The Personal is Political
Carol Hanisch, The Personal is Political speech
Ana Mendieta, Untitled a.k.a. Body Tracks (Blood Sign #2), 1974.











Judy Chicago, The Dinner Party, 1974 - 1979.


"Meant to end the ongoing cycle of omission in which women
were written out of the historical record." - Judy Chicago











Hortense J. Spillers, "Interstices: A Small Drama of Words," critiques Judy Chicago and the Dinner Party, asserting that, as a White woman, Chicago recreates the erasure of the Black feminine sexual self. Spillers calls to her defense the place setting of Sojourner Truth, the only Black woman of color. After thorough review, it can be seen that all of the place settings depict uniquely designed vaginas, except for Sojourner Truth. The place setting of Sojourner Truth is depicted by three faces, rather than a vagina. Spillers writes, "The excision of the female genitalia here is a symbolic castration. By effacing the genitals, Chicago not only abrogates the disturbing sexuality of her subject, but also hopes to suggest that her sexual being did not exist to be denied in the first place... Much like Spillers's critique, Alice noted in Ms. magazine, "Chicago's ignorance of women of color in history (specifically black women painters), focusing in particular on The Dinner Party's representation of black female subjectivity in Sojourner Truth's plate. Walker states, "It occurred to me that perhaps white women feminists, no less than white women generally, can not imagine black women have vaginas. Or if they can, where imagination leads them is too far to go."











Ana Mendieta, Glass on Face Imprints, 1972.
Ana Mendieta, Glass on Body Imprints, 1972.











Ana Mendieta, Untitled (Rape Scene), 1973.












Rolling Stones, Gimme Shelter, 1969.











Ana Mendieta, Silueta Works in Mexico, 1973 – 1977.











Ana Mendieta, Silueta de Cohetes, 1976.


Ana Mendieta, Alma de Fuego, 1974.











Carl Andre, Steel Magnesium Plain, 1969. 6 X 6 ft.











A recording of Andre's 911 call showed him saying: "My wife is an artist, and I'm an artist, and we had a
quarrel about the fact that I was more, eh, exposed to the public than she was. And she went to the bedroom,
and I went after her, and she went out the window." - Naked by the Window by Robert Katz
Ana Mendieta, Earth Body Figure, 1973.
Ana Mendieta, Image from Yagul, 1973.


NY Times article on 2011 Carl Andre Monograph











Carolee Schneemann, Hand/ Heart for Mendieta, 1986, Blood, ashes and syrup on snow.
Rachel Lachowicz, Homage to Carl Andre (After Carl Andre's Magnesium and Zinc, 1969)1991. Lipstick and wax.  72 X 72 X 3/8".











Lynda Benglis, For Carl Andre, 1970.











Lynda Benglis, Invitation for Exhibition at Paula Cooper Gallery (photograph by Annie Leibovitz), 1974.
Robert Morris invitation for exhibition at Castelli-Sonnabend (photograph by Rosalind Krauss) April 1974.
Lynda Benglis invitation for Metalized Knots exhibition at Paula Cooper Gallery, April 1974.











"For the invitations to her exhibitions Benglis used images of herself in various gender roles: posing like a man with her car, or in a pin-up style, submissive feminine role, for example. This infamous advertisement placed in Artforum was initially intended as a centerfold artist's statement, but it was not permitted by the magazine's editor. She declined the magazine's offer to run her image with an article on her work, instead paying for advertising space under her gallery's name, claiming '...that placing the gallery's name on the work strengthened the statement, thereby mocking the commercial aspect of the ad, the art-star system and the way artists use themselves, their persona, to sell the work. It was mocking sexuality, masochism and feminism. The context of the placement of the ad in an art magazine was important." - from The Artist's Body ed. by Tracey Warr and Amelia Jones

more on Benglis' Artforum ad and the ensuing controversy
Lynda Benglis, Untitled (detail from Artforum ad), 1974.





















Benglis made five casts of an early 1974 work called Smile. Realizing the irony, the artist subversively suggested to curators that each of the casts, crafted out of different metals (bronze, tin, aluminums, lead, and gold plate) referred specifically to one of the five offended Artforum editors, but without indicating which metal corresponds to whom. In a 2009 NY exhibition of these works, it was assumed that the lead dildo was Krauss'.
Lynda Benglis, Smile (a.k.a. Krauss' Dildo), 1974.











Carolee Schneemann, Interior Scroll, 1975 - 1977.











Carolee Schneemann, Interior Scroll, 1975 - 1977.











Exerpt from Interior Scroll text :

I met a happy man
a structuralist filmmaker
--but don't call me that
it's something else I do-
he said we are fond of you
you are charming
but don't ask us
to lookat your films
we cannot
there are certain films
we cannot
look at
the personal clutter
the persistence of feelings
the hand-touch sensibility
the diaristic indulgent
the painterly mess
the dense gestalt
he said you can do as I do
take one clear process
follow its strictest
implications intellectually
establish a system of
permutations establish
their visual set...

he protested
you are unable to appreciate
the system grid
the numerical rational
the Pytagoream cues-

I saw my failings were worthy
of dismissal I'd be buried
alive my works lost...

detail of Scroll












Micol Hebron, Roll Call Part I, 2014











East L.A. Brown Out, March 1, 1968.











"At this moment, we do not come to work for the university, but to demand that the university work for our people." - The Plan of Santa Barbara











"Chicano meant looking at oneself through one’s ‘own’ eyes and not through Anglo bifocals."- Ruben Salazar

Frank Romero, The Arrest of the Paleteros, 1996.











Judy Baca, The Great Wall of Los Angeles, 1974 - present.
Farewell to Rosie the Riveter

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