July 16 |
Personal Politics |
"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 |
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.
Judy Chicago. The Dinner Party. 1974 - 79.
"Meant to end the ongoing cycle of omission in which women were written out of the historical record." - Judy Chicago |
Mary Wollstonecraft's
setting at the Dinner Party
Stokstad, Marilyn. Art History. Revised
Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams, 2005.
Dinner Party settings for Virginia Wolfe and Georgia O' Keefe
http://www.cwrl.utexas.edu/~ulrich/femhist/art.shtml
"A
central core, my vagina, that which made me a woman" - Chicago |
More dinner party place settings
Ana Mendieta
1948 - 1985
Ana Mendieta. Glass on Face
Imprint. 1972.
Duncan,
Michael. "Tracing Mendieta." Art in America. April 1999:
110 -113, 154.
Ana Mendieta. Glass on Body
Imprint. 1972.
Duncan,
Michael. "Tracing Mendieta." Art in America. April 1999:
110 -113, 154.
Ana Mendieta. Rape/
Murder. 1973.
Warr,
Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000.
Silueta series
1973 - 1977
Ana Mendieta. Buried. 1973
- 77.
Duncan,
Michael. "Tracing Mendieta." Art in America. April 1999:
110 -113, 154.
Ana Mendieta. Silueta de Cohetes.
1976.
Duncan,
Michael. "Tracing Mendieta." Art in America. April 1999:
110 -113, 154.
Ana Mendieta. Earth/ Body Figure.
1973 - 77.
Duncan,
Michael. "Tracing Mendieta." Art in America. April 1999:
110 -113, 154.
Carl Andre. Steel Magnesium
Plain. 1969. 6 X 6 ft.
Marzona, Daniel. Minimal Art. Koln: Taschen, 2004.
Naked by the Window by Robert Katz
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 inches.
Louise Bourgeois
1911 -
Louise Bourgeois. Blind Man’s Bluff. 1984.
http://members.aol.com/mindwebart2/louisewhite.jpg
"Bourgeois's
work is a meditation on the past, and also a release of anger - chiefly,
it seems from her own account, anger about a blocked and frustrated
childhood, the sadistic teasing to which she was subjected by an anglophile
father, and (most of all) the presence in her childhood home of her
father's mistress." - Edward Lucie - Smith |
Louise Bourgeois. The Destruction of the Father. 1974. |
Louise Bourgeois. Filette (Little
Girl) (Sweeter Version) . 1968.
Chadwick,
Whitney. Women, Art, and Society. Third edition. New York: Thames &
Hudson Ltd., 2002.
"In
Louise Bourgeois' work, we are often faced with the presence of subjects
who desire, and who desire sexually. They are not immediate figures
of desire but they position themselves clearly as operations of desire.
Bourgeois' vengeance on the constraints of the "wish to know"
is to create the disorder of the forbidden. The right to know is my
birth right." - Edward Lucie-Smith |
Robert Mapplethorpe. Portrait of
Louise Bourgeois. 1982.
Warr, Tracey. The Artist's Body. London:
Phaidon Press Ltd., 2000.
Louise Bourgeois. Maman as installed at National Gallery of Canada. 2005.
Maman was bought by the Guggenheim Museum, Bilbao for $4 million in 2006 |
October 2008 Louise Bourgeois Retorspective at MOCA |
