M/E/A/N/I/N/G

Ed. Susan Bee^& Mira Schor

Description

M/E/A/N/I/N/G brings together essays and commentary by over a hundred artists, critics, and poets, culled from the art magazine of the same name. The editors-artists Susan Bee and Mira Schor-have selected the liveliest and most provocative pieces from the maverick magazine that bucked commercial gallery interests and media hype during its ten-year tenure (1986-96) to explore visual pleasure with a culturally activist edge.With its emphasis on artists' perspectives of aesthetic and social issues, this anthology provides a unique opportunity to enter into the fray of the most hotly contested art issues of the past few decades: the visibility of women artists, sexuality and the arts, censorship, art world racism, the legacies of modernism, artists as mothers, visual art in the digital age, and the rewards and toils of a lifelong career in art. The stellar cast of contributing artists and art writers includes Nancy Spero, Richard Tuttle, David Humphrey, Thomas McEvilley, Laura Cottingham, Johanna Drucker, David Reed, Carolee Schneemann, Whitney Chadwick, Robert Storr, Leon Golub, Charles Bernstein, and Alison Knowles.This compelling and theoretically savvy collection will be of interest to artists, art historians, critics, and a general audience interested in the views of practicing artists.

Sujets

• History of art

Informations

• Publié par: Duke University Press
• Date de parution: 27 décembre 2000
• Nombre de lectures: 0
• EAN13: 9780822380061
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

M / E / A / N / I / N / G

M/E/A/N/I/N/G

An Anthology of Artists’ Writings, Theory,

and Criticism

Edited by Susan Bee & Mira Schor

D U K E U N I V E R S I T Y P R E S S

Durham & London 2000

∫2000 Duke University Press All chapters reprinted from the journalM/E/A/N/I/N/G, nos. 1–20 (1986–96), are∫M/E/A/N/I/N/G All rights reserved Printed in the United States of America on acid-free paper$ Designed by C. H. Westmoreland Typeset in Minion with Monotype Twentieth Century display by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Frontispiece:Photos by Sarah Wells

Contents

M/E/A/N/I/N/G:Feminism, Theory, and Art Practice Johanna Druckerix IntroductionSusan Bee & Mira Schor1

I/FEMINISM AND ART 5 ‘‘Post-Feminism’’—A Remasculinization of Culture?Amelia Jones7 Appropriated SexualityMira Schor24 Why We Need ‘‘Bad Girls’’ Rather Than ‘‘Good’’ Ones! Corinne Robins37 Letter on Good Girls, Bad Girls, and Bad BoysBarbara Pollack46 A Conversation on Censorship with Carolee Schneemann Aviva Rahmani51 Aesthetic and Postmenopausal PleasuresJoanna Frueh59 just a sketch . . .Laura Cottingham68 A Conversation on Lesbian Subjectivity and Painting with Deborah Kass Patricia Cronin79 Monstrous DomesticityFaith Wilding87

II/THE POLITICS OF MEANING AND REPRESENTATION ForBernsteinM/E/A/N/I/N/G Charles 107 Figure/GroundMira Schor113 The Critic Is (?) ArtistMarcia Hafif127

105

vi 12 Questions of ArtLucio Pozzi131 Some Remarks on Racism in the American ArtsDaryl Chin145 The Success of FailureJoel Fisher155 Visual Pleasure: A Feminist PerspectiveJohanna Drucker163 ‘‘I Don’t Take Voice Mail’’Charles Bernstein175

