semlctton Hugel der Be 1.8 Leichman and St York HANNAH WILKE 1 Object Memoirs of a Sugar Giver Who's turned us round like this, so that we always, do what we may, retain the attitude of someone who's departing? Just as he fon the last hill, that shows him all his valley for the last, will :urn and stop and linger We live our lives, fore) ing leave. Hello Dear Lover I'm bored stiff in this place ~ 1 have a tiny room and the toilet doesn’t work Each AM I depart leaving a pile of shit for the maid. Not all the lights work either Why are you so far away? To call you costs one pound a minute! 1 bought two jackets today and a giant inch-tape. The »Bedrooms looks like it will be great ~ if | only can stand waiting for the upholstery which doesn't happen until next week. 1 1 OBJEguess the town would come to life if we were here together but it’s nothing now —tho the weather is super for London — clear and warm, My bed is nothing but hard lumps and the ache in my neck is dawn to my heels now —_why do I alwaysache in London? I miss your body so much but this crummy room would not do justice to us together. I hope you're suffering too ~ I'll be back as soon as I can — probably the 21st. Can you read my writing. Love, love, love, love, love, love, love, love, love, love, love ONE BEAR COMBS THE HAIR OF ANOTHER BEAR. I, BEAR AM LEAR- NING TO COMB MY BEAR HAIR. (LOOK AT THE TUFTS ON THE FLOOR!) LOVE BANANA BOAT SAILS SOON FOR BUTTER HAVEN LOVE* MANY HANNAHS ON THE RHINE ONE BIG HANNAH ON MY MINE! DEAR LOVEY 1 JUST GOT A GREAT SHOE SHINE HERE WORTH THE TRIP ITSELF, AND | THOUGHT OF YOU TYING MY LACES. I LEFT MY DIARYS AT OBERLIN OR I'D TELL YOU WHEN. | AM LOOKING TO GET PICKED UP NOW AND TAKEN TO MEXICO CITY - BUT NO. | FOLLOW MY HEAD. NOW TO L. A. SQUISSES , . . P. S. |. GOT DIVORCED® HOOT PEEP SQUEAK UFF WORF PEEP HOOT GNAW WOOF PEEK OINK GRRR YURP HOOT SNORT ARF PEEP UFFF SQUEAK TWEET GNAW GNUGGLE HOOT ARF OINK ORFF GORP GOBBLE PEEP SQUAWK DEAR BUTTER. 1 GOT YOUR RED |heart] MOUSE AND IT SHARES MY ROOM. THE VIEW HERE IS SUPER AND I AM STILL WORKING ON MY PLUGS AND. DRUM SET. WHAT AN AWFUL PIX. OF ME IN TIME ~ BY JULIAN SHOULD HAVE BEEN YOURS. YOUR PIX OF ME AND FAG ENDS WILL BE IN CHRONICLE PIECE. SAW YOU STRIPPING IN A ROSE BUSH AND YOU WERE SO BEAUTIFUL ALL US INJUNS AND FARMERS WERE AMAZED! This beautiful post card of/from Barcelona made me think of you. Did you know that Columbus was also known as sthe tickler« (see extended finger)?” It was lovely having you here — not that it isn’t lovely having you in New York. but the loud cries of pleasure ringing across the Mediterranean to the rock of Cabo. Cuevas and echoing back like the scream of a dying seagull still come faintly fading. over to Cadaques. So do come again and again and again and gain and ain and in. See how poetic you make me." 264 don, Berners Hote ©. 0,,Lanon +6. 0,, London. Jun ©. 0,, London. Sue 19.100, *C.0,,81P ao, Tes ©... Amsterdam, Rand 3.18 RH aveelona, hay 19,1978RH ,Calagies Spain, 197. 9 © O..Landoa-New York. Sep 6, 17S Dena Gar, Now York, March 17 RH, Cataques, Sept. 23,174 RH Catagues, Je 18.7 ©.0,,Fhahing ‘Anse Harnoncourt and Kynaton Mesbize. New ‘Yk: Maicam of Mo em Art 1973p. 1ST, Hannah Wilke, om Her Name, aseies ol 6 scrote peng out the alia a Your little gums are still on the garden wall. Two of them very evident - the others have to he searched for. Perhaps I should paint them stone colour to blend in even more . TONGUES OF LOVE ON YOUR OPENING CLAES AND RICHARD! - Dreamt about Claes and you and then sbout me and you, Didn't see Richard, but you already had that dream, so that completes the trilogy." You are my molestar. T'm happy where you are. You opened heaven's portal here on earth for this poor mortal. ‘You are my molestar." Remember me Remember me? Re-menber me Re-ember me Re eme RII I found the drawings you meant, framed - they are near the clevator under the blanket along with some other stuff - in the garage on the platform. There is pink cloth near B. Zucker's broken ch ox nearby so a painting in the basement under and two rugs (if you want them) in It isn't possible to explain how much pleasure our chane. I had been miserable for ages in my failure to looking so lovely, and your eyes smiling. There is reason to have faith in our old maxim »God is goods. It is proved beyond measure . . * meeting at lunch gave me. you. But there you were, But unlike the goddess, the Bride is not a Idea continually destroyed by herself: denies her. For this reason Thave dared to say . .. that the Bride is the [involuntary] representation of the only Idea-Myth of the