Personal Politics
   
"I have been carrying on a dialogue between the landscape and the female body. I believe this has been the direct result of my having been torn from my homeland (Cuba) during my adolescence. I am overwhelmed by the feeling of having been cast from the womb (nature).” - Ana Mendieta
Tree of Life
 
 
 
 
 
 
 
 
 
 
 
 
Event Report now due May 13
 
Ana Mendieta. Tree of Life. 1977.
http://www.newinspirationalmovement.org/blog/wp-content/uploads/2007/07/mendietalr.jpg

 

 

 

 

 

 

 

 

 

 

Whitney Protestors

Ann Arien & Lucy Lippard protesting in front of the Whitney Museum of Art in 1970, demanding a 50% representation of womenand nonwhite artists in the Whitney Annual.
Broude, Norma and Mary D. Garrard ed. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: Harry N. Abrams, Inc., 1994.

1968
Young feminists protest Miss America pageant by throwing their bras into trash can (NOT burning them!)
Valerie Solanas writes the SCUM Manifesto and shoots Andy Warhol and Mario Amaya for losing her manuscript, Up Your Ass
1969
Whitney Annual included 8 women out of 143 artists
1970
Women artists protest the Whitney Annual
Survey reveals that 50% of practicing American artists are women while only 18% of New York's commercial galleries show the work of women artists
Judy Chicago founds the first feminist studio art course at Fresno State University
Los Angeles Council of Women Artists protest exclusion of women artists in LACMA show Art and Technology
First publication of Our Bodies, Ourselves
1971
Judy Chicago and Miriam Schapiro found Feminist Art Program at Cal Arts
Linda Nochlin's "Why Have There Been No Great Women Artists" published

Womanhouse catalog

Womanhouse catalog

1972
Congress passes Equal Rights Amendment; but by 1982 it had only been ratified by 35 states (three short of becming law); has been reintroduced into every session of Congress since
LACMA exhibit - Four Los Angeles Artists
Womanhouse - first feminist exhibition
1973
Supreme Court legalizes abortion in Roe v. Wade
1976
Linda Nochlin and Ann Sutherland Harris curate first historical exhibition of women artists at the Los Angeles County Museum of Art -
Women Artists: 1550 - 1950
1979
U.S. National Weather Service begins naming storms for women and men

 

 

 

 

 

 

 

 

 

 

Chief concerns of Second Wave Feminism:

untitled

Gain full social and economic equality
Reveal and question society's definition of women's roles
To use collaboration to undermine the authority of patriarchy
To examine the natural processes of the body long disregarded by western culture
To express (finally) the woman's identity
 
 
Sylvia Sleigh.  The Turkish Bath.  1973.
Butler, Cornelia.  WACK!: Art and the Feminist Revolution.  Los Angeles:
The Museum of Contemporary Art, 2007.

 

 

 

 

 

 

 

 

 

 

Conceptualism = (a.k.a. idea art) art in which the concepts or ideas involved in the work take precedence over traditional aesthetic and material concerns.  Conceptual art may not even produce an art object, but rather a physical manifestation that is to be viewed as a document of the art.

Carving

 
Conceptual art is "made to engage the mind of the viewer
rather than his eye or emotions." - Sol Le Witt
 
Eleanor Antin.  Carving: A Traditional Sculpture.  1972.
Butler, Cornelia.  WACK!: Art and the Feminist Revolution.  Los Angeles: The Museum of Contemporary Art, 2007.

 

 

 

 

 

 

 

 

 

 

Calling Card

Adrien Piper.  Calling Card. 1986 - 1990.
http://www.spencerart.ku.edu/~sma/images/print/radicalism/piper1.jpg

 

 

 

 

 

 

 

 

 

 

Performance Art = art where the actions of an individual or a group at a particular place and in a particular time, constitute the work

Cut Piece

Yoko Ono. Cut Piece. 1965. Carnegie Hall.
Newhall, Edith. "A Long and Winding Road." ARTnews. October 2000: 162 -165.

*Cut Piece

First version for single performer:

Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage one at a time to cut a small piece of the performer's clothing to take with them.

Performer remains motionless throughout the piece.
Piece ends at the performer's option.

Second version for audience: It is announced that members of the
audience may cut each others clothing.

