December 14
Postmodernism
Ann ArienLucy
Lippard protesting in front of the Whitney Museum of Art, September
1970, demanding a 50% representation of women and nonwhite artists in
the Whitney Annual. 1970.
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
|
| 1968 |
Young feminists
protest Miss America pageant |
|
Valerie Solanas writes the SCUM Manifesto and shoots Andy Warhol and Mario Amaya for losing her play Up Your Ass |
| 1969 |
Whitney Annual
(now a biennial) 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 - first feminist exhibition |
|
Congress passes Equal Rights Amendment; by 1982 had only been ratified by 35 states (three short); has been reintroduced into every session of Congress since |
| 1973 |
Supreme Court legalizes abortion, 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 men |
Kim Dingle. Priss Room. 1994.
http://www.renaissancesociety.org/site/files/media/683/1996_dingle_prissroom_n.jpg
|
Feminist questioned and attacked Greenbergian formalism |
|
Openly encouraged artists to explore autobiography, narrative and personal identity |
Advocated collaboration |
Optimistically explored new media |
| |
Chief concerns
of Feminists in the 70s: |
Sylvia Sleigh. The Turkish Bath. 1973.
Butler, Cornelia. WACK!: Art and the Feminist Revolution. Los Angeles:
The Museum of Contemporary Art, 2007.
|
Gain full social and economic equality |
Reveal and
question society's definition of women's roles |
To discolse
the cultural construction of the body |
To examine
the natural processes of the body that have long been disregarded by
western culture |
To express
(finally) the woman's identity |
| |
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 Ameia Jones |
Robert Morris. Invitation. 1974.
http://imagesource.allposters.com/images/pic/AWI/AW1696-Morris~Labyrinths-Voice-Blind-Time-Posters.jpg
Carolee Schneeman. Interior
Scroll. 1975 - 1977.
Fineberg,
Jonathan. Art Since 1940: Strategies of Being. Second ed. Prentice
Hall, Upper Saddle River, NJ. 2000.
Performance
Art = art where the actions of an individual or a group at a particular
place and in a particular time, constitute the work |
Carolee Schneeman. Interior
Scroll. 1975 - 1977.
Slatkin, Wendy. Women Artists in History:
From Antiquity to the Present. Fourth ed. Prentice
Hall, Upper Saddle River, NJ. 2001.
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 look
At your films
We cannot look at:
the personal clutter
the persistence of feeling
the hand-touch sensibility
the diaristic indulgent
the painterly mess
the dense gestalt
|
Interior Scroll at MOCA
http://www.moca.org/wack/wp-content/uploads/2007/03/schneeman_install.jpg
|
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 |
.
Ana Mendieta. Rape/
Murder. 1973.
Warr,
Tracey. The Artist's Body. London: Phaidon Press Ltd., 2000.
Silueta Series
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.
|
Naked by the Window by Robert Katz
Sheet Closet. 1972.
http://www.fresnoalliance.com/home/images/Sheet_Closet.jpg
|
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
1939 -
Judy Chicago. Boxing Ring (exhibition
advertisement). 1970.
Warr, Tracey and Amelia Jones ed. The Artist's
Body. London: Phaidon Press Ltd., 2000.
Judy Chicago. The
Dinner Party. 1974 - 79.
"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." |
Leonardo. The
Last Supper. 1495-98.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams, 2005.
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 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 place settings
The Dinner Party as installed in the Brooklyn Museum. 2007.
http://brooklynmuseum.org/exhibitions/dinner_party/
Historic
Context |
| 1980 |
Art critic
Kay Larson writes "for the first time women are leading and not
following." |
|
| 1981 - 1989 |
"Reagan
era" |
| 1981 |
AIDS first recognized as a disease, given the name "Gay Related Immune Deficiency" |
| |
MTV founded |
| 1983 |
Compact discs first marketed and quickly replace records and tapes |
| 1985 |
Rock Hudson dies
of AIDS |
| |
MOMA exhibition - An International Survey of Painting and Sculpture |
| 1986 |
Chernobyl nuclear accident |
| |
GRID renamed HIV/ AIDS |
| 1987 |
"Black Monday"
stock market crash |
| |
Formation of the Guerrilla Girls |
| |
National Museum of Women in the Arts opened |
| 1989 |
Student protestors massacred in China's Tieananmen Square |
Postmodernism
= name for many stylistic reactions to, and developments from, modernism.
Postmodern style is often characterized by eclecticism, digression,
collage, pastiche, and irony. Postmodern theorists see postmodern art
as a reversal of well-established modernist systems, such as the roles
of artist versus audience, seriousness versus play, or high culture
versus kitsch. |
Modernism
vs. Postmodernism |
|
| |
Modernism |
Postmodernism |
| |
Georgia O'Keefe. Red Canna. c. 1924.
