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Lippard 6 Anos La Desmaterializacion
Lippard 6 Anos La Desmaterializacion
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Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
362 ArtJournal
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superior because it is "self-critical." But sometimes the smashing of windows. They to another set of values, where they may
from such a view self-criticism is in fact a include collaboration, dialogue, a con- be seen as less "original." It was sug-
narrow, highly mystified, and often ego- stant questioning of aesthetic and social gested several years ago that feminist art
tistical monologue. The element of dia- assumptions, and a new respect for audi- offered a new "vernacular" reality op-
logue can be entirely lacking (though ence. Feminism's contribution to the evo- posed to the "historical" reality that has
ironically it is feminist art that is accused lution of art reveals itself not in shapes informed modern art to date.8 Given its
of narcissism). Self-criticism that does but in structures. Only new structures air of condescension, "vernacular" may
not take place within or pass on out to its bear the possibility of changing the vehicle not be the right word (and certainly we
audience simply reinforces our culture's itself, the meaning of art in society. don't want to be "hidden from history"
view of art as an absolutely isolated activity. New? I hesitate to use the word in this again), but it is the right idea. The 1970s
Artists (like women) stay home (in self context, since it too has been so distorted have, I hope, seen the last of the "move-
and studio) and pay for this "freedom" by in the name of modernism: new reality, ments" that have traipsed, like elephants
having their products manipulated and new realism, new abstraction, and simi- trunk-to-tail, through the last century.
undervalued by those who control the out- larly, all the rigid posts: post-modernism, The notion that art neatly progresses
side world. post-Minimalism, and post-beyond-post- has been under attack from all sides for
A basic and painful conflict is set up ness. Feminism is new only in the sense that years now; its absurdity became increas-
when an artist wants to make art and at it isn't post-anything. Its formal precepts ingly obvious with post-modernism in the
the same time wants to participate more are not new at all. They are simply distri- early 1960s. By 1975, a not-always-de-
broadly in the culture, even wants to buted differently from those entrenched lightful chaos of conceptual art, perform-
integrate aesthetic and social activities. since around 1950. Much or even most of ance, photo-realism, "new images," and
Artists who work with groups, as do so the best art by women has turned its back what-have-you prevailed. The 1970s plu-
many feminists, always seem to be looking on the "new," preferring to go deeper. ralism, decried for different reasons by
wistfully over their shoulders at the stu- into visual forms that have been "done both left and right, has at least produced
dio. "I've got to get back to my own before" (mostly by men). When I began a kind of compost heap where artists can
work" is a familiar refrain, because, as it to write extensively about women's art, I sort out what is fertile and what is sterile.
stands now, art and life always seem to be was accused by friends and enemies of Bag ladies picking around in this heap
in competition. And this situation produces becoming a "retrograde" critic. And so find forms, colors, shapes, and materials
an unusually schizophrenic artist. One of long as I remained attached to the condi- that have been discarded by the folks on
the feminist goals is to reintegrate the tioning of my own art education, received the hill. They take them home and recycle
aesthetic self and the social self and to primarily at the Museum of Modern Art them, thriftily finding new uses for worn-
make it possible for both to function with- and on 10th and 57th Streets, I too was out concepts, changing not only the but-
out guilt or frustration. In the process, we afraid of that stigma. However, the more tons and the trim but the functions as well.
have begun to see art as something subtly women's work I saw, the more my respect A literal example of this metaphor is the
but significantly different from what it is in grew for those artists who, having been Chilean arpillera, or patchwork picture.
the dominant culture. forcibly cut off from the mainstream, per- Made by anonymous women and smuggled
This is not said in a self-congratulatory severed in exploring their own social out into the world as images of political
tone. It remains to be seen whether differ- realities, even-or especially-when such protest, social deprivation, crushed ideas
ent is indeed better. Success and failure exploration did not coincide with the cur- and hopes, the arpilleras are the only valid
in such unmapped enterprises are often rent fashions. indigenous Chilean art-now that the mu-
blurred. Various feminists have already The more illuminating dialogues I had rals have been painted over, the poets and
fallen into various traps along the way, within the women's movement, the clearer singers murdered and imprisoned.
among them: the adoption of certain it became to me that the express towards You will have noticed by now that
cliches in images (fruit and shell, mirror the "true nature of art" had whisked us feminism (and by extension feminist art)
and mound), materials (fabrics and pa- past any number of fertile valleys, paths is hugely ambitious.9 A developed feminist
pers), approaches ("non-elitist"), and to elsewhere, revelations, personal and consciousness brings with it an altered
emotions (non-transformative pain, rage, social confrontations that might forever concept of reality and morality that is
and mother-love); a certain naivete (also have been missed had it not been for crucial to the art being made and to the
carrying with it a certain strength) that such stubbornly "retrograde" artists who lives lived with that art. We take for granted
comes from the wholesale rejection of all insisted on taking the local. During this that making art is not simply "expressing
other art, especially abstraction and paint- time I was constantly being told that some oneself' but is a far broader and more
ing; a dependence on "political correct- woman's work was derived from some important task-expressing oneself as a
ness" that can lead to exclusivity and far better known man's work. In fact, member of a larger unity, or comm/unity,
snobbism; and, at the other extreme, an such similarities were usually demonstra- so that in speaking for oneself one is also
unthinking acceptance of literally anything bly superficial, but the experience of speaking for those who cannot speak. A
done by a woman. Beneath these pitfalls searching for the differences proved in- populist definition of quality in art might
is a need for language-visual and verbal valuable because it undermined and final- be "that element that moves the viewer." A
-that will express the ways our art and ly invalidated that notion of "progress" man probably can't decide what that is for
ideas are developing without being sappy so dear to the heart of the art market. a woman, nor a white for a person of
and without denying the powers of the In endlessly different ways, the best color, nor an educated for an uneducated
individual within collective dialogue. women artists have resisted the treadmill person, and so forth, which is where
Nevertheless, feminist values have per- to progress by simply disregarding a his- "taste" comes in. This in turn may explain
meated the 1970s and are ready to flower tory that was not theirs. There is a differ- why the "experts" have never been able
in the 1980s, if militarism and socioeco- ence, though not always an obvious one, to agree on which artists have this elusive
nomic backlash don't overwhelm us all. between the real but superficial innova- "quality." Only when there are real chan-
Often accepted unconsciously, these val- tions of a feminist or woman's art that has nels of communication can artist and
ues support the opening up and out of dissolved into mainstream concerns and audience both change and mutually ex-
eyes, mouths, minds, and doors-and the application of these same innovations change their notions of art.