III/SELECTIONS FROM THE FORUMS 185 On Authenticity and MeaningArakawa & Madeline Gins, Susan Bee, Robert Berlind, Jake Berthot, Collins & Milazzo, Maureen Connor, Rackstraw Downes, David Humphrey, Komar & Melamid, Medrie MacPhee, Elizabeth Murray, Yvonne Rainer, Miriam Schapiro, Ann Schoenfeld, Pat Steir, Robert Storr, Lawrence Weiner187 Contemporary Views on Racism in the ArtsEmma Amos, Josely Carvalho, Daryl Chin, Tom Finkelpearl, Madeline Gins, Renée Green, Hung Liu, Fern Logan, Juan Sanchez, Robert Storr204 Over Time: A Forum on Art MakingRudolf Baranik, Arthur Cohen, Hermine Ford, Nancy Fried, Leon Golub, John Goodyear, Nancy Grossman, Yvonne Jacquette, Ellen Lanyon, Ann McCoy, Melissa Meyer, Howardena Pindell, Lucio Pozzi, Jacques Roch, Miriam Schapiro, Carolee Schneemann, Richard Tuttle, David von Schlegell, Lawrence Weiner, Faith Wilding233 On Motherhood, Art, and Apple PieEmma Amos, Suzanne Anker, Susan Bee, Emily Cheng, Stephanie DeManuelle, Jane Dickson, Bailey Doogan, Hermine Ford, Mimi Gross, Freya Hansell, Yvonne Jacquette, Joyce Kozlo√, Ellen Lanyon, Betty Lee, Lenore Malen, Ann Messner, Diane Neumaier, Nancy Pierson, Barbara Pollack, Erika Rothenberg, Miriam Schapiro, Arlene Shechet, Dena Shottenkirk, Joan Snyder, Elke Solomon, Nancy Spero, May Stevens, Martha Wilson, Barbara Zucker252 Working Conditions: A Forum on Art and Everyday Life by Younger ArtistsLisa Hoke, Julia Jacquette, Rebecca Quaytman, Christian Schumann, Amy Sillman, Hugh Steers, Nicola Tyson, Anthony Viti, Karen Yasinsky303 On Creativity and CommunityJackie Brookner, David Humphrey, William Pope. L, Robert C. Morgan, Barbara Pollack, Jerry Saltz, Mira Schor317

IV/ ARTISTS’ MUSINGS 339 Mother BaseballVanalyne Green341 BatsTom Knechtel347 The Discovered UncoveredNancy Spero

350

Running on Empty: An Artist’s Life in New YorkSusan Bee352 Reorganized Meditations on Mnemonic Threshold Joseph Nechvatal355 The Critic and the Hare: Meditations on the Death of My Rabbit Ann McCoy357 September 21, 1989Richard Tuttle360 Alison Knowles: An InterviewAviva Rahmani362 Media BaptismsDavid Reed369

vii

V/ARTISTS IN PERSPECTIVE 373 Florine Stettheimer: Eccentric Power, Invisible Tradition Pamela Wye375 Cartoons of the Self: Portrait of the Artist as a Young Murderer—Art Spiegelman’sMaus Nancy K. Miller388 Nancy Spero: Speaking in TonguesPamela Wye405 Muse Begets Crone: On Leonora CarringtonWhitney Chadwick418 Painting after Painting: The Paintings of Susan Bee Misko Suvakovic423 When the Stars Threw Down Their Spears: An Interview with Thomas McEvilleyDominique Nahas434 Appendix: Contents ofM/E/A/N/I/N/G447 Contributors 451 Index 461

M/E/A/N/I/N/G

Feminism, Theory, and Art Practice

Johanna Drucker

In 1986, Mira Schor and Susan Bee foundedM/E/A/N/I/N/G as a forum for discussions in contemporary art. For the next decade, the biannual journal sustained critical insights and observations that had di≈culty finding a platform anywhere else in the current scene. As a noncommercial, artist-initiated and produced publication,M/E/A/N/- I/N/Gtook advantage of this identity to circumvent some of the con- straints that usually hamstring a journal’s editorial purview (loyalty to a board of advisors, advertisers’ interests, or a predefined editorial program). M/E/A/N/I/N/Gin an intellectual enterprise that was succeeded feminist in its foundational impulses and implementation: it largely escaped the controlling determination of market forces and enabled a nonformulaic, heterogeneous discussion.M/E/A/N/I/N/Gwas icono- clastic, nonaligned, and nonprogrammatic in a way that makes it di≈- cult to characterize in any single attribute or descriptive term. This was the strength of its character—it put feminist theory into practice by sustaining a discussion that resolutely refused to congeal into any uni- fied, singular point of view. The journal remained aloof from any or-