3 Short Fictions Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>3 Short Fictions</title> <author>Lucy Lippard</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <div type="essay"> <pb n="22" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_022.jpg"/> <head>3 short fictions</head> <byline>lucy r. lippard</byline> <div> <head>1. the cries you hear</head> <p> The rocks trembled every day for over two months and in parts of Tibet a sick person or a woman who had given birth to a child was carefully prevented from sleeping. Sometimes the flower is so constructed that the insect cannot get at the nectar without brushing against a stigma which, perhaps because males tend to fall asleep more rapidly than females after intercourse, returns to stone needles. In the process of collapse the star’s outer layers compress. Lying naked in the pouring rain, our wetness the world’s wetness, our hard bodies the makings of rock. We took no photographs. The vacant plains were a featureless screen on which we projected our memories of rivers forests oceans and mountains, of elsewhere — quick! Before it....</p> <p> Meanwhile, the females of the indispensable earthquake rest quietly in the half-closed blossoms, sharing the power of sleep, oblivious to our pain. I was long in doubt concerning the origins of these conditions of stress, horror and exhaustion. That two different organisms should have simultaneously adapted themselves to each other. During the third severe shock the trees were so violently shaken that the birds flew out with frightened cries. Bubblelike cavities formed by expanding gas. Solid pieces blown violently out of the womb. Glass surfaces, brittle and gleaming, formed by rapid solidification. Touch me here. Wrinkles, pores in the earth’s skin, basalt lavas swelling from beneath, channeled in fissures, dust and ash. The cries you hear are only the continuing shock of life. </p> <p> "It is a fatal delusion which presents the earth as the lower half of the universe and the heavens as its upper half. The heavens and earth are not two separate creations, as we have heard repeated thousands and thousands of times. They are only one. The earth is in the heavens. The heavens are infinite space, indefinite expanse, a void without limits; no frontier circumscribes them, they have neither beginning nor end, neither top nor bottom, right nor left; there is an infinity of spaces which succeed each other in every direction.</p> <p> A mountain chain is an effective barrier. The slow movement of underground waters carrying silica into sandstone. Limestone metamorphosed is marble. Bedding planes obscured and mineral impurities drawn out into swirling streaks and bands, swirling streaks and bedding planes obscured. He is tall and arrogant, questioning and vulnerable. Cold tar will shatter if struck but will flow downhill if left undisturbed for a long time. Shattered and flowing, flowing and shattered if struck. Hard things that were soft. Soft things that were hard. Hot things that were cold. Cold things that were hot. Wet things that were dry. Dry things that were wet. Old things that were young. Young things that won’t be old. It stops somewhere? Prove it.</p> <p> Under the mist a solid prose of rocks, rocks and water, hard rocks and flowing water, safe rocks and treacherous water. Rough rocks, motion frozen to the touch, thorny black volcanic piles, a vein, an aggregate, a channel worn away, a pit blown or swirled out, grains, knife edges vertical. And smooth rocks, covered with pale and slippery algae, soothed to a fine old gentleness. Patterns of water, ancient muds, slow curves.</p> <p> In some alpine mountains high above the timberline, sheets of frost-shattered rock fragments creep slowly down the valleys making curious tonguelike forms. My mouth. My tongue makes love to my mouth, searching its cavities for the softest, wettest places to fondle, sliding past and over the hard sharp teeth so that it hurts a little, overlapping, lapping its own roughness, slipping across the toothmounds under the gums and falling into the dark throat. Craving in. Prose, not poetry. Its tentacles reach in more directions at once, from a solider base, at a natural pace. It circles and radiates, has a core and a skin and a network of capillaries instead of only arteries. Memories wear away the present to an older landscape. My leg, thicker at the top than at the bottom, stronger at the bottom than at the top, stranger at the top than at the bottom, more useful at the bottom than at the top. At the top, plump flesh held firmly between thumb and forefinger, a few long fine hairs on the broadest whitest part. Smooth and soft and secret lining where other hairs intrude from other sources - darker, coarser. A crease separating the leg from the rest of the body, a crease that changes character as the leg is used for <pb n="23" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_023.jpg"/> different things, a soft crease when I am sitting, a mysterious crease when I am lying with one leg curled to my stomach, no crease at all when I am walking, but creased again when running, sometimes. A taut surface when held back, a valley between bulges when not. A leg slimming gradually to a knotted center where the bones assert themselves. A hard hairy hilltop, then a wrinkled old topography flattened into valleys. A leg that swells again, harder this time, smooth again, with a neatly turning strength of its own, a leg that is straight in front and soft-hard in back, flat then rounded, a leg that finally gives way to ankle and foot, the working parts detached from pleasure places above. The bony not so pretty skeletons of motion, fleshed only around the ankle bones, arched over the instep and finally twice in touch with the earth.</p> <p> Each major time unit is brought to a close by orogeny, also called revolution. Disturbance, disruption, disintegration, under pressure. Even the strongest rocks may develop fractures. Deep decay and rotting of igneous and metamorphic rocks, from blocks to egg and sphere shapes. Water entering into union with minerals. Metamorphic rocks have undergone kneading and shaping, baking and shaking, shale turning to slate when split by cleavage, by slippage, during the process. Slate when struck sharply rings metallically. Clay comes in all colors. Playing the geomorphic role of a weak rock, staring at each other but not speaking until finally. A poetic geology to take back to the red hills, white clay to merge as pink. Isolated submarine mountains, the ocean floor pulled apart here, causing a rift, a certain cruelty. Alone is better I say. Then stop the invasion. If you see two scorpions together they are either making love or one of them is being eaten. Aries energy stepped back into the earth. My rock, your mesas. Ice needles pry apart joint blocks, tremendous pressures and bare high cliffs fall off into conical forms, especially in dry climates. Niches, shallow caves, rock arches, pits, cliff dwellings. Come now. Yes/No. In deserts, flash floods and earthflows, mudflows result from the inability of the dry land to permeate the perma frost. Shrinking and swelling. Given sufficient time, barriers can be broken down and new topographies arise. An unbridgeable gulf does not exist between organic and inorganic matter.</p> <p> Drift, and erratic boulders are ascribed to mineral richness, to the action of great waves, but women’s tides told in the caves refute such theories. Play pale beyond. In a climate warmer than that we warned each other, islands separated from ice cover by a wide expanse of ocean, foregoing clubs for quieter power, fleshed fat and knowing. Warm interglacial leaves, closer to the fires, hands in a ring, shadows on the ceilings, circles drawn at dusk, footsteps from below. The occasional peculiar transportation of boulders in a manner not in harmony with what we see ice doing at the present time. But little girls are crafty. Our laughter pits the ocean floor. Echoing with pebble talk, scratched on anemones. Walls curving inward toward us. No windows. Pictures nonetheless. Melted between sisters in collision. Only global catastrophes could have brought about that smoothness. Only torrential rains, wet hair, wet cheeks. Each other. Barren stone and fragmented debris stops here, swept back while lakes and valleys are dug out by other women. Each a specialist in her field. What generates the enormous forces that bend, break and crush the rocks in mountain zones? What indeed. Women’s cataclysmic work, traced by fingers in the meteoric dust. Giving birth to each other. Excessive.</p> </div> <div> <head>2. into among</head> <p>Stepping down and out. Someone else can move into this house. It looks o.k. from the outside but the inside needs some work. I only regret how long it took to get down those stairs to the basement. Overhead the pretty flowered curtains make wavered patterns on the sunny floor. A tomato is rotting fuzzily in the icebox drawer and other closets capture other odors, other faults. Under the bed dust gathers roses smell acrid. The sheets at the hamper’s bottom were stained last winter, not since. l’ve opened the windows but not the doors. It’s all yours, if you want it.</p> <p> Nesting fantasies. I am high in the tallest tree in the world and it sways in the wind. Exhilarating, precarious. I cling to my egg which is disguised as the sea. When the fish hatches I swim through the air until I find a cave, brown, humid, and grainy, where after a night with the boulder another egg is laid, this one transparent. l’m happy watching the beginnings of a new dream. It sometimes has petals, sometimes blades. One morning the walls are opaque and that’s that. Dead leaves turn to stone and I would leave but for the field of snakes that writhes beyond the entrance.