"It is safest to grasp the concept of the postmodern as an attempt to think of the present historically in an age that has forgotten how to think historically in the first place.” - Fredric Jameson
Cindy Sherman, Untitled Film Still #13, 1978.












Chris Burden, Trans-fixed, 1974.











Chris Burden, Urban Light, 2010.











Lynda Benglis, For Carl Andre, 1970.
Robert Morris, House of Vetti II, 1983.











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










Marina Abramovic performing Seedbed (for 7 hours) at the Guggenheim Museum on November 10, 2005.











"Young artists who came of age in the early 1970s were greeted by an America suffused with disillusionment from dashed hopes for political and social transformation to the continuation of the Vietnam War and the looming Watergate crisis. The utopian promise of the counterculture had devolved into a commercialized pastiche of rebellious stances prepackaged for consumption, and the national mood was one of catatonic shell-shock in response to wildly accelerated historical change, from the sexual revolution to race riots and assassinations." - Douglas Eklund Department of Photographs, The Metropolitan Museum of Art
Sherrie Levine, Untitled (President 4), 1979.