University of Arizona Museum of Art
|
Cindy Sherman. Untitled #96. 1981.
|
| Main goal |
To overthrow the
conventions of the past |
To overthrow modernism |
|
Based on a linear
concept of history, where art builds upon itself and becomes progressively
better |
|
| Emphasis on |
Innovation (being
the first) |
Pluralism (there
are many perspectives coexisting simultaneously) |
|
The universal
and the essential |
Diversity and
contradiction |
| Structure of art |
High vs. Low art
(painting is the highest form of art, and male artists are geniuses, all
other media and classes are inferior) |
All art forms
are equally valid (art can be made by anyone and made out of anything) |
| Core concepts |
Art is an intellectual
pursuit |
Art is playful,
ironic, experimental, expressive and intellectual |
|
Art is for the
elite, not for everyone |
Art is for everyone
and can change lives |
|
Distinctions in
the arts should be clear and definitive |
|
| Regard for the
future |
Optimism |
Uncertainty |
Cindy Sherman
1954 -
Cindy Sherman. Untitled Film
Still #6. 1979.
Cindy Sherman. Untitled Film
Still #13. 1978.
Fuku,
Noriko. "A woman of Parts." Art in America. June 1997. 74
-81, 125.
Cindy Sherman. Untitled Film
Still #21. 1979.
Cindy Sherman. Untitled Film
Still #56. 1980.
Cruz, Amanda and Elizabeth A. T. Smith. Cindy Sherman: Retrospective. Chicago: Thames & Hudson, 1998.
|
| |
Male
gaze = a fundamental concept to Feminist theory which relates to
the way men look at women, how women look at themselves and other women,
and the sociological effects of this method of looking. Some feminists
posit that since it is almost always the female who is being gazed upon
by the male, the man exhibits power over the woman. |
Cindy Sherman. Untitled Film
Still #48. 1979.
Preble,
Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice
Hall, Upper Saddle River, NJ, 2002.
More
Untitled Film Stills
Cindy Sherman. Untitled #216.
1989.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Domenico
Ghirlandaio. Giovanna Tornabuoni nee Albizzi. 1488.
Fred
S. Kleiner and Christin J. Mamiya, Gardner's Art Through the Ages.
Twelfth ed. Vol. 1. Fort Worth: Harcourt Brace College Publishers, 2005.
2 vols.
|
Cindy Sherman. Untitled #211. 1989.
Museum of Contemporary Art Los Angeles. Cindy Sherman: Retrospective. Los Angeles: Thames and Hudson,
1997.
|
Appropriation
= the use of found or borrowed elements in the creation of a new artwork |
| |
| |
| |
|
In an age
when we can reproduce things endlessly, there is no original |
"Aura"
is the feeling of awe created by unique object from the past - Capitalism
destroys the aura because of proliferation, mass production and endless
reproduction |
| |
| |
| |
simulacra = a copy of a copy which has been so dissipated in its relation to the original that it can no longer be said to be a copy. The simulacrum therefore stands on its own as a copy without a model |
Yasumasa Morimura. To My Little Sister: for Cindy Sherman. 1998.
http://membres.lycos.fr/morimura/art_history/ym_cindy01b.jpg
Cindy Sherman. Untitled #96. 1981.
Cruz, Amanda and Elizabeth A. T. Smith. Cindy Sherman: Retrospective. Chicago: Thames & Hudson, 1998.
Sherrie Levine
1947 -
Sherrie Levine. After Walker
Evans #4 . 1981.
Joselit, David. American Art Since 1945. London: Thames & Hudson, 2003.
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.
|
Donatello. David. c. 1446-60(?)
|
Edward Weston . Neil Nude. 1925.
|
|
|
Marcel Duchamp. Fountain. 1917.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York:
Prentice
Hall Inc., and Harry N. Abrams Inc., 2005. |
Sherrie
Levine. After Duchamp. 1991.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century.
Taschen,
Koln. 2005. |
Barbara Kruger
1954 -
Barbara Kruger. Untitled (I Shop
Therefore I Am). 1987.
Preble,
Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice
Hall, Upper Saddle River, NJ, 2002.
"I
work with pictures and words because they have the ability to determine
who we are, what we want to be, and what we become." - Barbara
Kruger |
Barbara Kruger. Untitled (Your
gaze hits the side of my face). 1981.
Barbara Kruger. Untitled (Your body is a battleground). 1989.
Lazzari, Margaret and Dona Schlesier. Exploring Art: A Global, Thematic Approach. Second ed. Australia: Thomson Wadsworth, 2005.
|
Barbara Kruger. Untitled (Your
body is a battleground). 1989.
Weintraub, Linda. Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society. Litchfield, CT: Art Insights, Inc.. 1996.
|
Barbara Kruger. We don't need
another hero. 1987.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Barbara Kruger. Man's best friend.
