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Contents Preface x Acknowledgements and Sources xii Introduction: Feminism–Art–Theory: Towards a (Political) Historiography 1 1 Overviews 8 Introduction 8 1.1 Gender in/of Culture 12 • Valerie Solanas, ‘Scum Manifesto’ (1968) 12 • Shulamith Firestone, ‘(Male) Culture’ (1970) 13 • Sherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17 • Carolee Schneemann, ‘From Tape no. 2 for Kitch’s Last Meal’ (1973) 26 1.2 Curating Feminisms 28 • Cornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28 • Xabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33 • Mirjam Westen,COPYRIGHTED ‘rebelle: Introduction’ (2009) MATERIAL 35 2 Activism and Institutions 44 Introduction 44 2.1 Challenging Patriarchal Structures 51 • Women’s Ad Hoc Committee/Women Artists in Revolution/ WSABAL, ‘To the Viewing Public for the 1970 Whitney Annual Exhibition’ (1970) 51 • Monica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52 • Guerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54 0002230316.indd 5 12/22/2014 9:20:11 PM vi Contents • Mary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54 • Lubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60 • Jerry Saltz, ‘Where the Girls Aren’t’ (2006) 62 • East London Fawcett, ‘The Great East London Art Audit’ (2013) 64 2.2 Towards Feminist Structures 66 • WEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66 • Women’s Workshop, ‘A Brief History of the Women’s Workshop of the -
J. Edgar Hoover: the Man and the Secrets. Curt Gentry. Plume: New York, 1991
J. Edgar Hoover: The Man and the Secrets. Curt Gentry. Plume: New York, 1991. P. 45 “Although Hoover’s memo did not explicitly state what should be kept in this file, ... they might also, and often did, include personal information, sometimes derogatory in nature ...” P. 51 “their contents [Hoover’s O/C files] included blackmail material on the patriarch of an American political dynasty, his sons, their wives, and other women; allegations of two homosexual arrests which Hoover leaked to help defeat a witty, urbane Democratic presidential candidate; the surveillance reports on one of America’s best-known first ladies and her alleged lovers, both male and female, white and black; the child-molestation documentation the director used to control and manipulate on of his Red-baiting proteges...” P. 214 “Even before [Frank] Murphy had been sworn in, Hoover had opened a file on his new boss. It was not without derogatory information. Like Hoover, Murphy was a lifelong bachelor . the former Michigan governor was a ‘notorious womanizer’.” P. 262 “Hoover believed that the morality of America was his business . ghost-written articles warning the public about the dangers of motels and drive-in ‘passion-pits’.” P. 302 “That the first lady [Eleanor Roosevelt] refused Secret Service protection convinced Hoover that she had something to hide. That she also maintained a secret apartment in New York’s Greenwich Village, where she was often visited by her friends but never by the president, served to reinforce the FBI director’s suspicions. What she was hiding, Hoover convinced himself, was a hyperactive sex life. -
Burned Again the Critics
98 THE CRITICS on the border between north and south. If they took that city, they could cross the Loire and invade the rest of France. That was the situation which Joan’s voices eventually addressed. They told this illiterate peasant girl, who had never been more than a few miles from her village, to go to Orléans, raise the siege, and then take the Dauphin to Rheims to be crowned King Charles VII of France. In other words, they told her to end the Hundred Years’ War. A CRITIC AT LARGE She did so. Or, by inspiriting the 6 French soldiers at Orléans, she provided the turning point in the war. How Joan BURNED AGAIN managed to get to Charles, and persuade him to arm her, and then convince the The woman at the stake is worthy of another five hundred years of obsession. Valois captains that she should join the BY JOAN ACOCELLA charge at Orléans is still something of a mystery, but at that point the French forces were so beaten down that they OAN OF ARC movies, understand- man finishes, he does up his fly and says were almost willing to believe that a vir- ably, have always been low on to his mates, “Your turn.” Thus begins gin had been sent by God to deliver them. J sex, but in the newest entry, “The the career of Besson’s Joan of Arc. In And once Orléans was saved, under her Messenger: The Story of Joan of past ages, Joan has been seen as a mys- banner, many of the French came to see Arc,” by Luc Besson, the French action- tic, a saint, a national hero. -
Representations of Mental Illness in Women in Post-Classical Hollywood