364 ArtJournal
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performance art, five acres of community calls herself Spider Woman and another
outreach, and an experimental agriculture group calls itself Ariadne. As I was writing
station, making connections between ani- this essay, I read an article about the
mals, plants, people, and art. (6) A group Native American ethos of total interrela-
of women photographers in East London tionship between all things and creatures
organizing child-care facilities and com- which says: "Thus, nothing existed in iso-
paring pictures of real life with the mass lation. The intricately interrelated threads
media images of women. (7) A man in a of the spider's web was referred to ...
small economically devastated New En- the world.... This is a profound 'symbol'
gland milltown who uses photography as when it is understood. The people obvi-
a vehicle of continuing awareness to ac- ously observed that the threads of the
quaint the inhabitants with their environ- web were drawn out from within the
ment, with each other, and with their spider's very being. They also recognized
possibilities. (8) Another man who mixes that the threads in concentric circles were
art and science and populism in a South sticky, whereas the threads leading to the
Bronx storefront and calls it a "cultural center were smooth!"10 The author re-
concept." members his mother saying that "in the
All these examples overlap. So does Native American experience all things are
the final one. Much of the work mentioned possible and therefore all things are ac-
above is being executed by various com- ceptable" and he goes on to hope that
binations of artists or of artists and non- "our societal structures and attitudes be-
artists, often anonymously or under the come bold and large enough to affirm
rubric of a collective or network or proj- rather than to deny, to accept rather than
ect. Some women work cooperatively-- to reject."
helping an individual artist to realize her I quote this not only because it ex- Notes
vision on a monumental scale and in the presses very clearly a conviction that lies 1 Even the New York Times critic, though
process both giving to her work and at the heart of feminism (and should lie he fears it is "lowering the artistic
getting input for their own work. Others at the heart of all art as well), but also standards."
work collaboratively, perhaps according because it comes from another subjugated 2 Judy Chicago, ArOforum, September 1974
to their own special skills, needs, and culture to which some of us fleeing the (also reprinted in my From the Center,
concerns. And others work collectively in potential disasters of Western capitalism New York, 1976).
a more or less consciously structured are sentimentally attracted. However, the 3 Surrealism was also self-described along
manner aimed at equal participation, socialist feminist model does not stop at these broad lines, and with Dada has
skill- and power-sharing. Each of these the point of escape or rejection as did the proved that it too was never a movement
means helps to achieve an end result of counterculture of the 1960s. To change or a style, since it has continued to
breaking down the isolation of the artist's the character of art is not to retreat from pervade all movements and styles ever
traditional work patterns. None precludes either society or art. This is the signifi- since.
individual work. (I find from my own cance of the models I've outlined above. 4 Ruth Iskin, at a panel on feminist art
experience that the dialogue or critical/ They do not shrink from social reality no and social change accompanying the
self-critical method stimulates new kinds matter how painful it is, nor do they opening of The Dinner Party, March
of working methods and a new flexibility. shrink from the role art must play as 1979.
By integrating feedback into the process, fantasy, dream, and imagination. They con- 5 Harmony Hammond, "Horseblinders,"
and not just as final response to the tribute most to the avant-garde by slowing Heresies, No. 9, 1980.
product, it also changes the individual it down. They locate a network of minor 6 May Stevens, "Taking Art to the Revolu-
work.) roads that simply covers more territory tion," Heresies, No. 9, 1980. Many of the
The structures or patterns I've sketched than the so-called freeways. These roads ideas in this article are due to discussions
out above are laid out on a grid of dialogue are not, however, dead ends. They simply with the collective that edited this issue and
which is in turn related to the favorite pass more people's houses. And are more with Hammond and Stevens in particular.
feminist metaphor: the web, or network, likely to be invited in. End 7 Suzanne Lacy, panel accompanying The
or quilt as an image of connectiveness, Dinner Party (see n. 4).
inclusiveness and integration. The "col- 8 Jack Bumham in the New Art Examiner,
lage aesthetic" named by the Surrealists, 1978.
is a kind of dialectic exposing by juxtapo- 9 The distinction between ambition (doing
sition the disguises of certain words and one's best and taking one's art and ideas
images and forms and thus also express- as far as possible without abandoning the
ing the cultural and social myths on which feminist support system) and competition
they are based. The notion of connections (walking all over everybody to accomplish
is also a metaphor for the breakdown of this) is a much discussed topic in the
race, class, and gender barriers, because women's movement.
it moves out from its center in every 10Jemake Highwater, quoting Joseph Epes
direction. Though men are its progenitors Brown, in an unpublished manuscript.
in art, collage seems to me to be a partic-
ularly female medium, not only because
it offers a way of knitting the fragments of
our lives together but also because it
potentially leaves nothing out.
It is no accident that one ritual artist