The audience may cut as long as they wish*

 

 

 

 

 

 

 

 

 

 

Yoko Ono. Cut Piece. 1965. Carnegie Hall.
2003 performance of Cut Piece at Carnegie Hall

 

 

 

 

 

 

 

 

 

 

“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
Meet Jane Doe, OC Weekly April 26, 2012
 
Marina Abramovic. Rhythm 0. 1974.
Warr, Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000.

 

 

 

 

 

 

 

 

 

 


Carolee Schneeman. Interior Scroll. 1975 - 1977.
http://dome.mit.edu/bitstream/handle/1721.3/2860/4048_sv.jpg?sequence=2

 

 

 

 

 

 

 

 

 

 

Interior Scroll

Interior Scroll

Carolee Schneeman.Interior Scroll. 1975 - 1977.
http://images.artnet.com/images_US/magazine/reviews/kley/kley3-27-09-5.jpg
http://www.brooklynmuseum.org/opencollection/images/objects/size3/2005.35.1_PPOW_Gallery_Schneemann_11.jpg

 

 

 

 

 

 

 

 

 

 

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

http://slog.thestranger.com/files/2008/10/interior_scroll_inset_schneeman.jpg

 

 

 

 

 

 

 

 

 

 

untitled
untitled
Robert Morris
Invitation for Exhibition at Paula Cooper Gallery (photo Annie Leibovitz). 1974.
Butler, Cornelia.  WACK!: Art and the Feminist Revolution.  Los Angeles: The Museum of Contemporary Art, 2007.
Frank Powolny. Betty Grable.  1943.
http://history.sandiego.edu/gen/WW2Timeline/images2/1943.jpg
Poster for exhibition at Castelli-Sonnabend (photo Rosalind Krauss) 1974.
http://imagesource.allposters.com/images/pic/AWI/AW1696-Morris~Labyrinths-Voice-Blind-Time-Posters.jpg


 

 

 

 

 

 

 

 

 

 

Untitled (detail from Artfrorum ad)

Lynda Benglis. Untitled (detail from Artfrorum ad). 1974.
Warr, Tracey and Amelia Jones ed. The Artist's Body. London: Phaidon Press Ltd., 2000.
 
"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 the work and following controversy

 

 

 

 

 

 

 

 

 

 

Feminists questioned and attacked Greenbergian formalism
Openly encouraged artists to explore autobiography,
narrative and personal identity
Advocated collaboration
Optimistically explored new media
 
"The personal is political" - Carol Hanisch
Betye Saar. The Liberation of Aunt Jemima. 1972.
 

 

 

 

 

 

 

 

 

 

 

The Great Wall of Los Angeles, 1974 -
Farewell to Rosie the Riveter
 
located on Coldwater Canyon Ave between Oxnard St & Burbank Blvd and the eastern edge of the Valley College campus in San Fernando Valley, alongside the Tujunga Wash

 

 

 

 

 

 

 

 

 

 

 
Driving directions and guide

 

 

 

 

 

 

 

 

Hand/ Heart

Homage to Carl Andre

Carolee Schneemann. Hand/ Heart for Mendieta. 1986.  Blood, ashes & 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".

 

 

 

 

 

 

 

 

IKB 3
Yves Klein.  IKB 3.  1960.
Weitemeier, Hannah. Klein.  Koln: Taschen, 2001.
Yves Klein. Blue Monochrome. 1961.
http://postandgrant.com/wp-content/uploads/2011/08/Yves-Klein.jpg

 

 

 

 

 

 

 

 

 

 

Living Paint Brushes

Yves Klein. Performance: Anthropometries de l-epoque bleue. 1960.

 

 

 

 

 

 

 

 

 

 

Anthropometry

Anthropometry

Yves Klein. "Living Paint Brush" painting. 1960.
http://images.easyart.com/i/prints/rw/lg/8/0/Yves-Klein-Anthropometry--Ant-130-1960-80120.jpg
Yves Klein. Anthropomometry.  1960.
http://bp2.blogger.com/_ESC4bygtp2M/SAVX2g0lq3I/AAAAAAAADVA
/QXpAjhQqatA/s400/Klein+Anthropometry.jpg

 

 

 

 

 

 

 

 

 

 