Westem world in the modern era: Criticism.” resence but an Idea, Except that she isan ch of her manifestations by realizing her Handle with care hAndle with care haNdle haNdle with care hAndle with care Handle withThe stripping of Wilke’s body is a revelation of self and a self-creation in sculptural form. Wilke herself becomes more real an wore abstract, more vulnerable as a \e, andl move! ed space nt of & work, and more invulnera: ble as oddess or angel, She becomes form and remains human. Juxtaposed with Duchamp’s Large Glass in one film, sh and transsexuality could not. »Marked 4 achieves what all Duchamp's mech: io thre kind of satisfaction that we got from a first-rate short story in the days when the short story seemed to be one of the highest forms of literature.« (John Russell. The New York Times) Asan American girl born with the name Butter in 1940. I was often confused when 1 hea id what it was like ta be used, to be spread, to feel soft nelt in your mout To also remember that as a Jew, during the war, T would hi buried had 1 not been born in America, Starification-Scarification . . . Jew, Black, Christian, Muslim... Claes, Richard, Donald... Labeling people instead of listening to them . - . Judging according to primitive prejudices. Marxism and Art Fascistic feelin re been branded and imernal wounds, made from external situat ns, Sticks and stones. 256 D.G.sHannah Wakes, to The L Washington, D. Pp adstercouse With Text fomGutgethcin aypiesuon fr veo sn perfomance athe Lenn Art Calley. ‘Leoden. Ont. Ca. HL W.nSo Help Me Hanae tn Dcling Pheer, London, Ont ores City Galery, 1986, pz break our bones, but names more often hurt us. . . Yet to name a thing wherein T catught the conscience of the king, as well as the queen... to keep on naming a thing ... to where my hat. the memory of all that. until that thing is really something. To exist instead of being an existentialist, to being one. The way my smile just gleams, the way Isip my tea. To be a sugar giver instead of a salt cellar, to not sell out . . . The memory of all that, now that's really something .. . Oh, no they can’t take that away from me . . . No, they can't take that away from me. ce objects instend of Society isa contract... .. spay ¥ 5 . . BROKEN Edmund Burke Out of loyalty to the person. ee ee ee GONE John Ashbery Man is something splendid FINISHED ‘Theodore Roszak Nota presence but anidea ... . 5 : ... DESTROYED. Octavio Paz Ifyou love something very much... 2.2.6.2 0055 DISSOLVE Claes Oldenburg We always, do what we may DEPART Rainer Maria Rilke id ruin are not t Beauty themselves ISOLATE Valentin Tatransky ‘Touchingand feeling the world... 0.2 es . SUBSTITUTE (Claes Oldenburg ‘The most beautiful ornament of society . s ae . REPRESS Daniel Buren Something dies, something blossoms = ie SUFFER Henry Miller Only momentsand states - CONCEAL Octavio Paz Inistime. 2... - . - ANNIHILATE Karl Mare 267Stand up for what you want to do stand up there's no how to stand up. stand up, how to stand up. Stand up when people put you down stand up and dance above the ground You've got to stand up, stand up you've got to stand up. Disposable products, society consumer reports life's absurdity exposing the truth is like nudity so stand up, why don't you stand up. Stand up and be your own cliche | stand up there's no one to betray i when you stand up, stand up when you stand up. Stand up because you don’t belong stand up, if they're too right the you've got to st © wrong ind up you've go to stand up, Forcign affairs, force of gravity athletic, electric conformity exposing the truth is like nudity darling stand up. Stand up for women to decide stand up, they're bodies your inside you've got to stand up, st you've got to stand up. ind up Stand up and make your mark my dear nd up, or you may disappear up, stand up * HW. sSun Ups t to stand up. ‘Wort for song writen you've got to stan you'v snd performed by 1 W Futures and issues, security peer no sublet clause on humanity Mate: The Art Reon exposing the truth is like nudity pei Ri | 80 stand up, you've got to stand up. Charing Crane Co, 182 268So llelp Med York Tak. Spe Old art, new art, borrowed art, blue art: One would hope that the best of all possible critics and collectors would be able to sce that the best of all possible art is always stripped bare What 'll I do with just a photograph to tell my troubles to. w That won't come true, what'll I do. I'm alone with only dreams of you My bird wears art history on 1 ass, She digests Art in America to build « nest out of the insides of ideas. ARTnews gets eaten... Art For Him is