The Artist's Body

Roseanne Barr
"The thing women have yet to learn is nobody gives you power. You just take it." - Roseanne Barr
Stephanie Pfriender Stylander. Roseanne Barr
on the cover of Out! Magazine.
http://www.popnography.com/2008/04/rosanne.html
Worksheet #11 Due

 

 

 

 

 

 

 

 

 

 

Judy Chicago. The Dinner Party. 1974 - 1979. 48 x 48 x 48 ft.
http://www.askyfilledwithshootingstars.com/wordpress/wp-content/uploads/2010/02/000-Judy-Chicago-The-Dinner-Party-Insatllation-Overview-2-at-Brooklyn-Museum.jpg

 

 

 

 

 

 

 

 

 

 

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.

 

 

 

 

 

 

 

 

 

 

SOS Starification Objects Series

Hannah Wilke. S.O.S. Starification Object Series. 1974.
http://img520.imageshack.us/img520/6581/hannahwilkeusa194093sosur2.jpg
"People are frightened by female organs because they don't know what they look like" - Hannah Wilke
 
"I chose gum because it's the perfect metaphor for the American woman- chew her up, get what you want out of her, throw her out and pop in a new piece." - Hannah Wilke

 

 

 

 

 

 

 

 

 

 

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. 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
 

 

 

 

 

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

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