Rachel Lachowicz. Red Not Blue performance stills. 1992
http://4.bp.blogspot.com/_f13hi1G-rp0/TVE6dnNsadI/AAAAAAAAAGQ/MeQnElnu3Pc/s1600/25RachelLachowicz.jpg
http://rachellachowicz.com/gallery3.html

 

 

 

 

 

 

 

 

 

 

Sheet Closet

The Feminist Art Program
was an experiment in teaching
Participants engaged in consciousness raising sessions
Collaboration was encouraged with the intention of forming a community
Only women allowed in the classroom and studio
 
 
Womanhouse, 1972
theme = women's work
aimed to "search out and reveal the female experience...the dreams and fantasies of women as they sewed, cooked, washed and ironed awyay their lives." - Judy Chicago
 
Sandra Orgel. Sheet Closet.  1972.
http://www.fresnoalliance.com/home/images/Sheet_Closet.jpg
 

 

 

 

 

 

 

 

 

 

 

Womb Room

Susan Frazier. Nurturant Kitchen. 1972.
http://linda.poling.com/kitchen.JPG
Faith Wilding. Womb Room. 1972.
Chicago. Menstruation Bathroom. 1972.
Broude, Norma and Mary D. Garrard ed. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: Harry N. Abrams, Inc., 1994.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Judy Chicago. The Dinner Party. 1974 - 79.
http://www.askyfilledwithshootingstars.com/wordpress/wp-content/uploads/2010/02/000-Judy-Chicago-The-Dinner-Party-Insatllation-Overview-2-at-Brooklyn-Museum.jpg

 

 

 

 

 

 

 

 

 

 

setting for Judith
https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/judith.php

setting for Mary Wollstonecraft
https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/mary_wollstonecraft.php

setting for Virginia Woolf
https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/virginia_woolf.php

More place settings
 
"A central core, my vagina, that which made me a woman" - Chicago

 

 

 

 

 

 

 

 

 

 

The Dinner Party Heritage Floor. Porcelain with rainbow and gold luster, 48 x 48 x 48 ft. (14.6 x 14.6 x 14.6 m).
https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/index.php

 

"Because we are denied knowledge of our history, we are deprived of standing upon each other's shoulders and build upon each other's hard earned accomplishments. Instead we are condemned to repeat what others have done before and thus we continually reinvent the wheel. The goal of The Dinner Party is to break this cycle." - Judy Chicago

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dinner Party settings

Dinner Party settings for Virginia Woolf and Georgia O' Keefe
http://www.cwrl.utexas.edu/~ulrich/femhist/art.shtml

essentialism = the view that, for any specific kind of entity, there is a set of defining characteristics that the entity must possess in order to be recognized as that kind of thing. A classic example is the question of whether a tiger without stripes (an albino) is still a tiger?  The essential properties of a tiger are those without which it is no longer a tiger.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

We Don't Need Another Hero
Barbara Kruger. We don't need another hero. 1987.
Grosenick, Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln. 2005.
 
Appropriation = the use of found or borrowed elements in the creation of a new artwork

 

 

 

 

 

 

 

 

 

 

Barbara Kruger. Man's Best Friend. 1987.
http://www.spruethmagers.com/bilder/works/kruger_00050.jpg

Barbara Kruger. Your body is a battleground. 1989.
http://imageobjecttext.files.wordpress.com/2012/03/barbara-kruger-your-body-is-a-battleground-19891.jpg

 

 

 

 

 

 

 

 

 

 

 

Untitled After Edward Weston

Neil Nude
Sherrie Levine.  After Edward Weston.  1981.
Sherrie Levine.   After Edward Weston.  1981.

 

 

 

 

 

 

 

 

 

 

 

Witkin Gallery.  Six Nudes of Neil, 1925 by Edward Weston.  Poster announcing publicationof a limited edition portfolio printed by George A. Tice.  1977.

Edward Weston .  Neil Nude.  1925.

Weintraub, Linda.  Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society.  Litchfield, CT: Art Insights, Inc..  1996.

 

 

 

 

 

 

 

 

 

 

Polykleitos. Doryphoros. 450 - 440 BC.
Janson, H.W. and Anthony F. Janson. History of Art. Sixth edition. University of North Carolina, Wilmington: Prentice Hall, Inc., 2001.
Edward Weston. Neil Nude. 1925.
Sherrie Levine.  After Edward Weston. 1981.