1987.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
More
Kruger
Postmodern Themes: |
| |
Appropriation |
Body Politics |
Identity
Politics |
Conceptualism |
Jouissance
- french for enjoyment |
Identity Politics |
| |
Artists explore the construction of identity and identification |
Question what is accepted as "normal" and how the indidual navigates that definition |
Nan Goldin's The Ballad of Sexual Dependency 1980 - 1986
Nan Goldin. Nan
and Brian in Bed. 1983.
Nan Goldin. Nan
One Month After Being Battered. 1984.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Nan Goldin. Heart-Shaped Bruise.1980.
http://www.artforum.com/uploads/upload.000/id04292/article01_large.jpg
Nan Goldin. Cookie
at Vittorio's Casket. 1989.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Catherine Opie
1961 -
Catherine Opie. Chicken. 1991.
Marien, Mary Warner. Photography: A Cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Catherine Opie. Justin Bond. 1993.
Lazzari, Margaret and Dona Schlesier. Exploring Art: A Global, Thematic Approach. Second ed. Australia: Thomson Wadsworth, 2005.
Catherine Opie. Self-Portrait. 1993.
http://www.saatchi-gallery.co.uk/blogon/upload/2006/06/SelfportraitCutting1998.jpg
Catherine Opie. Self-Portrait/ Pervert. 1994.
http://www.regenprojects.com/files/db15e039.jpg
|
Catherine Opie. Self-Portrait Nursing. 2004.
http://www.regenprojects.com/files/bec09099.jpg
|
Catherine Opie. Oliver in a Tutu. 2004.
http://mailer.e-flux.com/mail_images/1137801987aldrich.jpg
Kara Walker
1970 -
Kara Walker. Slavery!
Slavery! 1997.
Sheets, Hilarie M. "Cut It Out!" ARTnews.
April 2002: 1256 -129.
Betye Saar. The Liberation of Aunt Jemima. 1972.
Butler, Cornelia. WACK!: Art and the Feminist Revolution. Los Angeles: The Museum of Contemporary Art, 2007.
|
|
"All
black people in America want to be slaves just a little bit." -
Walker |
| |
Kara Walker's work is "sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that is that it was basically for the amusement and the investment of the white art establishment." - Betye Saar |
| |
"These
are the slave narratives that were never written. Kara's work takes
from fact but also fantasy and throws on its head any notion we might
have of good and bad, right and wrong, black and white. There are no
clear dichotomies." - Thelma Golden |
| |
Kara Walker. Exhibition at the Renaissance Society. 1997.
http://renaissancesociety.org/site/Exhibitions/Images.51.0.0.0.0.html?image=669
"Walker
refuses to see racism as a clear question of 'us versus them.' Instead,
she performs a complex excavation of both the psychological and the
sociological dimensions of identification." - David Joselit |
Kara Walker. Exhibition at the Renaissance Society. 1997.
http://renaissancesociety.org/site/Exhibitions/Images.51.0.0.0.0.html?image=673
“Needless to say, it is the two hundred year history of a shameful act conducted squarely within our consciousness that makes it possible for Walker to not only refuse shame but to blur the distinction between forms of shame. Even more important, Walker is aware that to speak of shame is simultaneously to speak of disgust, the overcoming of which is a prerequisite for sexual pleasure. Given the volume of shame, it is no wonder that the pleasures derived by her characters are often Sadistic in nature.” – Hamza Walker |
Sally Mann
1951 -
Sally Mann. Candy Cigarette. 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
Sally Mann. The Terrible Picture. 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
Sally Mann. Jessie and the Deer. 1985.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
The work is "about everybody's memories, as well as their fears." - Sally Mann |
Sally Mann. Last Light . 1989.
Mann, Sally. Immediate Family. New York: Aperture, 1992.
Historic Context |
| 1990 |
Germany reunited |
| 1991 |
USSR dissolved |
| |
Anita Hill accusses Clarence Thomas of sexual harassment during his Senate confirmation hearing |
| 1994 |
Advent of World
Wide Web |
| 2001 |
Attacks on World Trade Center and Pentagon |
| |
U.S. bombs Afghanistan |
| 2003 |
U.S. and Britain launch war on Iraq |
| 2004 |
Tsunami in South Asia |
| 2005 |
Hurricane Katrina and massive flooding in New Orleans |
1985 MOMA
re-opens with An International Survey of Painting and Sculpture |
out of 169
artists represented, 13 were women, all were white |
| |
Curator,
Kynaston McShine, said any artist who wasn't in the show should rethink
"his" career |
The Guerrilla Girls
Guerrilla Girls. The Advantages of Being a Woman Artist . 1988.
http://www.guerrillagirls.com/posters/helms.shtml
Guerrilla Girls. Want to Earn Big Money in the Art World? 1985.
http://www.guerrillagirls.com/posters/helms.shtml
Guerrilla Girls. When Racism and Sexism are No Longer Fashionable. 1989.
http://www.guerrillagirls.com/posters/helms.shtml
More Guerrilla Girl poster actions
Body
Politics |
A focus
on the secret, unconventional body that is flawed, diseased and full
of ick and goo |
Encourages
awareness of the viewer's own individual experience of their body and
how that experience is manipulated by culture, society and the hegemony |
Kiki Smith. Pee Body. 1992.