</p> <p> Shuttered. Unhinged. Falling off the roof. A nice white clapboard house with a soft green lawn, lace curtains at the windows, roses on a trellis over the door, the old fanlight sparkling when the light hits it. We need a very long time to move up the flagstone walk. In the process a war takes place, peace reigns, men land on the moon and women defend it, black blankets of oil are thrown across birds’ coffins and the sea stinks. Still the little house remains, the sun always dappling its freshly painted walls, the sound of piano scales twinkling delicately behind the curtain of warmth. When we reach the door we are exhausted, gray, crippled, and in pain. The doorknob, though brilliantly brass, is cold to our touch and the door sticks. It takes our last strength to open it and throw ourselves across the threshold onto what should be a rosy hearth but is instead a deep dark well, the bottom of which, at this telling, we have not reached.</p> </div> <div> <pb n="24" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_024.jpg"/> <head>3. headwaters</head> <p> <quote>For reasons of their own, women are suspicious of diving and frown on their menfolk going down. D—, who has starred in several underwater films, has never received a fan letter from a woman. </quote>-<ref>Jacques Cousteau</ref> We are already down there. We have already gone down, our breasts bumping the boulders struggling to rise. Our menfolk don’t know where to send the fan letters. Can dive, but not delve. Perhaps far down are boundaries between layers of water not obvious at the surface of the sea and quite independent of surface phenomena. Not just still waters. Rapture of the depths. At a town called Headtide there is an old white church unconsciously marking with its spire the spot where the Sheepscot River, short and wide, a tidal estuary, comes to an end in a stony brook and then goes underground. The term tidal wave is loosely applied. Some rivers braid long plaits of sand with thinning streams, and others — always full, muddy and sated — lag in fat banks. Tides are most marked when the sun is nearest the earth. Tides thigh tickling, oozing over the edges and hummocks, a band of foam, making liquid land. Creeps up me toward immersion. Hold your waters. Making waves, seeing red. I flow she flows we flow. Lunar and solar tides coincide, are fully cumulative only twice each lunar month. While fans unfold, snap shut, and leave the flowers no escape. Underwater, irregularities rise and, cursing, fall. Two or more wave patterns at the same place and time. There can, however, be independent waves. And long rivers pass through different landforms like changing lovers. Impatiently cutting gorges, willing waterfalls and rapids to flatness. Unfamiliar bodies hurled at each other. Beneath the rumbling, boulders lurk and lurch, needing a pool.</p> <p>My traveling dreams are washed in foreign waters. In one I swim along a beach. The water is warm and the same pale blue as the sky — bleached but not burning. Behind me swims a large black dog and before me floats a group of exotic birds, brilliant pink feathers wet but still light, raised above the water in a tangle of wings. The end of the beach is distant; all sand, no rocks or trees in sight. My swimming is leisurely but purposeful. In another dream I wake alone and rush to find my lover. He is in the bathtub and I yell desperately at him: Did I sleep alone last night? Did I sleep alone last night? Another night, my child, my lover and I are going to see a lighthouse through a swamp. The waterway is not very wide. Trees hang dense over the edges but in the center where we swim it’s blue, unshaded. A long trip to make boatless, but we are swimming, accompanied at times by a fat friend. l’m not struck by the fact that we are swimming so much as by the length of the trip, not tired so much as a little bored. Once again the water is tepid, body temperature, lulling. The lighthouse when we get there is on a broader bay, still inland, mountains in the distance. There is some talk of leaving and returning in the afternoon. But there isn’t time.</p> <p>The waters broke with no warning. Lie still, pretend while it crests. Above our caves the divers’ forms pass dimly, unaware. Destructive advances of the sea upon the coasts have two distinct origins: dreams like sunwarmed flats when the tide comes in very slowly, visibly; earthquakes and storms. Neither related to the tide, and often not actually waves. Floating, I am a fleshy layer between sea and sky. Why go down? Letters melt and corals build. Why go down and not feel the moon in the pit of your stomach? Or hear ripples whisper on the floor? The ocean’s bedrock blurred. Unexpected, the cold and purifying northern channels. With no warning, water on the brain, the belly, breast and buttock. Internal waves stained pink affecting everything below above. Doesn’t hold water, that’s all. Divers ring their bells but fail to reach us, cannot pierce the bubbles that contain them. And we are already down there, friendly, calm, constructing small places in which to wait, making room for others, settling in, exchanging disguises, rearranging caves and mountains, waiting until they stop pouring oil on the waters, till they stop throwing rocks, sinking ships, turning our tides.</p> </div> </div> </body> <back> <p>Lucy Lippard is a feminist art critic who also writes "fiction"; it has been published in Center, Big Deal, Tractor, The World and elsewhere. </p> </back> </text> </TEI>
The Pink Glass Swan Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>The Pink Glass Swan</title> <author>Lucy Lippard</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Issue 1: Heresies</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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Charlotte Bunch and Nancy Myron (Baltimore, 1974). This book contains\n\t\t\t\t\t\tsome excrutiating insights for the middle-class feminist; it raised my\n\t\t\t\t\t\tconsciousness and inspired this essay (along with other recent experiences\n\t\t\t\t\t\tand conversations)." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", 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"https://leaf.bucknell.edu/sites/default/files/2025-04/lippard_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/lippard_0_0_0_0_0_0.xml?note_annotation_20250130161746041#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[12]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Michele Russell, \"Woman and Third World,\"\n\n\t\t\t\t\t\tNew American Movement (June, 1973)." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ 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Don Celender (New York,\n\t\t\t\t\t\t1975)" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": 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"https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/lippard_0_0_0_0_0_0.xml?note_annotation_20250130161746043#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[19]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Bernard Kirschenbaum, in correspondence.\n\t\t\t\t\t\tCelender, op. cit., offers proof of this need and of the huge (and amazing)\n\t\t\t\t\t\tinterest in art expressed by the working class, though it should be said\n\t\t\t\t\t\tthat much of what is called art would not be agreed upon by the taste\n\t\t\t\t\t\tdictators." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> 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"oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[25]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "This\n\t\t\t\t\t\tdespite their publication of and apparent endorsement of Carolee\n\t\t\t\t\t\tSchneemann's \"The Prounoun Tyranny\" in the Fox, 3(1976)" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": 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"schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/lippard_0_0_0_0_0_0.xml?person_annotation_20250423162222433#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[25]/note/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q299662", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb n="82" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_084.jpg"/> <div type="essay"> <head> <title>The Pink Glass Swan: Upward and Downward Mobility in the Art World</title></head> <byline><persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy Lippard</persName></byline> <p>The general alienation of contemporary avant-garde art from any broad audience has been crystallized in the women's movement. From the beginning, both liberal feminists concerned with changing women's personal lives and socialist feminists concerned with overthrowing the classist/racist/sexist foundations of society have agreed that "fine" art is more or less irrelevant, though holding out the hope that feminist art could and should be different. The American women artists' movement has concentrated its efforts on gaining power within its own interest group—the art world, in itself an incestuous network of relationships between artists and art on the one hand and dealers publishers, buyers on the other. The "public," the "masses," or the "audience" is hardly considered.