DOCSLIB.ORG

Feminism-Art-Theory

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Feminism-Art-Theory Feminism-Art-Theory An Anthology 1968-2014 Second Edition Edited by Hilary Robinson Wl LEY Blackwell 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, 'rebelle: Introduction' (2009) 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 Sjoo, 'Art is a Revolutionary Act' (1980) 52 • Guerrilla Girls, 'The Advantages of Being a Woman Artist' (1988) 54 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 Artist's Union 1972-1973' (c. 1973) 67 • Martha Rosier, 'Well, is the Personal Political?' (1980) 68 • Lucy Lippard, 'Trojan Horses: Activist Art and Power' (1984) 69 • Anne Marsh,'A Theoretical and Political Context'(1985) 79 • Xabier Arakistain et al., ARCO Manifesto: 'Politics of Equality between Men and Women in the Art World' (2005) 85 • Parliament of Spain, 'Article 26: Equality in Artistic and Intellectual Creation and Production' (2007) 86 2.3 Activism in Practice 88 • Mierle Laderman Ukeles, 'Manifesto for Maintenance Art, 1969!'(1969) 88 • Leslie Labowitz-Starus and Suzanne Lacy, 'In Mourning and in Rage ...'(1978) 91 • Zoe Leonard, 'I Want a President' (1992) 95 • Andrea Fraser, 'There's No Place like Home' (2012) 96 • Nadezhda Tolokonnikova, 'Opening Courtroom Statement by Nadya'(2013) 102 2.4 Education 106 • Miriam Schapiro, 'The Education of Women as Artists: Project Womanhouse' (1972) 106 • Lisa Tickner, 'Retrospect' (2008) 107 • Griselda Pollock, 'Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University' (2010) 114 • Lisa Nyberg and Johanna Gustavsson, 'Radical Pedagogy' (2011) 124 3 Historical and Critical Practices 129 Introduction 129 3.1 Interrogating'Art History' 134 • Linda Nochlin, 'Why Have There Been No Great Women Artists?' (1971) 134 • Griselda Pollock, 'Women, Art and Ideology: Questions for Feminist Art Historians' (1983) 149 • Mira Schor,'Patrilineage'(1991) 159 Contents vii Feminist/Writing 165 • Carol Duncan, 'Virility and Domination in Early Twentieth Century Vanguard Painting' (1973) 165 • Joan Borsa, 'Frida Kahlo: Marginalization and the Critical Female Subject' (1990) 169 • Freida High W. Tesfagiorgis, 'In Search of a Discourse and Critique/s that Center the Art of Black Women Artists' (1993) 185 • Maureen Connor, 'Working Notes: Conversation with Katy Deepwell' (2002) 198 • Martina Pachmanova, 'In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory' (2009) 203 Materials, Practices, Choices 217 Introduction 217 Aesthetic Choice 223 • Judy Chicago, 'Woman as Artist' (1971) 223 • Marjorie Kramer, 'Some Thoughts on Feminist Art' (1971) 225 • Pat Mainardi, 'A Feminine Sensibility?' (1972) 227 • Judith Stein, 'For a Truly Feminist Art' (1972) 228 • Anne-Marie Sauzeau Boetti, 'Negative Capability as Practice in Women's Art' (1979) 229 Craft 233 • Rozsika Parker, 'The Creation of Femininity' (1984) 233 • Catherine Harper, 'I Need Tracey Emin Like I Need God' (2004) 237 • Stephanie Syjuco, 'Anti-Factory' (2008) 240 Painting 241 • Katy Deepwell, 'Paint Stripping' (1994) 241 • Alison Rowley, ''Plan-. Large Woman or Large Canvas? A Confusion of Size with Scale' (1996) 246 • Amy Sillman, 'AbEx and Disco Balls: In Defense of Abstract Expressionism II' (2011) 250 New Media 255 • Mitra Tabrizian, 'The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble' (1987) 255 • Faith Wilding, 'Where is the Feminism in Cyberfeminism?' (1998) 260 • Elisabeth Subrin, 'Trashing "Shulie": Remnants from Some Abandoned Feminist History' (2006) 266 • Alia Mitrofanova, 'Cyberfeminism in History, Practice and Theory' (2010) 271 • Stephanie Jeanjean, 'Disobedient Video in the 1970s: Video Production by Women's Collectives' (2011) 279 Contents Representing Women 288 Introduction 288 Between Image and Representation 293 • John Berger, Chapter 3 of Ways of Seeing (1972) 293 • Laura Mulvey, 'Visual Pleasure and Narrative Cinema' (1975) 300 • Mary Kelly, Preface to Post-Pa-rtum Document (1983) 310 • Judith Williamson, 'Images of "Woman": The Photography of Cindy Sherman' (1983) 314 • Elizabeth Grosz, 'Inscriptions and Body-Maps: Representations and the Corporeal' (1990) 320 • Lynda Nead, 'Framing the Female Body' (1992) 322 • Nelly Richard, 'Politics and Aesthetics of the Sign' (2004) 329 The Artist's Body in the Artwork 340 • Lucy Lippard, 'The Pains and Pleasures of Rebirth: European and American Women's Body Art' (1976) 340 • Mary Duffy, 'Disability, Differentness, Identity' (1987) 343 • VALIE EXPORT, 'Aspects of Feminist Actionism' (1989) 345 • Orlan, 'Intervention d'Orlan' (1995) 361 • Amelia Jones, 'Yayoi Kusama' (1998) 367 Sex, Sexuality, Image 372 Introduction 372 Sexuality and the Sexual Body 376 • Barbara Rose, 'Vaginal Iconology' (1974) 376 • Suzanne Santoro, 'Towards New Expression' (1974) 378 • Joanna Frueh, 'Feminism' (1989) 379 • Buseje Bailey, 'I Don't Have to Expose my Genitalia' (1993) 385 • 'Interview with Betty Tompkins' (2006) 388 • Chris Kraus, 'May '69' (2011) 393 Lesbian and Queer Practices 398 • Monique Wittig, 'The Straight Mind' (1980) 398 • Jan Zita Grover, 'Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs' (1991) 402 • Shonagh Adelman, 'Desire in the Politics of Representation' (1993) 408 • Ridykeulous, 'Advantages of Being a Woman Lesbian Artist' (2006) 410 • Zanele Muholi, 'Ngiyopha: A Photo-biographical Project' (2009) 410 • Catherine Lord, 'Wonder Waif Meets Super Neuter' (2010) 414 Identity, Geography, Citizenship 435 Introduction 435 Projections 440 • Kass Banning, 'The Ties That Bind: Here We Go Again' (1987) 440 Contents ix • Adrian Piper, 'The Triple Negation of Colored Women Artists' (1990) 444 • Diane Losche, 'Reinventing the Nude: Fiona Foley's Museology' (1999) 455 • Jieun Rhee, 'Performing the Other: Yoko Ono's Cut Piece1 (2005) 461 7.2 Political Violence 471 • Jill Bennett, 'Art, Affect, and the "Bad Death": Strategies for Communicating the Sense Memory of Loss' (2002) 471 • 'Regina Jose Galindo', interview by Francisco Goldman (2006) 477 • 'Between the Monument and the Ruin', interview with Lida Abdul by Candice Hopkins (2007) 482 7.3 Global Citizens 486 • Tracey Rose, 'The Cant Show' (2007) 486 • Tanja Ostojic, 'Crossing Borders Series' (2009) 488 • Shirin Neshat, 'Art in Exile' (2010) 491 Index 494 .
Load more

Recommended publications
  • Mediating Reproduction: Feminism, Art, Activism MCM 0900, Cross­Listed in Gender & Sexuality Studies and Theatre & Performance Studies
    Mediating Reproduction: Feminism, Art, Activism MCM 0900, cross­listed in Gender & Sexuality Studies and Theatre & Performance Studies. Instructor: Beth Capper Office Hours: Tuesdays 1.30­3.30 PM, and by appt. [email protected] Location: 155 George Street, rm. 202 Seminar time: T/R 10.30­11.50 AM Screenings: Mondays, 7­10 PM Location: Production 2, 135 Thayer Street Location: Henkle Room, 155 George Street How have feminist cultural producers and activists imagined and transformed the politics of reproduction? This course explores the complex meanings of “reproduction” across media, performance, and public culture, with a focus on questions of sexuality, race, labor, and aesthetic practice. Situating reproduction in an expanded frame, we will consider the relationship between biological reproduction and the gendered labor of reproducing social life (e.g., domestic labor, sex work, care work). We will examine how ideas about reproduction have been central to the regeneration of race and nation; how the gendering of labor reproduces capitalist social relations; and how feminists have variously theorized and practiced alternative conceptions of reproduction in relation to the politics of labor, difference, and community. Throughout, we will pay special attention to the entanglements of artistic labor with women's reproductive labor. Topics include: eugenics, housework/welfare rights activism, art workers movements, biotechnologies, queer kinship, and feminist utopias. Artists include: Betye Saar, Mierle Ladermann Ukeles, Ursula Biemann, Andrea Fraser, Suzanne Lacy, SubRosa, and María Magdalena Campos­Pons. Required Books: Charlotte Perkins Gilman, Herland. ​ Course Requirements Attendance and Participation: Your attendance and participation are crucial to the success of this ​ seminar. You are expected to come to class prepared to contribute meaningfully to our discussions with your own questions and critical commentaries on course materials.