Pollack, Barbara. "Leaping Off the Pedastal." ARTnews. June 1998: 106 - 110.
Kiki Smith. Untitled. 1990.
Tallman, Susan. "Kiki Smith: Anatomy Lessons." Art in America. Aprill 1992: 146 - 153.
Hannah Wilke. So Help Me Hannah. 1978-81.
http://www.espacioluke.com/2006/Octubre2006/images/Hannah/Wilke-78-2.jpg
Hannah Wilke. Intra Venus #4. 1988 - 1993.
http://www.artium.org/imagen/expo_Wilke-92-2.jpg
Hannah Wilke. Intra Venus #6. 1988 - 1993.
http://atlanta.creativeloafing.com/binary/f9c13dcd/arts_visualarts1-1_25.jpg
Hannah Wilke. Intra Venus Series.
1988 - 1993.
Warr, Tracey. The Artist's Body. London:
Phaidon Press Ltd., 2000.
Janine Antoni. Loving Care.
1992.
Warr, Tracey. The Artist's Body. London:
Phaidon Press Ltd., 2000.
|
|
Janine Antoni. Chocolate and Lard Gnaw. 1992.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen,
Koln. 2005.
|
Janine Antoni. Lipsticks and Candy
Box. 1992.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Cindy Sherman. Untitled #261.
1992.
Fuku,
Noriko. "A woman of Parts." Art in America. June 1997. 74
-81, 125.
Cindy Sherman. Untitled #175. 1987.
In the US in 2003, for every $1 males earn, women earn 76 cents on average |
| |
Rwanda currently has the largest percentage of women participating in its national legislature with 49% |
The United States Congress is currently comprised of 15.1% women |
The world average is 9% |
| |
| |
Art museums
still present only an average of 15% women in curated exhibits, and
a mere 4% of museum acquisitions are works by women artist - Guerrilla
Girls |
Guerrilla Girls. Do Women Have to Be Naked? 1989.
http://www.guerrillagirls.com/posters/helms.shtml
Guerrilla Girls. Do Women Have to Be Naked? 2005.
http://www.guerrillagirls.com/posters/helms.shtml
Jenny Saville. Propped.
1992.
Holmes, Pernilla. "The Body Unbeautiful." ARTnews. Novbember 2003: 144 - 147.
"If
we continue to speak in this sameness, speak as men have spoken for
centuries, we will fail each other again" - Luce Irigaray |
Jenny Saville's Still (2003) sold for $1 million at auction in 2006 |
|
|
| |
|
In the US, for every $1 males earn, women earn 76 cents |
The US Congress is currently comprised of 15.1% women |
Art museums still present only an average of 15% women in curated exhibitions and a mere 4% of museum acquisitions are works by women artists |
Wangechi Mutu. She's Egungun Again. 2005.
http://www.x-traonline.org/vol8_1/imgs/Egungun_194.jpg
Yurie Nagashima. Untitled. 2001.
Lisa Yuskavage. Day. 1994
|
Lisa Yuskavage. Night. 1992.
|
http://www.davidzwirner.com/artists/64/selected_works_7.htm |
Rachel Whiteread. Water Tower.
1998.
Kim Dingle. Girls with Dress Pole. 2001.
http://www.speronewestwater.com/cgi-bin/iowa/works/record.html?record=1120
Marilyn Minter. Stepping Up. 2005.
http://thinkingaboutart.blogs.com/art/images/marilyn_minter.jpg
October 2008 - Louise Bourgeois Retrospective at MOCA
Robert Mapplethorpe. Portrait of
Louise Bourgeois. 1982.
Warr, Tracey. The Artist's Body. London:
Phaidon Press Ltd., 2000.
Louise Bourgeois. Fillette (Little
Girl). 1968.
"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." - Lucie-Smith |
Louise Bourgeois. Maman.
1999.
http://www.ahpcs.org/images/NGC_Ottawa/NGC_Maman.jpg
Louise Bourgeois's Spider (1997-99) sold for $4 million at auction in 2006 |
and to end with some jouissance...
Liza Lou. Kitchen. 1991 - 94.
Ollman, Leah. "Liza Lou’s American
Dream." Art in America. June 1998: 98-101 & 122.
Liza
Lou's Backyard
