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Kate Millett KAlf MlllflL SCULPTOR: THt rlRST 38 YrRRS KRTf Mlllfll, SCULPTOR: THf f IRST 38 Yf RRS Kathy O'Dell With contributions to the catalogue by Maurice Berger Kate Millett Linda Nochlin David Yager Fine Arts Gallery University of Maryland Baltimore County 1997 C O H T f H T S Acknowledgments vi Foreword viii Linda Nochlin Preface ix David Yager Shaping Identity, Reshaping Constraints: 1 The Sculpture of Kate Millett Kathy O'Dell From the Basement to the Madhouse 41 Kate Millett Plates 51 Time Line 61 Maurice Berger Checklist of the Exhibition 81 Biography and Bibliography 83 Fine Arts Gallery University of Maryland Baltimore County Catonsville, Maryland February 27 -April 5, 1997 Kate Millett, Sculptor: The First 38 Years was supported by a grant from the Maryland StateArts Council. Designer: Ferris W Crane Editor: Antonia LaMotte Gardner Printed by Virginia Lithograph, Arlington, Virginia Copyright © 1997 Fine Arts Gallery University of Maryland Baltimore County Catonsville, Maryland 21250 410 455-3188 All rights reserved Time Line ©1997 Maurice Berger library of Congress Catalog Card Number: 96-86518 l ISBN: 0-9624565-9-4 Photographs courtesy of the artist unless otherwise noted. Cover: Dinner for One, 1967. Photo: Diane Yamaguchi. Frontispiece: Opening Reception, Things exhibition, Minami Gallery,Tokyo, 1963. Millett, standing second from left.Photo: Nobori. This catalogue is distributed by D.A.P./ Distributed Art Publishers, New York. RCKHOWlfOGMfHTS I I Kate Millett, Sculptor: The First 38 Aja Razumny,Ann Reynolds, Phyllis Years is the culmination of many individ­ Robinson, Mary Anne Staniszewski, and I uals' efforts,but none as enduring as Kate Kristine Stiles.The input of students has Millett's. Millett's commitment to making been equally important. Laura Nova, an I sculpture over the last several decades extern from the Cornell-in-Washington � as she received far more acclaim for her Program,produced a substantive research accomplishments as a writer is a testimo­ paper on Millett, which is available in ny to her commitment to her art and to the reading area of the exhibition.Joannl the sustaining power of art itself. I am Raczynska, a UMBC Fine Arts Gallery grateful to Millett for the prodigious intern,produced the illuminating video­ amount of energy she lent to the organiza­ tape accompanying the exhibition. tion of this retrospective and for the many Both of these young scholar-artists hours of interviews that amplifiedmy contributed tremendously to my own research forthe catalogue essay and pro­ research. I also wish to thank interns vided the basis for the videotape accom­ David Brown, Brian Garrett, Laura panying the exhibition. Pasquini, and Eileen Ragsdale for their I would also like to thank Linda patient, caring attention to detail.And Nochlin forher insightful Foreword to the the efforts of research assistant Kate catalogue, Maurice Berger for his nuanced Schaffer were typically indefatigable. Time Line, and Jon Hendricks (curator Financial support from various ofThe Gilbert and Lila Silverman Fluxus sources has allowed us to produce the Collection) for his generous loan of pho­ exhibition, catalogue, videotape, lecture tographs.These and other colleagues and series, and numerous educational out­ friends contributed to this project by reach programs. Outside the university, providing writings on feminism, art, and many thanks to the Maryland State Arts politics, or by discussing ideas, or by lend­ Council and the Maryland Humanities ing moralsupport. Besides those already Council.At UMBC, many thanks to the mentioned, I am grateful to the following: Office of the Provost, Humanities Elizabeth Armstrong, Martha Buskirk, Center, and Humanities Forum. Eleanor Susan Edwards, Robby Garfinkel,Saundra Cunningham in the Office of Institutional Goldman, Robert E. Haywood,Amelia Advancement and Daphne Harrison, Jones,Anne B. Keating, Llz Kotz,Therese Director of the Humanities Center, Llchtenstein, Karen Moss, Mary Musick, deserve special thanks for their expert Franc Nunoo-Quarcoo,Leslie Prosterman, promotion of the exhibition and lecture series. I also gratefully acknowledge Arts Department, Professor Yager's the help of a 1995 Summer Faculty consistent support is deeply appreciated. Fellowship from UMBC's Designated Finally, I wish to thank my husband, Research Initiative Fund for conducting John Mernit, for his feedback and research for this project. his finely tuned toleration of ambient Symmes Gardner, Director of tension, and my mother, Ruth Homer Programs at the Fine Arts Gallery, went O'Dell, who first introduced me to art above and beyond the call of duty,as and whose death during the course of usual. His vision in all things related to this project made me ever more mindful the art of mounting an exhibition helped of the importance of women's leader­ steady my sights on numerous occasions ship in both art and education. This and kept me focused on the big