FRAMING FEMININITY AS INSANITY: REPRESENTATIONS OF MENTAL ILLNESS IN WOMEN IN POST-CLASSICAL HOLLYWOOD Kelly Kretschmar, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Harry M. Benshoff, Major Professor Sandra Larke-Walsh, Committee Member Debra Mollen, Committee Member Ben Levin, Program Coordinator Alan B. Albarran, Chair of the Department of Radio, Television and Film Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Kretschmar, Kelly, Framing Femininity as Insanity: Representations of Mental Illness in Women in Post-Classical Hollywood. Master of Arts (Radio, Television, and Film), May 2007, 94 pp., references, 69 titles. From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood’s post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman’s behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films’ ideologies with regard to mental illness and femininity. Copyright 2007 by Kelly Kretschmar ii TABLE OF CONTENTS Page Chapter 1. INTRODUCTION ......................................................................................... 1 Historical Perspective ........................................................................ 5 Women and Mental Illness in Classical Hollywood ............................... -
How the FBI Used a Gossip Columnist to Smear a Movie Star | Film | the Guardian
10/23/2018 How the FBI used a gossip columnist to smear a movie star | Film | The Guardian How the FBI used a gossip columnist to smear a movie star Duncan Campbell on a story that is only now emerging after 30 years Duncan Campbell Mon 22 Apr 2002 12.16 EDT More than 30 years ago, a small item appeared in a gossip column in the Los Angeles Times which suggested that a prominent American actress, who was married to a well-known European, was expecting the child of a leading Black Panther. The story was taken up by Newsweek, which identified the actress as Jean Seberg and her husband as Romain Gary, the French writer and diplomat. The Black Panther was Ray "Masai" Hewitt, the party's minister of information. Seberg was deeply upset by the story, gave birth prematurely and the child died after two days. The actress later committed suicide having never, according to her friends, fully recovered. Now, finally, the whole story of how a malicious and untrue story was successfully planted by the FBI and its director J Edgar Hoover is emerging. Seberg was an unknown teenage student from Iowa when she was chosen by director Otto Preminger to play the title role in the 1957 film of Saint Joan. Although it was not a hit, Seberg went on to find critical success in such films as Breathless, Lilith and Bonjour Tristesse. She also appeared in the 50s British comedy, The Mouse That Roared. During the 60s, she married Gary, and became increasingly involved in radical American politics, most notably as a supporter of the Black Panther party, which Hoover was then describing as the greatest threat to internal security in the US. -
One Hundred Drawings One Hundred Drawings
One hundred drawings One hundred drawings This publication accompanies an exhibition at the Matthew Marks Gallery, 523 West 24th Street, New York, Matthew Marks Gallery from November 8, 2019, to January 18, 2020. 1 Edgar Degas (1834 –1917) Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”), c. 1859–60 Graphite on laid paper 1 1 14 ∕8 x 9 ∕8 inches; 36 x 23 cm Stamped (lower right recto): Nepveu Degas (Lugt 4349) Provenance: Atelier Degas René de Gas (the artist’s brother), Paris Odette de Gas (his daughter), Paris Arlette Nepveu-Degas (her daughter), Paris Private collection, by descent Edgar Degas studied the paintings of the Renaissance masters during his stay in Italy from 1856 to 1859. Returning to Paris in late 1859, he began conceiving the painting Alexandre et Bucéphale (Alexander and Bucephalus) (1861–62), which depicts an episode from Plutarch’s Lives. Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”) consists of three separate studies for the central figure of Alexandre. It was the artist’s practice to assemble a composition piece by piece, often appearing to put greater effort into the details of a single figure than he did composing the work as a whole. Edgar Degas, Alexandre et Bucéphale (Alexander and Bucephalus), 1861–62. Oil on canvas. National Gallery of Art, Washington, DC, bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann 2 Odilon Redon (1840 –1916) A Man Standing on Rocks Beside the Sea, c. 1868 Graphite on paper 3 3 10 ∕4 x 8 ∕4 inches; 28 x 22 cm Signed in graphite (lower right recto): ODILON REDON Provenance: Alexander M. -
June 2020 June 2020 June 2020 June 2020