    [Show full text]
  • 2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
    2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones).
    [Show full text]
  • FOR IMMEDIATE RELEASE Contact: Doug Kubek April 15, 2019 312.499.4254 [email protected] MIERLE LADERMAN UKELES to DELIVER COMMEN
    FOR IMMEDIATE RELEASE Contact: Doug Kubek April 15, 2019 312.499.4254 [email protected] MIERLE LADERMAN UKELES TO DELIVER COMMENCEMENT ADDRESS FOR THE SCHOOL OF THE ART INSTITUTE OF CHICAGO Ukeles will receive an honorary doctorate from the School, along with Dawoud Bey, Isaac Julien and Chris Ware CHICAGO—The School of the Art Institute of Chicago (SAIC), a global leader in art and design education, will welcoMe celebrated artist Mierle LaderMan Ukeles who will deliver the School’s coMMenceMent address on Monday, May 13, at Wintrust Arena, 200 East CerMak Road. Ukeles, an activist artist known for her feMinist works, will receive an honorary doctorate froM the School, along with esteeMed honorees, photographer Dawoud Bey, whose latest body of work was recently featured at the Art Institute of Chicago; filMMaker Isaac Julien and cartoonist and SAIC aluM Chris Ware (SAIC 1991–93). “We are honored to welcoMe Mierle, Dawoud, Isaac and Chris,” said SAIC President Elissa Tenny. “These visionary leaders are inspirations to our graduates. Like theM, SAIC artists, designers and scholars pursue the questions that expand our understanding, increase our coMpassion and help Make our shared society better.” Since 1938, SAIC has awarded honorary degrees to an elite group of individuals who have Made significant contributions to art, design, scholarship and culture. Past recipients include Marina AbraMovic, Judy Chicago, Jeanne Gang, Theaster Gates, Kerry JaMes Marshall, Yoko Ono, Patti SMith and Kanye West, and SAIC aluMs Tania Bruguera (MFA 2001), Jeff Koons (SAIC 1975–76) and David Sedaris (BFA 1987). More than 900 students are expected to receive undergraduate and graduate degrees and post-baccalaureate certificates froM the prestigious art and design college.
    [Show full text]
  • Weekly Schedule
    ARTH 787: Seminar in Contemporary Art Feminist and Queer Art History, 1971-present Spring 2007 Professor Richard Meyer ([email protected]) Mondays, 2-4:50 p.m. Dept. of Art History, University of Pennsylvania Jaffe 201 Course Description and Requirements This seminar traces the development of a critical literature in feminist and gay/lesbian art history. Beginning with some foundational texts of the 1970s (Linda Nochlin’s "Why Have There Been No Great Women Artists?,” James Saslow’s "Closets in the Museum: Homophobia and Art History"), we will examine how art historians, artists, critics, and curators have addressed issues of gender and sexuality over the course of the last three decades. The seminar approaches feminist and queer art history as distinct, if sometimes allied, fields of inquiry. Students will be asked to attend closely to the historical specificity of the texts and critical debates at issue in each case. Students are expected to complete all required reading prior to seminar meetings and to discuss the texts and critical issues at hand during each session. On a rotating basis, each student will prepare a 2-page response to an assigned text which will then be used to initiate discussion in seminar. Toward the end of the semester, students will deliver a 15-minute presentation on their seminar research to date. In consultation with both the professor and the other seminar members, each student will develop his or her oral presentation into a final paper of approximately 20 - 25 pages. Required Texts: For purchase at Penn Book Center: 1. Norma Broude and Mary Garrard, The Power of Feminist Art: The American Movement of the 1970s, History and Impact (New York: Harry N.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
    Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions.
