Kimberly Lamm
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781526121264
- eISBN:
- 9781526136176
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121264.003.0001
- Subject:
- Art, Art History
This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, ...
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This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.Less
This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.
Kimberly Lamm
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781526121264
- eISBN:
- 9781526136176
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121264.001.0001
- Subject:
- Art, Art History
This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing ...
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This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.Less
This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.
Stephen Monteiro
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474403375
- eISBN:
- 9781474421881
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403375.003.0004
- Subject:
- Film, Television and Radio, Film
In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn ...
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In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.Less
In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.