</p> <p> The art world has evolved its own curious class system. Externally this is a microcosm of capitalist society, but it maintains an internal dialectic (or just plain contradiction) that attempts to reverse or ignore that parallel. Fame may be a higher currency than mere money, but the two tend to go together. Since the buying and selling of art and artists is done by the ruling classes or by those chummy with them and their institutions, all artists or producers, no matter what their individual economic backgrounds are dependent on the owners and forced into a proletarian role—just as women, in <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels'</persName> analysis, play proletarian to the male ruler across all class boundaries. Looking at and "appreciating" art in this century has been understood as an instrument (or at best a result) of upward social mobility in which owning art is the ultimate step. Making art is at the bottom of the scale. This is the only legitimate reason to see artists as so many artists see themselves—as "workers." At the same time, artists/makers tend to feel misunderstood and, as creators, innately superior to the buyers/owners. The innermost circle of the art-world class system thereby replaces the rulers with the creators, and the contemporary artist in the big city (read New York) is a schizophrenic creature. S/he is persistently working "up" to be accepted, not only by other artists but also by the hierarchy that exhibits, writes about, and buys her/his work. At the same time s/he is often ideologically working "down" in an attempt to identify with the workers outside of the art context, and to overthrow the rulers in the name of art. This conflict is augmented by the fact that most artists are originally from the middle class, and their approach to the bourgeoisie includes a touch of adolescent rebellion against authority. Those few who have actually emerged from the working class sometimes use this—their very lack of background privilege—as privilege in itself, while playing the same schizophrenic foreground role as their solidly middle-class colleagues.</p> <p> Artists, then, are workers or at least producers even when they don't know it. Yet artists dressed in work clothes (or expensive imitations thereof) and producing a commodity accessible only to the rich differ drastically from the real working class in that artists control their production and their product—or could if they realized it and if they had the strength to maintain that control. In the studio, at least, unlike the farm, the factory, and the mine, the unorganized worker is in superficial control and can, if s/he dares, talk down to or tell off the boss—the collector, the curator, etc. For years now, with little effect, it has been pointed out to artists that the art-world superstructure cannot run without them. Art, after all, is the product on which all the money is made and the power based.</p> <p> During the 1950s and 1960s most American artists were unaware that they did <emph>not</emph> control their art, that their art could be used not only for esthetic pleasure or decoration or status symbols, but also as an educational weapon. In the late 1960s, between the Black, the student, the anti-war and the women's movements, the facts of the exploitation of art in and out of the art world emerged. Most artists and artworkers still ignore these issues because they make us feel too uncomfortable and helpless. Yet if there were a strike against museums and galleries to allow artists control of their work, the scabs would be out immediately in full force, with reasons ranging from self-interest to total lack of political awareness to a genuine belief that society would crumble without art, that art is "above it all." Or is it in fact <emph>below</emph> it all, as most political activists seem to think?</p> <p> Another aspect of this conflict surfaces in discussions around who gets a "piece of the pie"—a phrase which has become the scornful designation for what is actually most people's goal. (Why shouldn't artists be able to make a living in this society like everybody else? Well, <emph>almost</emph> <pb n="83" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_085.jpg"/> everybody else.) Those working for "cultural change" through political theorizing and occasional actions are opposed to <emph>anybody</emph> getting a piece of the pie, though politics appears to be getting fashionable again in the art world and may itself provide a vehicle for internal success; today one can refuse a piece of the pie and simultaneously be getting a chance at it. Still, the pie is very small and there are a lot of hungry people circling it. Things were bad enough when only men were allowed to take a bite. Since "aggressive women" have gotten in there too, competition, always at the heart of the art-world class system, has peaked.</p> <p> Attendance at any large art school in the U.S. takes students from all classes and trains them for artists' schizophrenia. While being cool and chicly grubby (in the "uniform" of mass production), and knowing what's the latest in taste and what's the kind of art to make and the right names to drop is clearly "upward mobility"—from school into teaching jobs and/or the art world—the lifestyle accompanying these habits is heavily weighted "downward." The working-class girl who has had to work for nice clothes must drop into frayed jeans to make it into the art middle class, which in turn considers itself both upper and lower class. Choosing poverty is a confusing experience for a child whose parents (or more likely mother) have tried desperately against great odds to keep a clean and pleasant home. <note type="researchNote"><title><emph>Class and Feminism</emph></title>, ed. <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> and <persName key="Nancy Myron" ref="http://www.wikidata.org/entity/Q94280766">Nancy Myron</persName> (Baltimore, 1974). This book contains some excrutiating insights for the middle-class feminist; it raised my consciousness and inspired this essay (along with other recent experiences and conversations).</note> </p> <p> The artist who feels superior to the rich because s/he is disguised as someone who is poor provides a puzzle for the truly deprived. A parallel notion, rarely admitted but pervasive, is that a person can't understand "art" if their house is full of pink glass swans or their lawn is inhabited by gnomes and flamingos, or if they even care about house and clothes at all. This is particularly ridiculous now, when art itself uses so much of this paraphernalia (and not always satirically); or, from another angle, when even artists who have no visible means of professional support live in palatial lofts and sport beat-up $100 boots while looking down on the "tourists" who come to SoHo to see art on Saturdays; SoHo is, in fact, the new suburbia. One reason for such callousness is a hangover from the 1950s, when artists really were poor and proud of being poor because their art, the argument went, must be good if the bad guys—the rich <emph>and</emph> the masses—didn't like it.</p> <p>In the 1960s the choice of poverty, often excused as anti-consumerism, even infiltrated the esthetics of art.<note type="scholarNote">Actually nothing new; the history of modern art demonstrates a constant longing for the primitive, the simple, the clear, the "poor," the noble naif, etc.</note> First there was <rs key="pop art" ref="http://www.wikidata.org/entity/Q134147">Pop Art</rs>, modeled on kitsch, on advertising and consumerism, and equally successful on its own level. (Women, incidentally, participated little in Pop Art, partly because of its blatant sexism, sometimes presented as a parody of the image of woman in the media—and partly because the subject matter was often "women's work," ennobled and acceptable only when the artists were men.) Then came Process Art—a rebellion against the "precious object" traditionally desired and bought by the rich. Here another kind of co-optation took place, when temporary piles of dirt, oil, rags and filthy rubber began to grace carpeted living rooms. The Italian branch was even called <emph>Arte Povera</emph>. Then came the rise of a third-stream medium called "conceptual art" which offered "anti-objects" in the form of ideas—books or simple xeroxed texts and photographs with no inherent physical or monetary value (until they got on the market, that is). Conceptual art seemed politically viable because of its notion that the use of ordinary, inexpensive, unbulky media would lead to a kind of socialization (or at least democratization) of art as opposed to gigantic canvases and huge chrome sculptures costing five figures and filling the world with more consumer fetishes.</p> <p> Yet the trip from oil on canvas to ideas on xerox was, in retrospect, yet another instance of "downward mobility" or middle-class guilt. It was no accident that conceptual art appeared at the height of the social movements of the late 1960s nor that the artists were sympathetic to those movements (with the qualified exception of the women's movement). All of the esthetic tendencies listed above were genuinely instigated as rebellions by the artists themselves, yet the fact remains that only rich people can afford to 1) spend money on art that won't last; 2) live with "ugly art" or art that is not decorative, because the rest of their surroundings are beautiful and comfortable; 3) like "non-object art" which is only handy if you already have too many possessions—when it becomes a reactionary commentary: art for the overprivileged in a consumer society.