Karen Mary Davalos
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781479877966
- eISBN:
- 9781479825165
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479877966.003.0002
- Subject:
- Society and Culture, Latin American Studies
This chapter explores the errata exhibition, a show that counters a mainstream presentation of art. With the appearance of the errata exhibition in 1975, Chicana feminist artists leveraged ...
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This chapter explores the errata exhibition, a show that counters a mainstream presentation of art. With the appearance of the errata exhibition in 1975, Chicana feminist artists leveraged institutional critique against both mainstream arts institutions and community-based practices that ignored or narrowly interpreted their work. These artists, including Judy Baca, Barbara Carrasco, and Judithe Hernández, introduced an alternative analysis of Chicana/o art, illuminating the complexity, multiplicity, and generative qualities of their cultural production. The chapter argues that errata exhibitions are undocumented sites of critical borderlands discourse with which art historians, curators, and critics must engage to remain relevant.Less
This chapter explores the errata exhibition, a show that counters a mainstream presentation of art. With the appearance of the errata exhibition in 1975, Chicana feminist artists leveraged institutional critique against both mainstream arts institutions and community-based practices that ignored or narrowly interpreted their work. These artists, including Judy Baca, Barbara Carrasco, and Judithe Hernández, introduced an alternative analysis of Chicana/o art, illuminating the complexity, multiplicity, and generative qualities of their cultural production. The chapter argues that errata exhibitions are undocumented sites of critical borderlands discourse with which art historians, curators, and critics must engage to remain relevant.
Dana Greene
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037108
- eISBN:
- 9780252094217
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037108.003.0007
- Subject:
- Literature, Poetry
This chapter details the life and career of Denise Levertov from 1972 to 1975. This period was marked by critical endings for Levertov, an extraordinary time of emotional turmoil and confusion. Three ...
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This chapter details the life and career of Denise Levertov from 1972 to 1975. This period was marked by critical endings for Levertov, an extraordinary time of emotional turmoil and confusion. Three centrifugal forces—the end of the Vietnam War, her break with mentor Robert Duncan, and her divorce from Mitch—could have overwhelmed her. In the end they did not. She survived, and haltingly searched for a new life. Two books of poetry appeared. Footprints (1972) and The Freeing of the Dust (1975) both attested to her longing for freedom and desire to leave the past behind, and a collection of essays, The Poet in the World (1973), established her preeminence in poetics. As she groped toward the future, Levertov carried a talisman with her, a new understanding of her name Denise. Previously she assumed Denise derived from the Greek “Dionysus.” Now to her delight she discovered that in Hebrew its origin was in “Daleth,” meaning “door,” “entrance, exit/way through of/giving and receiving.” Obliquely she began to live into this new self-understanding.Less
This chapter details the life and career of Denise Levertov from 1972 to 1975. This period was marked by critical endings for Levertov, an extraordinary time of emotional turmoil and confusion. Three centrifugal forces—the end of the Vietnam War, her break with mentor Robert Duncan, and her divorce from Mitch—could have overwhelmed her. In the end they did not. She survived, and haltingly searched for a new life. Two books of poetry appeared. Footprints (1972) and The Freeing of the Dust (1975) both attested to her longing for freedom and desire to leave the past behind, and a collection of essays, The Poet in the World (1973), established her preeminence in poetics. As she groped toward the future, Levertov carried a talisman with her, a new understanding of her name Denise. Previously she assumed Denise derived from the Greek “Dionysus.” Now to her delight she discovered that in Hebrew its origin was in “Daleth,” meaning “door,” “entrance, exit/way through of/giving and receiving.” Obliquely she began to live into this new self-understanding.