JUNE 2020 JUNE 2020 JUNE 2020 JUNE 2020 field notes art books Normality is Death by Jacob Blumenfeld 6 Greta Rainbow on Joel Sternfeld’s American Prospects 88 Where Is She? by Soledad Álvarez Velasco 7 Kate Silzer on Excerpts from the1971 Journal of Prison in the Virus Time by Keith “Malik” Washington 10 Rosemary Mayer 88 Higher Education and the Remaking of the Working Class Megan N. Liberty on Dayanita Singh’s by Gary Roth 11 Zakir Hussain Maquette 89 The pandemics of interpretation by John W. W. Zeiser 15 Jennie Waldow on The Outwardness of Art: Selected Writings of Adrian Stokes 90 Propaganda and Mutual Aid in the time of COVID-19 by Andreas Petrossiants 17 Class Power on Zero-Hours by Jarrod Shanahan 19 books Weston Cutter on Emily Nemens’s The Cactus League art and Luke Geddes’s Heart of Junk 91 John Domini on Joyelle McSweeney’s Toxicon and Arachne ART IN CONVERSATION and Rachel Eliza Griffiths’s Seeing the Body: Poems 92 LYLE ASHTON HARRIS with McKenzie Wark 22 Yvonne C. Garrett on Camille A. Collins’s ART IN CONVERSATION The Exene Chronicles 93 LAUREN BON with Phong H. Bui 28 Yvonne C. Garrett on Kathy Valentine’s All I Ever Wanted 93 ART IN CONVERSATION JOHN ELDERFIELD with Terry Winters 36 IN CONVERSATION Jason Schneiderman with Tony Leuzzi 94 ART IN CONVERSATION MINJUNG KIM with Helen Lee 46 Joseph Peschel on Lily Tuck’s Heathcliff Redux: A Novella and Stories 96 june 2020 THE MUSEUM DIRECTORS PENNY ARCADE with Nick Bennett 52 IN CONVERSATION Ben Tanzer with Five Debut Authors 97 IN CONVERSATION Nick Flynn with Elizabeth Trundle 100 critics page IN CONVERSATION Clifford Thompson with David Winner 102 TOM MCGLYNN The Mirror Displaced: Artists Writing on Art 58 music David Rhodes: An Artist Writing 60 IN CONVERSATION Keith Rowe with Todd B. -
National Gallery of Art Fall 2012 Film Program
FILM FALL 2012 National Gallery of Art 9 Art Films and Events 16 A Sense of Place: František Vláčil 19 Shostakovich and the Cinema 22 Chris Marker: A Tribute 23 From Tinguely to Pipilotti Rist — Swiss Artists on Film 27 Werner Schroeter in Italy 29 American Originals Now: James Benning 31 On Pier Paolo Pasolini 33 Marcel Carné Revived Journey to Italy p. 9 National Gallery of Art cover: Marina Abramović: The Artist Is Present p. 11 Films are screened in the Gallery’s East Building Audito- This autumn’s offerings celebrate work by cinematic rium, Fourth Street and Pennsylvania Avenue NW. Works pioneers, innovators, and master filmmakers. The ciné- are presented in original formats and seating is on a concert Alice Guy Blaché, Transatlantic Sites of Cinéma first-come, first-seated basis. Doors open thirty minutes Nouveau features films by this groundbreaking direc- before each show and programs are subject to change. tor, accompanied by new musical scores, presented in For more information, visit www.nga.gov/programs/film, association with a University of Maryland symposium. e-mail [email protected], or call (202) 842-6799. Other rare screenings include three titles from the 1960s by Czech filmmaker František Vláčil; feature films made in Italy by German Werner Schroeter; two programs of work by the late French film essayist Chris Marker; an illustrated lecture about, a feature by, and a portrait of Italian auteur Pier Paolo Pasolini; a series devoted to the film scores of composer Dmitri Shostakovich; highlights from the 2012 International Festival of Films on Art; and recent docu- mentaries on a number of Switzerland’s notable contem- porary artists. -
Discussion Questions
Discussion Questions Breathless: An American Girl in Paris by Nancy K. Miller 1 Consider the title of the memoir, Breathless: An American Girl in Paris. Breathless is also the title of Jean-Luc Godard’s 1960 nouvelle vague movie, starring Jean-Paul Belmondo and Jean Seberg. In what ways was this movie important to Nancy even before she left New York to live in Paris? Why was Jean Seberg’s signature haircut so important to Nancy? Why do you think the author choose to echo the movie in the title of her book? 2 What vision of Paris in the 1960s did you have before you read the memoir? What personal experiences, books, movies, or songs contributed to your vision of Paris? 3 In the chapter “Waiting for Godard,” the author explains how she was driven to live abroad, in part, by fear: “France was my hedge against the Marjorie Morningstar destiny that haunted American girls in the 1950s: marriage to a successful man and then the suburbs with children” (8). Do you think twenty- first century American girls and women still share that fear of a conventional life? Why or why not? 4 How much did Nancy’s desire to live in Europe have to do with leaving home, and how much with her fantasies about Paris? What do you think about the deal her parents struck with her, that she would have to write them a weekly letter in turn for their funding her trip? (8) Do you think the letter-writing contract was a burden, or does the letters’ usefulness to the writer today make the deal worth it? 5 How did French people, especially French men, view American girls in -