</p> <p> As a child, I was accused by my parents of being an "anti-snob snob" and I'm only beginning to see the limitations of such a rebellion. Years later I was an early supporter of and proselytizer for conceptual art as escape from the commodity orientation of the art world, a way of communicating with a broader audience via inexpensive media. Though I was bitterly disappointed (with the social, not the esthetic achievements) when I found that this work could be so easily absorbed into the system, it is only now that I've realized why the absorption took place. Conceptual art's democratic efforts and physical vehicles were cancelled out by its neutral, elitist content and its patronizing approach. From around 1967 to 1971, most of us involved in conceptual art saw that content as pretty revolutionary and thought of ourselves as rebels against the cool, hostile artifacts of the prevailing formalist and minimal art. But we were so totally enveloped in the middle-class approach to everything we did and saw, we couldn't perceive how that pseudo-academic narrative piece or that art-world-oriented action <pb n="84" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_086.jpg"/> in the streets was deprived of any revolutionary content by the fact that it was usually incomprehensible and alienating to the people "out there," no matter how fashionably downwardly mobile it might be in the art world. The idea that if art is subversive in the art world it will automatically appeal to a general audience now seems absurd. </p> <p> The whole evolutionary basis of modernist innovation, the idea of esthetic "progress," the "I-did-it-first" and "it's-been-done-already" syndromes which pervade contemporary avant garde art and criticism, are also blatantly classist, and have more to do with technology than with art. To be "avant-garde" is inevitably to be on top or to become upper-middle-class, because such innovations take place in a context accessible only to the educated elite. Thus socially conscious artists working in or with community groups and muralists try to disassociate themselves from the art world, even though its values ("quality") remain to haunt them personally.</p> <p> The value systems are different in and out of the art world, and anyone attempting to straddle the two develops another kind of schizophrenia. For instance, in the inner-city community murals, as <persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName> points out elsewhere in this publication, the images of woman are the traditional ones—a beautiful, noble mother and housewife or worker, and a rebellious young woman striving to change her world—both of them celebrated for their courage to be and to stay the way they are and to support their men in the face of horrendous odds. This is not the art-world or middle-class "radical" view of future feminism, nor is it one which radical feminists hoping to "reach out" across the classes can easily espouse. Here, in the realm of aspirations, is where upward and downward mobility and status quo clash, where the economic class barriers are established. As <persName key="Russell, Michele D." ref="http://viaf.org/viaf/11163457050804813684/">Michele Russell</persName> has noted, <note type="researchNote">Michele Russell, "Woman and Third World," <title level="m">New American Movement</title> (June, 1973).</note> the Third-World woman is not attracted to the "Utopian experimentation" of the left (in the art world, the would-be Marxist avant-garde) or to the "pragmatic opportunism" of the right (in the art world, those who reform and co-opt the "radicals").</p> <p> Many of the subjects touched on here come back to Taste. To a poor woman, art, or a beautiful object, might be defined as something she cannot have. Beauty and art have been defined before as <emph>the desirable</emph>. In a consumer society, art too becomes a commodity rather than a life-enhancing experience. Yet the <persName key="Vincent van Gogh" ref="http://www.wikidata.org/entity/Q5582">Van Gogh</persName> reproduction or the pink glass swan—the same beautiful objects that may be "below" a middleclass woman (because she has, in moving upward, acquired upper-class taste, or would like to think she has)—may be "above" or inaccessible to a welfare mother. The phrase "to dictate taste" has its own political connotations. A Minneapolis worker interviewed by students of artist <persName key="Don Celender" ref="http://www.wikidata.org/entity/Q28873078">Don Celender</persName> said he liked "old art works because they're more classy," <note type="researchNote"><title level="m">Opinions of Working People Concerning the Arts</title>, ed. Don Celender (New York, 1975)</note> and class does seem to be what the traditional notion of art is all about. Yet contemporary avant-garde art, for all its attempts to break out of that gold frame, is equally class-bound, and even the artist aware of these contradictions in her/his own life and work is hard-put to resolve them. It's a vicious circle. If the artist/producer is upper-middle-class, and our standards of art as taught in schools are persistently upper-middle-class, how do we escape making art only for the upper-middle-class?</p> <p> The alternatives to "quality," to the "high" art shown in art-world galleries and magazines have been few, and for the most part unsatisfying, although well-intended. Even when kitsch, politics or housework are absorbed into art, contact with the real world is not necessarily made. At no time has the avant garde, though playing in the famous "gap between art and life," moved far enough out of the art context to attract a broad audience—that audience which has, ironically, been trained to think of art as something that has nothing to do with life and, at the same time, tends only to like that art which means something in terms of its own life, or fantasies. The dilemma for the leftist artist in the middle class is that her/his standards seem to have been set irremediably. No matter how much we know about what the broader public wants, or needs, it is very difficult to break social conditioning and cultural habits. Hopefully, a truly feminist art will provide other standards.</p> <p> To understand the woman artist's position in this complex situation between the art world and the real world, class and gender, it is necessary to know that in America artists are rarely respected unless they are stars or rich or mad or dead. Being an artist is not being "somebody." Middle-class families are happy to pay lip service to art but god forbid their own children take it so seriously as to consider it a profession. Thus a man who becomes an artist is asked when he is going to "go to work," and he is not-so-covertly considered a child, a sissy (a woman), someone who has a hobby rather than a vocation, someone who can't make money and therefore cannot hold his head up in the real world of men—at least until his work sells, at which point he may be welcomed back. Male artists, bending over backward to rid themselves of this stigma, tend to be particularly susceptible to insecurity and <emph>machismo</emph>. So women daring to insist on their place in the primary rank—as art makers rather than as art housekeepers (curators, critics, dealers, "patrons")—inherit a heavy burden of male fears in addition to the economic and psychological <pb n="85" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_087.jpg"/> discrimination still rampant in a patriarchal, money-oriented society.</p> <p> Most art being shown now has little to do with any woman's experience, in part because women—rich ones as "patrons," others as decorators and "home-makers"—are in charge of the private sphere, while men identify more easily with public art—art that has become public through economic validation (the million-dollar <persName key="Rembrandt" ref="http://www.wikidata.org/entity/Q5598" cert="high" type="real">Rembrandt</persName>). Private art is often seen as mere ornament; public art is associated with monuments and money, with "high" art and its containers, including unwelcoming whitewalled galleries and museums with classical courthouse architecture. Even the graffiti artists, whose work was unsuccessfully transferred from subways to art galleries, were all men, concerned with facades, with having their names in spray paint, in lights, in museums...</p> <p> Private art is visible only to intimates. I suspect the reason so few women "folk" artists work outdoors in large scale (like <persName key="Simon Rodia" ref="http://www.wikidata.org/entity/Q1119723">Simon Rodia</persName>'s <title>Watts Towers</title> and other "naives and visionaries" with their cement and bottles) is not only because men aspire to erections and know how to use the necessary tools, but because women can and must assuage these same creative urges inside the house, with the pink glass swan as an element in their own works of art the living room or kitchen. In the art world the situation is doubly paralleled. Women's art until recently was rarely seen in public and all artists are voluntarily "women" because of the social attitudes mentioned above; the art world is so small that it is "private."</p> <p> Just as the living room is enclosed by the building it is in, art and artist are firmly imprisoned by the culture which supports them. Artists claiming to work for themselves alone, and not for any audience at all, are passively accepting the upper-middle class audience of the internal art world. This is compounded by the fact that to be middle-class is to be passive, to live with the expectation of being taken care of and entertained. But art should be a consciousness-raiser; it partakes of and should fuse the private and the public spheres. It should be able to reintegrate the personal without being satisfied by the merely personal. One good test is whether or not it communicates, and then, of course, what and how it communicates. If it doesn't communicate it may just not be very good art from anyone's point of view; or it may be that the artist is not even aware of the needs of others, or simply doesn't care.</p> <p> For there is a need out there, a need vaguely satisfied at the moment by "schlock." <note type="researchNote"><persName key="Bernard Kirschenbaum" ref="http://www.wikidata.org/entity/Q10428700">Bernard Kirschenbaum</persName>, in correspondence. Celender, op. cit., offers proof of this need and of the huge (and amazing) interest in art expressed by the working class, though it should be said that much of what is called art would not be agreed upon by the taste dictators.