn here” but always up for a finger-pull and a movie; Stu Crosby, boy hero, super man, benevolent heart-holder and dispenser of pain-free necks; Ella Vasallo, Tender Mist Dragon Lady charged with collecting Gil Hedley’s ashes for future tantric use, a sublimely generous and gifted therapist on levels too magical and numinous to mention; JJ Buchholz, man of a thousand scintillating distractions just when you need them; Jenn Downey, acupuncturist, which sounds impressive enough and then incredibly it works; Erol Kazanci, “the irrepressible,” who lives in Istanbul but traveled to New York to run through all six levels of MOMA with me to prep for my comps; and Elizabeth Adams, aka Lola Glittercheeks—you’re the best! Hugs and kisses all round. 5 For support slightly further afield I thank Pete Whitridge, Jeannin Thibodeau, Layne Redmond, Mary Kelly, Michelle Lekas, Becky Wiseheart (who also finished her Ph.D. this year), Manny Martinez, Audrey Holt, Zot Szurgot, Kana and Randy Handel, Doug Klepper, Angela Gould, Michael Broas, Frank Merillat, Adam Silverberg, Josie Davenport and especially Paul Davenport, whose devout irreverence for reverence keeps all my organs smiling. I would also like to thank all the folks who so graciously allowed me to set up extra-domestic encampments at their respective business establishments: Laura, Jules, Shaun, Div, Susie, Gracy, Siavash, John, Maeve and Adam at Civilization; and Anthony, Janet, Natalie, Sara, Llewellyn, Daniela and Ally at Volta. An additional nod of appreciation to Eugene, manager of the NE pool, who lets me free dive under the bridge and across the entire long length of the pool; “where endless meets disappearing” undulates sanity back into my body. I am also indebted to Courtney Stich, Birdie Taylor, Carol Bergdoll and Ally Gamble for caring for my mother, Emma, during this period; I cup with trembling fingers the precious gift of my mother’s love. Lucy van de Wiel, thank you for whirling into my life, luminous and liquid, fragments of another, brighter world falling to earth to glow in my hands. And finally, I trill my heart-throated gratitude for the deeply affirming friendship, love and support of Caron Cadle and Ralf Remshardt, without whom this journey would neither have commenced nor concluded, having found at last the just right bed. The forest never stays dark for long when secret baskets appear on the doorstop, wafting the encouragement of a delicious home-cooked stew, hearty wine, and tablet of Maglio chocolate. As if the nourishment of body and soul weren’t enough, there is no finer, brighter or more committed friend and interlocutor than Caron, whose critical insight and scrupulous proofing carried this project forward like the 6 strike of a raptor. Speaking of which, I am also indebted to Caron’s mother, Inge Cadle, whose invaluable advice, “Just write . darling, and get it over with,” has spurred more than one academic down the graduation aisle. It is at best a small token of what they actually gave that I dedicate this swath of life-path to my dearest cohort Caron, who first knew it, and to my beloved aunt Mousie, who has always known and hasn’t forgotten. Together, true north. 7 TABLE OF CONTENTS page ACKNOWLEDGEMENTS .............................................................................................................4 ABSTRACT ...................................................................................................................................10 CHAPTER 1 INTRODUCTION ..................................................................................................................11 2 A CRITICAL HISTORY OF THE THEORY VERSUS ESSENTIALISM DEBATE, PART 1 ...................................................................................................................................28 2007: A Resurgence of Early Feminist Art ............................................................................28 The “Problem of Essentialism” ..............................................................................................29 1990s Theory Reexamines “Essentialist” Concepts: Touch, Embodiment and Experience ...........................................................................................................................31 Art History Reengages with the “Theory versus Essentialism Debate” .................................37 A Brief Digression on Theory: Mierle Laderman Ukeles’ Maintenance Art ........................43 Broude and Garrard’s Take On Essentialism .........................................................................48 Attempts to Reframe (Re-enflame?) the Debate: October’s “Questions of Feminism” ........51 3 A CRITICAL HISTORY OF THE THEORY VERSUS ESSENTIALISM DEBATE, PART 2 ...................................................................................................................................64 Responses to October’s “Questions”: Refusing the Polemic .................................................64 Further Attempts to Reframe the Debate: Molesworth, de Zegher, Pollock and Kwon ........67 Old Wine in New Bottles? Anti-essentialism: A Critique ......................................................76 Miwon Kwon Grapples with the Theory versus Essentialism Debate ...................................81 Essentialism, Theory and Interpretive Desire .........................................................................89 4 ESSENTIALISM AND DESIRE ...........................................................................................99 Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History: Essentialism, Desire and the “Problem” of Female Experience .............................................................101 Critical Reception of Sexual Politics ....................................................................................125 Sexual Politics: Some Conclusions ......................................................................................134 The Polemic Persists: Emily Apter .......................................................................................136
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