Pink Glass Swan: Selected Essays on Feminist Art

Overview

In the 1970s, Lucy R. Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women's movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement. This new collection of previously published essays covers more than two decades of...
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Overview

In the 1970s, Lucy R. Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women's movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement. This new collection of previously published essays covers more than two decades of Lippard's thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today's fine and popular art. With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard's leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Ostensibly the topic of these essays is women and contemporary art; however, given the author's own activism, it offers a much broader reading of alternative culture, its politics and practices. A feminist and journalist, Lippard has been penning her accounts of the art world with the acumen of an experienced foot soldier since the early '70s. This collection brings together works from various publications, including the Village Voice, Z and the Nation, along with selections from three of Lippard's previous books, including From the Center: Feminist Essays on Woman's Art. What begins with a commitment to art by women, evolves into an even more radical commitment to change. Having initially worked as a writer in New York to bring women into the mainstream, Lippard ends up establishing herself firmly in the margins: her most recent essays champion global cross-cultural exchanges that take place well outside the limits of the established art world. Her subjects include the well-known feminist artist Judy Chicago and the infamous Guerrilla Girls, as well as the less-known ``Garbage Girls'' (artists who make art from trash). Her frankly opinionated writing is clear and concise, characterized by a welcome sense of critical flexibility. Lippard calls it as she sees it-albeit sometimes mistakenly-to make accessible the work and politics of many vital and lesser-known artists working today. (Mar.)
Library Journal
Lippard is an eminent art activist, organizer, writer, critic, curator, lecturer, propagandist, and sometimes performance artist who has been committing her vociferous artistic and political views to print since the 1960s. This volume reprints 30 of her many essays originating in From the Center: Feminist Essays on Women's Art (1976), Get the Message?: Activist Essays on Art & Politics (1984), the Village Voice, and elsewhere. The important introduction records her latest (mellowing?) thought and traces the significant part she has played in the feminist art movement. (Most of the feminist artworks peppering her text are up to date, many from the 1990s.) Considered controversial and radical-and perhaps still so to the uninitiated reader-this snappy but occasionally repetitive prose seems mostly right on target, the voice of a maturing idealist committed to eliminating all artistic, cultural, and institutional sexism, racism, ethnocentrism, ghettoization, and marginalization. Lippard is neither a deconstructionist nor an essentialist but a self-styled Socialist feminist, albeit a romantic one, and a cultural feminist, albeit a quasi-Marxist one. Necessary for most art and all feminist collections.-Mary Hamel-Schwulst, Towson State Univ., Md.
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Product Details

  • ISBN-13: 9781565842137
  • Publisher: New Press, The
  • Publication date: 3/28/1995
  • Pages: 336
  • Product dimensions: 7.00 (w) x 9.00 (h) x 0.88 (d)

Table of Contents

Introduction: Moving Targets/Concentric Circles: Notes from the Radical Whirlwind 3
Changing Since Changing 31
Sexual Politics: Art Style 42
Prefaces to Catalogs of Three Women's Exhibitions 50
Household Images in Art 62
Fragments 66
Six 77
The Women Artists' Movement - What Next? 80
The L.A. Woman's Building 84
Making Up: Role-Playing and Transformation in Women's Art 89
The Pains and Pleasures of Rebirth: European and American Women's Body Art 99
The Pink Glass Swan: Upward and Downward Mobility in the Art World 117
Making Something from Nothing (Toward a Definition of Women's "Hobby Art") 128
Some Propaganda for Propaganda 139
Issue and Taboo 150
Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s 171
Rejecting Retrochic 183
New York Times IV 192
Clash of '85 203
Feminist Space: Reclaiming Territory 208
First Strike for Peace 223
Women Confront the Bomb 228
All's Fair 231
The Politically Passionate 238
Rape: Show and Tell 243
Equal Parts 248
Guerrilla Girls 254
The Garbage Girls 258
Both Sides Now: A Reprise 266
Double Vision: Women of Sweetgrass, Cedar, and Sage 278
Out of Turn 288
Art in a Multicultural America: An Interview with Lucy R. Lippard by Neery Melkonian 296
Undertones: Nine Cultural Landscapes 310
Endnotes 325
Index 331
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