</note> And it seems that one of the basic tenets of the feminist arts should be a reaching out from the private sphere to transform that "artificial art" and to more fully satisfy that need. For the art-world artist has come to consider her/his private needs paramount, and has too often forgotten about those of the audience, any audience. Work that communicates to a dangerous number of people is derogatorily called a "crowd pleaser." This is a blatantly classist attitude, taking for granted that most people are by nature incapable of understanding good art (ie., upper-class or quality art). At the same time, much ado is made about art-educational theories that claim to "teach people to see" (consider the political implications of this notion) and muffle all issues by stressing the "universality" of great art.</p> <p> It may be that at the moment the possibilities are slim for a middle-class art world's understanding or criticism of the little art we see that reflects working-class cultural values. Perhaps our current responsibility lies in humanizing our own activities so that they will communicate more effectively with all women. Hopefully we will aspire to more than women's art flooding the museum and gallery circuit. Perhaps a feminist art will only emerge when we become wholly responsible for our own work, for what becomes of it, who sees it, and who is nourished by it. For a feminist artist, whatever her style, the prime audience at this time is other women. So far, we have tended to be satisfied with communicating with those women whose social experience is close to ours. This is natural enough, since this is where we will get our greatest support, and we need support in taking this risk of trying to <emph>please</emph> women, knowing that we are almost certain to displease men in the process. In addition, it is embarrassing to talk openly about the class system which divides us, hard to do so without sounding more bourgeois than ever in the implications of superiority and inferiority inherent in such discussions (where the working class is as often considered superior as the middle class).</p> <p> A book of essays called <title level="m">Class and Feminism</title> written by The Furies, a lesbian feminist collective, makes clear that from the point of view of working-class women, class is a definite problem within the women's movement. As <persName key="Myron, Nancy, 1943-" ref="http://viaf.org/viaf/79318339/">Nancy Myron</persName> observes, middle-class women:</p> <quote>can intellectualize, politicize, accuse, abuse and contribute money in order not to deal with their own classism. Even if they admit that class exists, they are not likely to admit that their behavior is a product of it. They will go through every painful detail of their lives to prove to me or another working-class woman that they really didn't have any privilege, that their family was exceptional, that they actually did have an uncle who worked in a factory. To ease anyone's guilt is not the point of talking about class... You don't get rid of oppression just by talking about it.</quote> <pb n="86" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_088.jpg"/> <p>Women are more strenuously conditioned toward upward cultural mobility or "gentility" than men, which often results in the woman consciously betraying her class origins as a matter of course. The hierarchies within the whole span of the middle class are most easily demarcated by lifestyle and dress. For instance, the much-scorned "Queens housewife" may have enough to eat, may have learned to consume the unnecessities, and may have made it to a desired social bracket in her community, but if she ventures to make art (not just own it), she will find herself back at the bottom in the art world, looking wistfully up to the plateau where the male, the young, the bejeaned seem so at ease.</p> <p> For middle-class women in the art world not only dress "down," but dress like working-class <emph>men</emph>. They do so because housedresses, pedal pushers, polyester pantsuits, perrnanents, the wrong accents are not such acceptable disguises for women as the boots, overalls and win breaker syndromes are for men. Thus young middle-class women tend to deny their female counterparts and take on "male" (unisex) attire. It may at times have been chic to dress like a native American or a Bedouin woman, but it has never been chic to dress like a working class woman, even if she's trying to look like <persName key="Jacqueline Kennedy Onassis" ref="http://www.wikidata.org/entity/Q165421">Jackie Kennedy</persName>. Young working-class women (and men) spend a large amount of avallable money on clothes; it's a way to forget the rats and roaches by which even the cleanest tenement-dwellers are blessed, or the mortgages by which even the hardest-working homeowners are blessed, and to present a classy facade. Artists dressing and talking "down" insult the hardhat much as rich kids in rags do; they insult people whose notion of art is something to work for-the pink glass swan.</p> <p> Yet women, as evidenced by the Furies' publication, and as pointed out elsewhere (most notably by <persName key="August Bebel" ref="http://www.wikidata.org/entity/Q76520" cert="high" type="real">Bebel</persName>), have a unique chance to communicate with women across the boundaries of economic class because as a "vertical class" we share the majority of our most fundamental experiences—emotionally, even when economically we are divided. Thus an economic analysis does not adequately explore the psychological and esthetic ramifications of the need for change within a sexually oppressed group. Nor does it take into consideration that women's needs are different from men's—or so it seems at this still unequal point in history. The vertical class cuts across the horizontal economic classes in a column of injustices. While heightened class consciousness can only clarify the way we see the world, and all clarification is for the better, I can't bring myself to trust hard lines and categories where fledgling feminism is concerned.</p> <p> Even in the art world, the issue of feminism has barely been raised in mixed political groups. In 1970, women took our rage and our energies to our own organizations, or directly to the public by means of picketing and protests. While a few men supported these, and most politically conscious male artists now claim to be feminists to some degree, the political <emph>and</emph> apolitical art world goes on as though feminism didn't exist—the presence of a few vociferous feminist artists and critics not withstanding. And in the art world, as in the real world, political commitment frequently means total disregard for feminist priorities. Even the increasingly Marxist group ironically calling itself Art-Language is unwilling to stop the exclusive use of the male pronoun in its theoretical publications. <note type="researchNote">This despite their publication of and apparent endorsement of <persName key="Carolee Schneemann" ref="http://www.wikidata.org/entity/Q299662">Carolee Schneemann</persName>'s "The Prounoun Tyranny" in the Fox, 3(1976)</note></p> <p> Experiences like this one and dissatisfaction with Marxism's lack of interest in "the woman question" make me wary of merging Marxism and feminism. The notion of the non-economic or "vertical" class is anathema to Marxists and confusion is rampant around the chicken-egg question of whether women can be equal before the establishment of a classless society or whether a classless society can be established before women are liberated. As <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> says of her own Marxism and feminism:</p> <quote>They are at once incompatible and in real need of one another. As a feminist and a Marxist I carry their contradictions within me and it is tempting to opt for one or the other in an effort to produce a tidy resolution of the commotion generated by the antagonism between them. But to do that would mean evading the social reality which gives rise to the antagonism. <note type="researchNote">Sheila Rowbotham, Women: Resistance and Revolution (London, 1972).</note></quote> <p>As women, therefore, we need to establish far more strongly our own sense of community, so that all our arts will be enjoyed by all women in all economic circumstances. This will happen only when women artists make conscious efforts to cross class barriers, to consider their audience, to see, respect, work with the women who create outside the art world—whether in suburban crafts guilds or in offices and factories or in community workshops. The current feminist passion for women's traditional arts, which influences a great many women artists, should make this road much easier, undess it too becomes another commercialized rip-off. Despite the very real class obstacles, I feel strongly that women are in a privileged position to satisfy the goal of an art which would communicate the needs of all classes and sexes to each other, and get rid ofthe we/they dichotomy to as great an extent as is possible in a capitalist framework. Our sex, our oppression and our female experience—our female culture, just being explored—offer access to all of us by these common threads.</p> </div> </body> <back> <p>Lucy R. Lippard is a feminist art critic, writes fiction too, and has been active politically. She is co-founder of several women artists' groups and has published 10 books on contemporary art, the two most recent ones being <title level="m">From the Center: Feminist Essays on Women's Art</title> (E.P. Dutton) and <title level="m">Eva Hesse</title> (N.Y.U. Press).</p> </back> </text> </TEI>