SAINT JEAN the Life, Loves, and Questionable Death of Jean Seberg
SAINT JEAN The Life, Loves, and Questionable Death of Jean Seberg a play by Tom Baum ©Tom Baum 2017 Characters (in order of appearance) JEAN-LUC GODARD OTTO PREMINGER ROMAIN GARY ED SEBERG HAKIM JAMAL AHMED HASNI JEAN AGE 40 JEAN AGE 17 TO 32 1 (A dark empty space. Lights up on JEAN-LUC GODARD and OTTO PREMINGER. JEAN-LUC is wearing very dark sunglasses.) JEAN-LUC GODARD: Otto! Quelle surprise! I did not expect to see you here. OTTO PREMINGER: I felt I owed it to the girl. I hear you took some time off. JEAN-LUC: Ah oui, after my motorcycle accident. OTTO: In a coma, I heard. JEAN-LUC: For a week. It was glorious. Nothing happening. Like early Warhol. Did I ever thank you, Otto? OTTO: Thank me for what? JEAN-LUC: For launching two careers. OTTO: I know of only one, and my blood pressure never came down again. JEAN-LUC: Ah no, you’re forgetting my career. If I hadn’t seen her in Bonjour Tristesse, I might still be reviewing for Cahiers. OTTO: You exaggerate. JEAN-LUC: They say Preminger hates flattery, so I exaggerate. Did you two really not get along? I never believe what I read, unless it’s fiction. OTTO: Every interview she gave, she disparaged me. How about you? JEAN-LUC: Actors never like working with me. They want to be in control. Ah, look what just waltzed in. (ROMAIN GARY has entered. He looks deathly pale.) OTTO: Who is that? 2 JEAN-LUC: Romain Gary? The novelist and flying ace? OTTO: Oh yes, we met in Paris. -
Laid Bare in the Landscape
ANN M. WOLFE Laid Bare in the Landscape 154 I wanted to go and be free … That was all I wanted.1 —Anne Brigman Anne Brigman penned these lines while reflecting on her jour- thread through generations of visionary women artists who Taken together, these images neys into the High Sierra, where she made groundbreaking have aimed to further alternative ways of seeing and knowing. photographs of herself laid bare in the landscape. One of Brig- celebrate and idealize man’s earliest known nude self-portraits, The Brook, was made CONFRONTING TRADITION in 1905 at the dawn of the twentieth century, against the back- traditional ideas of motherhood, drop of a cultural shift in values from the late-nineteenth cen- Anne Brigman (née Nott) was born in 1869 into an influen- tury Victorian period to the modern era. American women tial Protestant missionary family with ties to Hawaii’s earliest feminine beauty, innocence, were fighting for the right to vote and redefining their roles Christian missions. Her formative years were shaped by the and purity, while asserting in society. It was during this time that Brigman courageously social customs of her race and traditions of her upper-middle- crafted her own voice and identity as a modern, independent class world: obligations of daily prayer, a classical education, the constructed social role of woman. “Fear is the great chain which binds women and pre- visits to her maternal grandmother’s parlor, and the social vents their development, and fear is the one apparently big expectation that women’s work was best suited to the domes- 1 women as passive, fragile, and thing which has no real foundation in life,” Brigman asserted tic sphere. -
The Ecofeminist Lens
The Ecofeminist Lens: Nature, Technology & the Female Body in Lens-based Art Nikki Zoë Omes Nikki Zoë Omes S2103605 Master’s Thesis Faculty of Humanities, Leiden University MA Media Studies, Film & Photographic Studies Supervisor: Helen Westgeest Second Reader: Eliza Steinbock 14 August 2019 21,213 words Contact: [email protected] Cover page collage created by writer. 1 Table of Contents Introduction 3 Chapter 1: Photographic Transitions in Representing the Human-Nature Relation 10 1.1. From Documentary to Conceptual: Ana Mendieta’s Land Art 11 1.2. From Painterly to Photographic: The Female Nude in Nature 17 Chapter 2: The Expanding Moving Image of the Female Body in Nature 27 2.1. From Outside to Inside: Ana Mendieta’s Films in the Museum 28 2.2. From Temporal to Spatial: Pipilotti Rist’s Pixel Forest as Media Ecology 35 Chapter 3: An Affective Turn Towards the Non-human/Female Body 42 3.1. From Passive Spectator to Active Material: The Female Corporeal Experience 43 3.2. From Iconic to Immanent: The Goddess in Movement 49 Conclusion 59 Works Cited 61 Illustrations 68 2 Introduction I decided that for the images to have magic qualities I had to work directly with nature. I had to go to the source of life, to mother earth (Mendieta 70). Ana Mendieta (1948-1985) was a multimedia artist whose oeuvre sparked my interest into researching the intersection between lens-based art and ecofeminism.1 Mendieta called her interventions with the land “earth-body works,” which defy categorization and instead live on within several discourses such as performance art, conceptual art, photography and film.