Tuesday, October 18th, 2016
January 10, 2017 at 8:55 pm
is this strong enough? I want to raise structural problems here not sound like i’m attacking people who do SNA of artists
See in context
January 5, 2017 at 3:02 pm
I suspect that 1980s show Issues at the ICA facilitated many contacts
January 5, 2017 at 3:01 pm
Great and important point!
January 5, 2017 at 3:00 pm
it is so interesting because in LA they def. read women’s liberation, were especially connected via goddess of course, so Mary Daly speaks at WB, but also Adrienne Rich. Chrysalis reveals their deep engagement with wide range of feminists. I wish I had more room to go into Export because this is fascinating example, so influential now, written about with Schneemann and Ranier, but at the time at least in print those connections weren’t made
January 5, 2017 at 2:59 pm
I really think Lippard is key here.
January 5, 2017 at 2:58 pm
This point is really fascinating. A few thoughts about this issue. Art historians seem to like origin stories, so there is an interest in foundational texts but then goes no further.
In terms of chronology, the 1979 cutoff date makes sense. You then have the shift to postmodern discourses and I think that started to bury some of the work you are thinking about. Only Heresies seems to prevail (another great thing to map). That is the main source invoked by the artists I have talked to.
In addition, in my mapping I have discovered that a majority of the artists exhibiting at Artemisia and ARC (not members) had very little connection to feminism. Few members seem to have been reading feminist theory. Lippard comments in a letter c. 1979 (would have to dig up) that women in Chicago had next to no knowledge of feminist theory. Despite serious feminist activism, such as the Chicago Women’s Liberation Union, there is little interaction.
As I mentioned with Export in an earlier message, Hilary Robinson would be good to talk to. Her feminist art theory anthology and work on Export considers these problems.
January 5, 2017 at 2:53 pm
especially since she first gained fame for Meat Joy in Paris and was so close to individuals located there, I would have thought Paris, which come s in second. Also fascinating is the frequency of Europe as a spatial designation. Digging deeper I think would reveal that Europe was more than a place as well
January 5, 2017 at 2:48 pm
Very interesting about London. I think feminist artists in that city were much more in touch with feminist theory. It also was very key for Lucy Lippard (would love to map her correspondence).
January 5, 2017 at 2:13 pm
is this a strong enough conclusion to the subsection?
January 5, 2017 at 2:10 pm
yes no maybe on this paragraph?
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