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"http://www.wikidata.org/entity/Q5085869", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_004.jpg"/> <head>From the First-Issue Collective</head> <epigraph> <p>The editorial collective of this first issue of <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> shares not a political line but a commitment to the development of coherent feminist theory in the context of practical work. The time for reformulating old positions or merely attacking sexism is past. Now we must take on the most problematic aspects of feminist theory, esthetic theory and political theory. We are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.</p> <p>The role of the arts and the artist in the political process is our specific arena. By confronting the very real differences in our own attitudes towards art and politics, which reflect those in the wider, feminist community, we have uncovered networks connecting a broad range of forms and ideologies. As material for the first issue came in to us, we found that no hard line could be drawn between texts and visual material. There are, therefore, few "illustrations" here, but independent statements expressed visually, verbally, or in combination, sharing the same power and the same intent, and indicating that word and image can be equal ingredients in politically effective art.</p> <p>We found no solutions to the issues raised, but we are finding approaches that feel fresher and more satisfying. Working together toward collective decisions was entirely different from working alone or as part of conventional hierarchies. Each of us worked on every page of this magazine, a slow and frustrating process, but one from which we learned a great deal about each other, about editorial and mechanical skills, about the collective process itself, about our subject—feminism, art and politics— and about what it means to be political in a real, active, living situation. We mean to go on from these beginnings and we look to the larger feminist community for participation, response and criticism. Together we can work toward some answers. We have nothing to lose but our illusions.</p> </epigraph> <byline><persName key="Joan Braderman" ref="http://www.wikidata.org/entity/Q28911659">Joan Braderman</persName>, <persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName>, <persName key="Elizabeth Hess" ref="http://www.wikidata.org/entity/Q106878848">Elizabeth Hess</persName>, <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName>, <persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy Lippard</persName>, <persName key="May Stevens" ref="http://www.wikidata.org/entity/Q6796587">May Stevens</persName>.</byline> <p> Feminism—Art—Politics. What is their connection? In theory? In reality?</p> <p>Once there was a women's art center that was very excited about an "Art as Work" seminar I proposed. They wanted a short personal resumé to follow the course description in the catalogue — to let students know who I was, where I was coming from: Harmony Hammond is a lesbian feminist artist who has exhibited at Gallery X and Gallery Z and taught at R. University and C. University. They wanted my labels and then did not like them. No seminar. Really, I was coming on too strong. Couldn't I use a different word? Or just not say it at all? Would I be teaching art or politics? They were an "Art" center. They were afraid, they said, afraid I would jeopardize...</p> <p>Jeopardize what? Their art? Their teaching? Their students? Their bodies? Their minds? Their sexuality? Their politics? Their power? Their authority? Their thinking? They did not know, they were just afraid...</p> <p>I did not fit their concept of a feminist and therefore I was dangerous.</p> <p>Labels. The meaninglessness of labels. The power of labels. The confining. What does it mean to be a lesbian, radical feminist, activist, mother, artist? I am all of these individually and combined. It means I am political. It means I want to change existing power relationships. A list of experiences. The power of labels is the power of ideas and action combined.</p> <p>The political mother, the political artist, the political feminist, and the political lesbian refuse to be second-class. They take action by ''doing.'' They refuse to be isolated into separatist stances, and they become a total whole. They add up to what <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> has called a ''non-aligned feminism"—not automatically attached to one line of feminism (socialist/left vs. reformist vs. cultural/spiritual) but rather evaluating each individual issue and situation from an independent feminist perspective.</p> <p>Lesbian. Radical feminist. Activist. Mother. Artist.</p> <p>The common denominator is woman. Women are oppressed as a class. This oppression underlies the patriarchal institutions of capitalism, imperialism, racism, and heterosexism. To end all forms of oppression we must first end the oppression of all women regardless ot sexuality or economic class, racial or cultural background.</p> <p>Lesbian. Radical feminist. Activist. Mother. Artist.</p> <p>Together they form my feminism. Feminism is my politics. My art both is formed by and is a statement of my feminism.</p> <signed>H.H.</signed> </div> <div> <p> While l'd always worked in social programs, I never considered myself a political person. Political groups so often revealed confused priorities that I inevitably ended up by questioning my own. But feminism was different–so much was personally at stake. If I questioned my commitment (how can I be amused by this or not outraged by that), I soon found I was not amused and I was outraged by things I might once have considered innocuous or simply unalterable. Feminism had become a persistent way of living and thinking and the most important awareness of my life.</p> <p>Today I trust the impulses calling out for radical change because they're rooted in a lifetime of self-analysis continuously and consistently validated by other women. Frustration, it seems, is being resolved in conviction and action and the awareness of this power has been startling to me. Needless to say, art which strengthens that awareness is exhilarating.</p> <p>I am a medievalist, I was attracted to the field by the escapist fantasies of folklore and romance. But I now feel that all art—whether ancient or modern—can be seen and judged within a feminist context.</p> <p/> <signed>A.L.</signed> </div> <div> <p> When pressed by the people who ask "What do you do?" at times I call myself an artist and then no one knows what to expect. The term is so vague and useless that it does not begin to identify a point of view. The fact that art work keeps the bourgeoisie in style, and the bourgeoisie keeps all the art, suggests that most artists don't bother with politics and ideology, instead they are united by a lifestyle: generally you must privatize your work, hang your head to the left late at night in the bars, and think deeply about how your work will be understood in the melancholic future; be concerned about your isolation from the community.</p> <p>It is difficult not to become a cynic. Opportunism knocks. Even the women's movement is another stepping stone towards critical recognition. Most people are more concerned with the objects we are producing than the world into which we place our work. I make abstract paintings and super-8 films—but not for a living. I work as an editor for a left news magazine called <title key="Seven Days" ref="http://www.wikidata.org/entity/Q27717194"><emph>Seven Days</emph></title>. This is where I learned the business of developing an audience and disseminating information. <emph>Heresies</emph> is an attempt to politicize the art world; a chance to attack the history of our work as opposed to "documenting" it.</p> <p>I have been a feminist it seems ever since I noticed I was living with great difficulty; it came out during the 1960s—but that's a long story. In the 1970s, feminism has tendencies which serve merely to push liberal institutions to their farthest extremes. This has left many women caught in a dubious struggle; a recognition of strength and an inability to act. The feminist movement should not work towards gaining economic power, but towards developing a coherent ideology if we are to participate in change and work towards socialism. (You knew I'd say that.) The point is that an understanding of feminism without an analysis of class is like a long-tailed cat in a room full of rocking chairs. Capitalism is so efficient that it can sustain its own alternatives; likewise the art world—one more radical magazine.</p> <signed>E.H.</signed> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_005.jpg"/> <div> <p> I am a feminist first and a socialist second, rather than a Socialist-Feminist. Not because I don't care about what happens to the oppressed men in the world. Not because I'm against an ideally democratic socialism. But because women's oppression crosses economic-class lines. It's a matter of focus. Clearly the needs of welfare-class women are most urgent and those of upper-class women are least urgent. Some socialists say that getting rid of patriarchy won't change the world. I wonder. Even in revolutionary socialist movements women must maintain an autonomous base. Revolution for Every<emph>man</emph> isn't the same as real social change; it has taken place in the past without solving the "woman question."</p> <p>In the meantime, living in a capitalist country without a strong Socialist Party provokes an irresistible urge to kill time as a liberal feminist. Even though I'm aware of the dangers of opportunism, reformism, co-optation, and all the slimy horde, I often find myself working for reform rather than revolution because I can't bear to see nothing done.</p> <p>Within the art world, this means I work to get women artists into a system I oppose. Outside, in the real world, this means I want the ERA passed because its going to make a difference in women's lives. I want to see a politically aware feminist culture and I hope that <emph>Heresies</emph> will help create it and help destroy some of the boundaries that separate women from the power to make a better society that will fit our needs as well as men's.