picture. catalogue is dedicated to her memory. Monika Graves, Projects Coordinator, offered great insight and humor, which bolstered me as well. Professor Vin KathyO'Dell, Curator Grabill lent much-appreciated guidance in producing the videotape accompany­ ing the exhibition. Boundless thanks go to Ferris Crane,the designer of the catalogue, and to Antonia Gardner, the editor. Their sensitivity and collaborative spirit played a major role in producing a visually and intellectually stimulating document that will serve as a foundation forfuture research on Kate Millett's artwork. Without Mitch Rockwell of Virginia Llthograph this publication would not have lived up to our original plan. We are enormously grateful for his advice and professionalism. But none of these thanks would be in order at all if it were not for Professor David Yager's unequivocal acceptance of my proposal almost three years ago to launch a retro­ spective of Kate Millett's sculpture. As ExecutiveDirector of the Fine Arts Gallery and Chairperson of the Visual f OHf WORD avid for justice, and, it was soon aesthetic interest; an art that teaches must apparent, justice not only for women, be preachy and didactic, according to but for political prisoners, for antiwar many of those who tell the public what is I Linda protesters and civil libertarians, for good art and what bad. Yet how untrue children, for the mentally ill, and for such an interpretation of art history is.A Nochlin gays and lesbians.What was less clear whole artistic heritage, including the work at the time was the fact that Millett of William Blake-also a poet and a visual was an artist as much as she was a artist; of Jacques-Louis David, ofWilliam literary scholar and social and political Morris, of Goya and of Daumier, of Gustave activist, and that much of her work lay Courbet and Kathe Kollwitz, all of them Linda Nochlin is Lila Acheson Wallace in the area of sculpture and its updated socially and politically committed and Professor of ModernArt at the equivalent, the installation piece. unafraid to project their vision of humani­ New York UniversityInstitute of Fine Arts. Her most recent What is particularly striking about ty into their visual production, stands publication is The Body inPieces: Kate Millett's persona and achievement behind Kate Millett's project in sculpture. The Fragment as Metaphor of Modernity is how little it lends itself to conven­ Equally interesting is the fact that (Thames and Hudson, 1994). tional pigeonholing. Either you work Millett's sculptural production, although at with words or with images, or, more times dark and condemnatory, involved in recently, with some combination of setting forththe oppressive imagery of the both. But to be both an artist and a cage and the victim, is at other times more writer with equal dedication, and both indirectly evocative, and at still others, a fiction writer and a nonfiction writer, overtly playful, abstract,and lighthearted. a political activist and the organizer of Throughout,Kate Millett exhibits an inven­ a utopian art colony-and to be a tiveness and a poignant sense of individual woman and a lesbian at the same time: involvement-through craft,through it's somehow too much for the con­ feeling, through visual ideas-that mark temporary critical imagination, with her three-dimensional creation as a whole. For those of us who were around and its tendency to allot one talent per For many people, this retrospective of active during the crucial years of the customer, and that rathergrudgingly. Kate Millett's sculptural career will come inception of theWomen's Movement in Even within a single field,it is not easy as a salutary surprise. For some younger the late sixties and early seventies, Kate to hold together what are considered viewers, the very name of Kate Millett­ Millett occupied a special position. "contradictions." If an artist is serious iconic for women of my generation-may be a new discovery. For all of us, old SexualPolitics had hit us like a bomb­ and committed to issues of social shell, catapulting the new ideas about justice or to civil liberties, critics are admirers and new discoverers, this exhibi­ feminism and women's oppression to anxious to see her work as humorless tion will be a moving revelation of one the media and the public sphere. Millett and devoid of formal value or nuance. of the most interesting achievements of a herself was positioned as La Passionaria An art committed to social justice multifaceted career. ofWomen's Liberation-fiery,articulate, must be grim, flatfooted, and lacking viii PRf f A Cf It is an honor to exhibit the work of It is a special event to be part of Kate Millett at UMBC's Fine Arts this monumental exhibition and to Gallery. Milieu's powerful political and work with Professor O'Dell and Kate social work maintains its potency Millett. I thank Kate for allowing as we look at the world around us me new visions and Kathy for her today.
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