for Her. She has created maculate conception. Thes is no father. Her new son. Having Given wother offspring, is the father of Joc named jer my Aunt Joe, who photogra phed herself in her brother's suit, holding a cigar, in 1912. Language litters my life in little layers of lust, loneliness. languor, love. lament, loss. »We live our lives foreve taki leave History is a dialectical process. To honor Duchamp is to oppose him. The bachelors, after all, have separated themselves from th feminine pars. To 269reconcile this dilemma is not to co-opt the feminine, but to be . . . Feminine. To strip oneself bare of the veils that society has imposed on humanity is to be the ‘model of one’s own ideology. The role mode! is now both the woman and the artist herself - Hannah Wilke Through the Large Glass — n0 longer an ornament for society to wear but. in the face of nudity, beyond transparency. . transcendent Liberty, Fraternity, Equality... Marehons . .. Claes, Richard, Donald, Francis, Carl, Robert, Claes, Richard, Donald . . ‘The issue remains, was Duchamp trying to control his own death by killing art while he was still alive ~ aesthetic impotence for the sake of survival ~to die, »to sleep, perchance to dreams, »but the dream does not seem to recognize the ward no..« From Public to Private (-L).™ Objecting to art as commodity is an honorable occupation that most women find it impossible to afford, The art object has never really dematerialized. Is this r ‘maid, having collected many of the readymades now in Oldenburg's Ray Gun Wing . owed an equal share for her part in the collaboration? speak, they would say; Our use, value may be a thing that interests men . . . In the eyes of cach other we are nothing but exchange values.«* At Jasper’s, with Richard, 1 walked in on another game of chess. John Cage was playing and would not tolerate any interruptions. Instead, he muttered, »Excuse ‘me, but this game tickles me so.« I replied, »I like my chest tickled too. There is a place between geometry and gesture that Duchamp researches. His double meanings become doppelgangers of human analysis, cries for the metamor- phosis of the mind away from misogyny. While his Chastity Wedge is a polite pubescent promise, the problem of precious parts is confused as either parody or paradise. The issue remains, did he actually touch the Venus Mound himself, or did he use woman, in need of helping the male artist, as muse, mentor, or moldmaker ~ the ultimate performance of getting Even by giving birth to a dead, impenetrable object - ART. Or was this also another case of Adam's Rib, in which man has to insist on coming first . ... Venus Envy. The Bride, separate from society, Having Given, alo becomes a rape victim, whore, fallen angel ~ A-Trophy in muscum case, Eye Object. 1 object. The macho manipulation of man as owner of life's game, by withholding maintains power and control over the goddess becoming the Sphinx himself, the creative spirit. the maker, God. himself the Father.” Did Dr. Duchamp (MD) disguise with dignity or despair the destruction, degenera- tion, and denigration of the maimed model of mortality ~ Mother?” 20 2 .W. San, 1087, 2H W. Feb 1087 Sthaeapeate. Hae, snd Norman 0, Brown Love ad Deh, 2 H.W, Feb 1987, Kael Mars, Das Kapital > HW. Feb. 1987, HW, Fe, 1987, LW, Feb, 1987 2 H.W, eb, 1987“H.W. My Mate. Tex fom otopoem. My Mother such a smart woman too good lookin’ to the smart at home she stayed at home she played to what ever was needed from her the New York Times was finished by five our dinner by seven and 1 stayed and 1 played till heaven.** As the essence of creativity is honored as the virgin state of the new, the Bride is the transsexual state of the male artist. his female self separate from and above other men in society (collectors, critics, learned intellectuals . . . his bachelors); of seduction, the primal prostitute, the archangel of propriation.» One must add that the male artist, the Virgin By de, to keep his female self intact must create a partnership ... he becoming Queen Bee, she becoming drone. Although ideas are not real estate, the Bride now becomes barter »himself« sacrificial object, creating his own immortality in the birth of the art object Infertility vs. immortality . .. the marriage of the mermaid and the n Involuntary motions of the mind, the mouth, the membranes: to cough, to st to breathe, to sleep, 10 cry, £0 shit, 10 come, to chew... AH-choo, Instead of coffin, why not sneeze?” Disposable objects, society consumer reports life's absurdity exposing the truth is like nudity So stand up, you've got to stand up. m