</p> <p>(P.S. Because I'm a critic, I've been called a "class enemy" of artists, which is bullshit. I'm exploited by publishers, and perhaps editors, just as artists are exploited by galleries, and perhaps critics. I identify with artists whether or not they identify with me because long experience has shown me that our lives are more or less the same.)</p> <signed>L.R.L.</signed> <signed/> </div> <div> <p> When we decided that each of us in the first issue collective should write an individual statement to put our political differences ''out front,'' I thought it was a fine idea. But trying to write one page about my notion of how feminism relates to Marxism relates to making theory and making films was easier said than done: too much to argue in too little space. So what I wanted to do was write, "please see my article on page x'' where I’ve tried to work out some of these problems in more analytical depth. But my sister-editors said, ''write something personal." They chided me for my rhetorical style and my obsessive? academic? commitment to making ''complete'' arguments. "Who are you in all that," they asked. O.K. I'm a woman, I'm white, I'm 28. I'm a film teacher, I'm a student, I'm a writer, theorist, critic, filmmaker. I do political work—in the feminist community and with a new Coalition (July 4th) thats building toward a mass, progressive peoples' movement in this country. I guess I'm what's come to be called a cultural worker.</p> <p>Often it seems there's just not enough time in each day to do all the things that have to be done. And to earn a living, and write a dissertation, and see the art I care about, and do the laundry, and talk with students, and be with the friends I love, and see the ocean sometimes. Putting it all together, I'd often like a few clones of myself to help out. I juggle what's possible with what's not.</p> <p>Where does the fight for women fit with fighting imperialism? Does working in collectives really help change our deeply entrenched American individualism? How can ''cultural workers'' best advance these struggles? I often argue esthetics with my political comrades. Films, I say, don't have to be simplistic to communicate with mass audiences. We're all subject to subtle propaganda from Hollywood and Madison Avenue. We're all jugglers of contradictions and need to see and hear and read about alternatives to what is. We have to make films that not only say something different but say it <emph>in a different way</emph>. They have to be made in a practical political context, in a coherent theoretical context, and they have to be able to recapture the imaginations of masses of people being lulled to sleep by the crap that's sold as ''mass art." We have to find strategies for making our alternate points of view visible, making peoples' voices heard, our ideas and films seen; find ways of fighting the commercial monopolies that own the air waves, the movie screens, the mass media, that own <emph>us.</emph></p> <p>I argue politics with my feminist sisters. No more separatism, I say. I work on HERESIES to say that and also because—another contradiction—l need community in a country that is in fragments. In short, and as labor people like my grandparents always said: women, artists, men, people; we've got to get organized.</p> <signed>J.B.</signed> </div> <div> <p> What kind of socialist-feminist-artist am I?</p> <p>What kind of socialist artist loves <persName key="Jean-Baptiste Camille Corot" ref="http://www.wikidata.org/entity/Q148475">Corot</persName> as well as <persName key="Gustave Courbet" ref="http://www.wikidata.org/entity/Q34618">Courbet</persName> and forgives oil painting its bourgeois origins and abstract expressionism its heraldry of U.S. imperialism?</p> <p>What kind of feminist artist sees pink as a private color to be sparingly used?</p> <p>To the women's movement I would like to bring, as to art, the subtlest perceptions. To political action, I would like to bring, as to art, a precise and delicate imagination. The personal is the political only if you make it so. The connections have to be drawn. Feminism without socialism can create only utopian pockets. And the lifespan of a collective is approximately two years.</p> <p>Socialism without feminism is still patriarchy. But more smug. Try to imagine a classless society run by men. </p> <p>Trying to be part of a collective is a little like being a chameleon set on plaid. I may split apart before I get the pattern right. But somehow it seems worth the pain because I believe community is the highest goal.</p> <p>I believe every woman's life is a little better because of what we are doing.</p> <signed>M.S.</signed> </div> </body> </text> </TEI>
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"cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145115662#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.1" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145115662#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[21]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "This\n\t\t\t\t\t\tdespite their publication of and apparent endorsement of Carolee\n\t\t\t\t\t\tSchneemann's \"The Prounoun Tyranny\" in the Fox, 3(1976)" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": 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"https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.1" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145129497#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[15]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Bernard Kirchenbaum, in correspondence.\n\t\t\t\t\t\tCelender, op. cit., offers proof of this need and of the huge (and amazing)\n\t\t\t\t\t\tinterest in art expressed by the working class, though it should be said\n\t\t\t\t\t\tthat much of what is called art would not be agreed upon by the taste\n\t\t\t\t\t\tdictators." }, 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}, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.1" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145159270#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[9]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Opinions of Working People Concerning the Arts, ed. Don Celender (New York,\n\t\t\t\t\t\t1975)" }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", 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"dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.0.1" }, "oa:hasSelector": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org/sites/default/files/2023-05/lippard.xml?note_annotation_20221115145221221#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Michele Russell, \"Woman and Third World,\"\n\n\t\t\t\t\t\tNew American Movement (June, 1973)." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { 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Charlotte Bunch and Nancy Myron (Baltimore, 1974). This book contains\n\t\t\t\t\t\tsome excrutiating insights for the middle-class feminist; it raised my\n\t\t\t\t\t\tconsciousness and inspired this essay (along with other recent experiences\n\t\t\t\t\t\tand conversations)." }, "as:generator": { "@id": "https://24325189-review-review-174-dy3i8j.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.0.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": 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Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy R.Lippard</persName></byline> </div> <div> <p> Another aspect of this conflict surfaces in discussions around who gets a "piece of the pie" - a phrase which has become the scornful designation for what is actually most peoples goal. (Why shouldn't artists be able to make a living in this society like everybody else? Well, almost <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_085.jpg"/> everybody else.) Those working for "cultural change" through political theorizing and occasional actions are opposed to anybody getting a piece of the pie, though politics appears to be getting fashionable again in the art world and may itself provide a vehicle for internal success; today one can refuse a piece of the pie and simultaneously be getting a chance at it. Still, the pie is very small and there are a lot of hungry people circling it. Things were bad enough when only men were allowed to take a bite. Since "aggressive women" have gotten in there too, competition, always at the heart of the art-world class system, has peaked. </p> <p> Attendance at any large art school in the U.S. takes students from all classes and trains them for artists' schizophrenia. While being cool and chicly grubby (in the "uniform" of mass production), and knowing what's the latest in taste and what's the kind of art to make and the right names to drop is clearly "upward mobility" – from school into teaching jobs and/or the art world-the lifestyle accompanying these habits is heavily weighted "downward." The working-class girl who has had to work for nice clothes must drop into frayed jeans to make it into the art middle class, which in turn considers itself both upper and lower class. Choosing poverty is a confusing experience for a child whose parents (or more likely mother) have tried desperately against great odds to keep a clean and pleasant home. <note type="researchNote">Class and Feminism, ed. Charlotte Bunch and Nancy Myron (Baltimore, 1974). This book contains some excrutiating insights for the middle-class feminist; it raised my consciousness and inspired this essay (along with other recent experiences and conversations).