Ethnic Notions and Feminist Strategies of the ig70s Some Work by Judy Chicago and Eleanor Antin

Keyword(s):  
2018 ◽  
Author(s):  
GAIL LEVIN
Keyword(s):  

2021 ◽  
Vol 65 (4) ◽  
pp. 103-130
Author(s):  
Amelia Jones

Social practice and dematerialization are often cited as the most radical innovations in Euro-American contemporary art since the late 1960s, but rarely have historians acknowledged the crucial role of experimental pedagogy in this shift of art towards performance, conceptualism, and activism. The practice of Los Angeles–based performance artist Suzanne Lacy radically extended the ideas of her teachers and mentors Allan Kaprow and Judy Chicago into revised structures of artmaking towards activist social practice performances driven by conceptual, political, and embodied concerns.


Author(s):  
Laura Smith

This chapter explores Virginia Woolf’s catalysing role for artists working in non-verbal media, including the visual arts, music, dance, and design. An analysis of Woolf’s impact beyond the medium of her writing allows for a trans-historic and international study of her legacy, charting her influence from, for example, landscape painting in Cornwall to Japanese Butoh; and from North American opera to the Ballet Russes. The chapter will trace many of the vital and fluid connections between Woolf, her contemporaries, and those whose work she has inspired. In the visual arts, case studies include: Sara Barker, Vanessa Bell, Dora Carrington, Judy Chicago, Aleana Egan, Rebecca Horn, Laura Owens, and Patti Smith. The music of Edith Sitwell, Ethel Smyth, Dominick Argento, Indigo Girls, The Smiths, and Patrick Wolf is discussed alongside dance by Lydia Lopokova, Wayne McGregor, and Setsuko Yamada.


2020 ◽  
Vol 28 (1) ◽  
pp. 87-119
Author(s):  
Sasha Su-Ling Welland

Lei Yan 雷燕, whose artistic practice was shaped by a decades-long career in the Chinese military, began a period of transition through participation in a 2002 restaging of the Communist Red Army’s 1934 Long March as a multi-sited international art project. Her resulting encounter with US feminist art icon Judy Chicago raised questions about the potential neocolonial influence of global feminist art. The work Lei subsequently produced performs an autoethnographic excavation of the sociohistorical categories—woman soldier, military artist, and woman artist—that made her as both artist and woman. She works from within a national representational corpus, subjecting it to various experiments to reveal the fields of violence it has enacted from the Sino-Vietnamese War to the Great Sichuan earthquake. Lei Yan’s meditation through photography upon national, revolutionary iconography evolved into soft sculpture objects in cloth and paper. Their arrested ephemerality decenters the human subject, drawing attention to haunting absences in conventional stories of art, feminism, and nation. In comparison with the monumental work of Ai Weiwei 艾未未, who also created pieces in response to the 2008 Sichuan earthquake, Lei’s art serves not to admonish but to bring back into consciousness lost lives and camouflaged histories.


1995 ◽  
Vol 17 (1-2) ◽  
pp. 125-140
Author(s):  
Judy Chicago ◽  
Laura Meyer
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