thearts

“I cannot continue to use my body to be walked over to make a connection.”–Cherríe Moraga, This Bridge Called My Back, xvThere is “[n]o sense talking tough unless you do it.”–Estrella, Under the Feet of Jesus, 45[1] In her 1980

[1] KLEIN: In your book WARM: A Feminist Art Collective in Minnesota you chronicle the history of the Women’s Art Registry of Minnesota, a woman’s art collective and gallery based in Minneapolis. In the introduction, you write that “

In my hungry fatigue, and shopping for images, I went to the neon fruit supermarket, dreaming of your enumerations!—Allen Ginsberg, “A Supermarket in California” (1955)Figure 1James Rosenquist (b. 1933). _F-111_. 1964-65. Oil on canvas with aluminum

[1] “Who has the guts to deal with cunts?” asked sculptor Hannah Wilke in 1973 (Schwartz). Louise Fishman, a painter, told critic Sarah Whitworth that her thoughts immediately turned to women’s genitals when she decided to examine consciously what

Paintings are not mere illusions about the world but determined and produced allusions to it. Art history must acknowledge these complexities and work on these real social processes, significations and their interactions and relations. Art history

[1] BERELOWITZ: (1) In this book you examine debates about marriage, family, sexuality, and gender by focusing on the marriages of Edward and Jo Hopper and Georgia O’Keeffe and Alfred Stieglitz. I was struck by a shift from your previous focus on

If one wishes to deceive a man, what one presents to him is the painting of a veil, that is to say, something that incites him to ask what is behind it.  –Jacques Lacan, “What Is a Picture?”Ignorance, far more than knowledge, is what can never

[1]  In the 1950s, Elaine de Kooning used the Abstract Expressionist style of “action painting” to create sexually- charged images of men.  For example, in Fairfield Porter #1, 1954, de Kooning pushes the seated faceless figure to the

Dynamos are womenRound with the first sweet swellingOf a new mother’s milk.— Macknight Black, “New Mother,” 1929[1]   In 1940, Clarence Holbrook Carter produced a painting that disturbed him. In fact, War Bride (figure 1)was so

[1]   BERELOWITZ: You make the argument that Eakins’s paintings are an attempt to negotiate – indeed, to refashion – Gilded Age conceptions of masculinity. Could you set out for us what was the dominant understanding of masculinity when