    [Show full text]
  • Rituals and Repetitions: the Displacement of Context in Marina Abramović’S Seven Easy Pieces
    RITUALS AND REPETITIONS: THE DISPLACEMENT OF CONTEXT IN MARINA ABRAMOVIĆ’S SEVEN EASY PIECES by Milena Tomic B.F.A., York University, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Fine Arts – Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2008 © Milena Tomic, 2008 Abstract This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation.
    [Show full text]
  • Copyrighted Material
    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
    [Show full text]
  • An Feminist Intervention 1
    Total Art Journal • Volume 1. No. 1 • Summer 2011 POSTHUMAN PERFORMANCE An Feminist Intervention 1 LUCIAN GOMOLL Narcissister posing for IN*TANDEM, 2010. Image Credit: Gabriel Magdaleno/IN*TANDEM magazine Man will be erased like a face drawn in sand at the edge of the sea. —Michel Foucault, 1966 We have never been human. —Donna Haraway, 2006 1 I would like to dedicate this essay to the participants of my senior seminar “Women Artists, Self-Representations” taught during multiple terms at UC Santa Cruz, particularly my teaching assistant Lulu Meza, as well as students Christina Dinkel, Abby Law- ton and Allison Green. I am grateful to Natalie Loveless and Lissette Olivares for their critical feedback on early drafts of this article. I am also indebted to Donna Haraway and Jennifer González for their mentorship pertaining to the specific issues I explore here. Total Art Journal • Volume 1 No. 1 • Summer 2011 • http://www.totalartjournal.com In spring 2010, New York’s Museum of Modern Art hosted a popular and controversial retrospective of Marina Abramović’s oeuvre entitled The Artist is Present. Abramović herself participated in one seated per- formance at the exhibition and models were hired to play other roles she had become famous for. The retrospective included “Imponderabilia,” in which an unclothed man and woman stand in a doorway. For the first staging in 1977, Abramović and Ulay (Uwe Laysiepen) stood at the show’s entrance, in such close proximity that they forced most visitors to enter sideways and touch them both. Part of the work’s purpose was to see how the audience would respond to the gendered naked bodies.2 Audience squirming and forced decision-making were crucial elements of the piece, and are part of why it became so notorious.
    [Show full text]
  • 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.
    [Show full text]
  • Michelle Stuart
    Vol. 1 No. 4 r f l/IIIC 4i# U i I Spring-Summer 1977 WHY HAVE THERE BEEN NO GREAT WOMEN ARCHITECTS? As demonstrated by the recent show ; 1 L l at the Brooklyn Museum, the plight of women in this field \ j m | may be worse than that of women in the other visual arts by Elena Borstein..........................................................................p ag e 4 •if p r » l MICHELLE STUART: Atavism, Geomythology and Zen I d t i t k i ' j Stuart’s own writings, plus other revelations ' r : about the artist and her work by Robert H obbs ................................................................ p a g e 6 WOMEN’S CAUCUS FOR ART Report from the President Women Architects by Judith Brodsky.................... .page 10 ON PAULA MODERSOHN-BECKER, GERMAN PAINTER Thoughts on her role as a woman versus her needs as an artist by Heidi Blocher.............................................................. .pa g e 13 NOTES ON GEORGIA O’KEEFFE’S IMAGERY Interpretation of her flower paintings need not remain solely in the realm of the sexual by Lawrence Al lo w a y ..............................................................p age 18 CALIFORNIA REVIEWS byPeterFrank ...........................................................................p a g e 23 GALLERY REVIEWS p ag e 24 REPORTS Queens College Library Program, Michelle Stuart Women's Art Symposium, Women Artists of the Northwest. .page34 Cover: Julia Morgan, San Simeon, San Luis Obispo, California, 1920-37. The Architectural League of New York. WOMANARTMAGAZINE is published quarterly by Womanart Enterprises, 161 Prospect Park West, Brooklyn, New York 11215. Editorial submissions and all inquiries should be sent to: P.O. Box 3358, Grand Central Station, New York, N.Y.
    [Show full text]
  • Art Works Grants
    National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops.
    [Show full text]