Art 1 Lecture 11

July 20
The Personal is Political

	Sylvia Sleigh. The Turkish Bath. 1973. Butler, Cornelia. WACK!: Art and the Feminist Revolution. Los Angeles: The Museum of Contemporary Art, 2007.
Assignment Due: community #4	"I do not wish them to have power over men, but over themselves." ~Mary Wollstonecraft

Exam #2 Results

		Number of students earning grade	Number of students earning grade
A	45 - 41 points	18	18
B	40 - 36 points	8	6
C	35 - 32 points	4	3
D	31 - 27 points	0	2
F	26 - 0 points	2	1

		Highest score - 45	Highest score - 45
		Lowest score - 17	Lowest score - 22

Yoko Ono's Cut Piece (1964-5) Instructions: First version for a single Performer: Performer sits on stage with pair of scissors placed 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 want.

Cut Piece

Yoko Ono. Cut Piece. 1964 - 65. Carnegie Hall.
Newhall, Edith. "A Long and Winding Road." ARTnews. October 2000: 162 -165.

Rhythm O

Marina Abramovic. Rhythm 0. 1974.
Warr, Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000.

“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

Marina Abramovic and Ulay. Rest Energy. 1980 & 2006.

Marina Abramovic. Art Must Be Beautiful.

Marina Abramovic. The Artist is Present. 2010.

Seed Bed

Vito Acconci. Seed Bed (8 hour durations, three times a week) . 1972.
Warr, Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000.

Abramovic Seedbed

Marina Abramovic performing Seedbed (for 7 hours) at the Guggenheim Museum on November 10, 2005
http://www.spikyart.org/seveneasypiecese.html#aconti

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.	Key events that launched the Feminist art movement in the U.S.
	1968	Young feminists protest Miss America pageant by throwing their bras into trash can (NOT burning them!)
	1968	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
	1972	LACMA exhibit - Four Los Angeles Artists
Womanhouse catalog		LACMA exhibit - Four Los Angeles Artists
		Womanhouse - first feminist exhibition
		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
	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

Alice Neel. Linda Nochlin and Daisy. 1973. Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams, 2005.	Chief concerns of Second Wave Feminism as stated by Fineberg and extended by Johnson:

	Gain full social and economic equality
	Reveal and question society's definition of women's roles
	To use collaboration to undermined the authority of patriarchy
	To examine the natural processes of the body that have long been disregarded by western culture
	To express (finally) the woman's identity
	"The personal is political" - Carol Hanisch 1970

For Carl Andre

Lynda Benglis. For Carl Andre. 1970.
Butler, Cornelia. WACK!: Art and the Feminist Revolution. Los Angeles: The Museum of Contemporary Art, 2007.


Robert Morris. Invitation. 1974. http://imagesource.allposters.com/images/pic/AWI/AW1696-Morris~Labyrinths-Voice-Blind-Time-Posters.jpg	Lynda Benglis. Invitation for Exhibition at Paula Cooper Gallery. 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

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

Interiro Scroll

Carolee Schneeman. Interior Scroll. 1975 - 1977.
Fineberg, Jonathan. Art Since 1940: Strategies of Being. Second ed. Prentice Hall, Upper Saddle River, NJ. 2000.

Interior Scroll

Carolee Schneeman. Interior Scroll (sequence). 1975 - 1977.
http://images.artnet.com/images_US/magazine/reviews/kley/kley3-27-09-5.jpg

Interior Scroll

Carolee Schneeman. Interior Scroll. 1975 - 1977.
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

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

"Prior to Schneemann, the female body in art was mute and functioned almost exclusively as a mirror of masculine desire." - Jan Avgikos

Faith Wilding. Womb Room. 1972.	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

Menstruation Bathroom

Judy 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.

The Dinner Party

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

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

Dinner Party setting for Mary Wollstonecraft Stokstad, Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams, 2005.	Dinner Party setting for Sojourner Truth https://www.brooklynmuseum.org/eascfa/dinner _party/place_settings/sojourner_truth.php	Dinner Party setting for Emily Dickinson https://www.brooklynmuseum.org/eascfa/dinner _party/place_settings/emily_dickinson.php
More place settings
"A central core, my vagina, that which made me a woman" - Chicago

The Dinner Party

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.