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

 

 

 

 

 

 

 

 

 

 

The Dinner Party

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

 

 

 

 

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

Ana Mendieta, Rape/ Murder, 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.

 

 

 

 

 

 

 

 

 

 

Steel Magnesium Plain

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, Earth Body Figure, 1973.

 

NY Times article on 2011 Carl Andre Monograph

 

 

 

 

 

 

 

 

 

 

Hand/ Heart

Homage to Carl Andre

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".

 

 

 

 

 

 

 

 

 

 

For Carl Andre

Lynda Benglis, For Carl Andre,  1970.

 

 

 

 

 

 

 

 

 

 

untitled
Robert Morris
Lynda Benglis, Invitation for Exhibition at Paula Cooper Gallery (photograph by Annie Leibovitz), 1974.
Robert Morris poster 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

Untitled (detail from Artfrorum ad)

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

 

 

 

 

 

 

 

 

 

 

Lynda Benglis, Smile, 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.

 

 

 

 

 

 

 

 

 

 

Interior Scroll

Interior Scroll


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
procedures-
the Pytagoream cues-

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

Scroll detail

 
detail of Scroll

 

 

Micol Hebron, Roll Call Part I, 2014

 

 

 

 

 

 

 

 

 

 

“I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.” - Marina Abramovic
Rhythm
 
Abramovic recalls the performance
 
 
Marina Abramovic, Rhythm 0, 1974.