</note> </p> <p> The artist who feels superior to the rich because s/he is disguised as someone who is poor provides a puzzle for the truly deprived. A parallel notion, rarely admitted but pervasive, is that a person can't understand "art" if their house is full of pink glass swans or their lawn is inhabited by gnomes and flamingos, or if they even care about house and clothes at all. This is particularly ridiculous now, when art itself uses so much of this paraphernalia (and not always satirically); or, from another angle, when even artists who have no visible means of professional support live in palatial lofts and sport beat-up $100 boots while looking down on the "tourists" who come to <placeName>SoHo</placeName> to see art on Saturdays; SoHo is, in fact, the new suburbia. One reason for such callousness is a hangover from the 1950s, when artists really were poor and proud of being poor because their art, the argument went, must be good if the bad guys - the rich and the masses - didn't like it.</p> <p>In the 1960s the choice of poverty, often excused as <rs key="anti-consumerism" ref="http://www.wikidata.org/entity/Q1783091">anti-consumerism</rs>, even infiltrated the esthetics of art. Actually nothing new; the history of modern art demonstrates a constant longing for the primitive, the simple, the clear, the "poor," the noble naif, etc. First there was <rs key="pop art" ref="http://www.wikidata.org/entity/Q134147">Pop Art</rs>, modeled on kitsch, on advertising and consumerism, and equally successful on its own level. (Women, incidentally, participated little in Pop Art, partly because of its blatant sexism, sometimes presented as a parody of the image of woman in the media–and partly because the subject matter was often "women's work," ennobled and acceptable only when the artists were men.) Then came <rs key="process art" ref="http://www.wikidata.org/entity/Q545851">Process Art</rs>–a rebellion against the "precious object" traditionally desired and bought by the rich. Here another kind of co-optation took place, when temporary piles of dirt, oil, rags and filthy rubber began to grace carpeted living rooms. The Italian branch was even called <rs key="Arte Povera" ref="http://www.wikidata.org/entity/Q576913">Arte Povera</rs>. Then came the rise of a third-stream medium called "<rs key="conceptual art" ref="http://www.wikidata.org/entity/Q203209">conceptual art</rs>" which offered "anti-objects" in the form of ideas–books or simple xeroxed texts and photographs with no inherent physical or monetary value (until they got on the market, that is). Conceptual art seemed politically viable because of its notion that the use of ordinary, inexpensive, unbulky media would lead to a kind of socialization (or at least democratization) of art as opposed to gigantic canvases and huge chrome sculptures costing five figures and filling the world with more consumer fetishes.</p> <p> Yet the trip from of on canvas to ideas on xerox was, in retrospect, yet another instance of "downward mobility" or middle-class guilt. It was no accident that conceptual art appeared at the height of the social movements of the late 1960s nor that the artists were sympathetic to those movements (with the qualified exception of the women's movement). All of the esthetic tendencies listed above were genuinely instigated as rebellions by the artists themselves, yet the fact remains that only rich people can afford to 1) spend money on art that won't last; 2) live with "ugly art" or art that is not decorative, because the rest of their surroundings are beautiful and comfortable; 3) like "non-object art" which is only handy If you already have too many possessions-when it becomes a reactionary commentary: art for the overprivileged in a consumer society.</p> <p> As a child, I was accused by my parents of being an "anti-snob snob" and I'm only beginning to see the limitations of such a rebellion. Years later I was an early supporter of and proselytizer for conceptual art as escape from the commodity orientation of the art world, a way of communicating with a broader audience via inexpensive media. Though I was bitterly disappointed (with the social, not the esthetic achievements) when I found that this work could be so easily absorbed into the system, it is only now that I've realized why the absorption took place. Conceptual art's democratic efforts and physical vehicles were cancelled out by its neutral, elitist content and its patronizing approach. From around <date from="1967" to="1971">1967 to 1971</date>, most of us involved in conceptual art saw that content as pretty revolutionary and thought of ourselves as rebels against the cool, hostile artifacts of the prevailing formalist and minimal art. But we were so totally enveloped in the middle-class approach to everything we did and saw, we couldn't perceive how that pseudo-academic narrative piece or that art-world-oriented action <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_086.jpg"/> in the streets was deprived of any revolutionary content by the fact that it was usually incomprehensible and alienating to the people "out there," no matter how fashionably downwardly mobile it might be in the art world. The idea that if art is subversive in the art world it will automatically appeal to a general audience now seems absurd.</p> <p> The whole evolutionary basis of modernist innovation, the idea of esthetic "progress," the "I-did-it-first" and "it's-been-done-already" syndromes which pervade contemporary avant garde art and criticism, are also blatantly classist, and have more to do with technology than with art. To be "avant-garde" is inevitably to be on top or to become upper-middle-class, because such innovations take place in a context accessible only to the educated elite. Thus socially conscious artists working in or with community groups and muralists try to disassociate themselves from the art world, even though its values ("quality") remain to haunt them personally.</p> <p> The value systems are different in and out of the art world, and anyone attempting to straddle the two develops another kind of schizophrenia. For instance, in the inner-city community murals, as <persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName> points out elsewhere in this publication, the images of woman are the traditional ones–a beautiful, noble mother and housewife or worker, and a rebellious young woman striving to change her world-both of them celebrated for their courage to be and to stay the way they are and to support their men in the face of horrendous odds. This is not the art-world or middle-class "radical" view of future feminism, nor is it one which radical feminists hoping to "reach out" across the classes can easily espouse. Here, in the realm of aspirations, is where upward and downward mobility and status quo clash, where the economic class barriers are established. As <persName key="Russell, Michele D." ref="http://viaf.org/viaf/11163457050804813684/">Michele Russell</persName> has noted, <note type="researchNote">Michele Russell, "Woman and Third World," New American Movement (June, 1973).</note> the Third-World woman is not attracted to the "Utopian experimentation" of the left (in the art world, the would-be Marxist avant-garde) or to the "pragmatic opportunism" of the right (in the art world, those who reform and co-opt the "radicals").</p> <p> Many of the subjects touched on here come back to Taste. To a poor woman, art, or a beautiful object, might be defined as something she cannot have. Beauty and art have been defined before as the desirable. In a consumer society, art too becomes a commodity rather than a life-enhancing experience. Yet the <persName key="Vincent van Gogh" ref="http://www.wikidata.org/entity/Q5582">Van Gogh</persName> reproduction or the pink glass swan–the same beautiful objects that may be "below" a middleclass woman (because she has, in moving upward, acquired upper-class taste, or would like to think she has) - may be "above" or inaccessible to a welfare mother. The phrase "to dictate taste" has its own political connotations. A Minneapolis worker interviewed by students of artist <persName key="Don Celender" ref="http://www.wikidata.org/entity/Q28873078">Don Celender</persName> said he liked "old art works because they're more classy," <note type="researchNote">Opinions of Working People Concerning the Arts, ed. Don Celender (New York, 1975)</note> and class does seem to be what the traditional notion of art is all about. Yet contemporary avant-garde art, for all its attempts to break out of that gold frame, is equally class-bound, and even the artist aware of these contradictions in her/his own life and work is hard-put to resolve them. It's a vicious circle If the artist/producer is upper-middle-class, and our standards of art as taught in schools are persistently upper-middle-class, how do we escape making art only for the upper-middle-class?</p> <p> The alternatives to "quality," to the "high" art shown in art-world galleries and magazines have been few, and for the most part unsatisfying, although well-intended. Even when kitsch, politics or housework are absorbed into art, contact with the real world is not necessarily made. At no time has the avant garde, though playing in the famous "gap between art and life," moved far enough out of the art context to attract a broad audience-that audience which has, ironically, been trained to think of art as something that has nothing to do with life and, at the same time, tends only to like that art which means something in terms of its own life, or fantasies. The dilemma for the leftist artist in the middle class is that her/his standards seem to have been set irremediably. No matter how much we know about what the broader public wants, or needs, it is very difficult to break social conditioning and cultural habits. Hopefully, a truly feminist art will provide other standards.</p> <p> To understand the woman artist's position in this complex situation between the art world and the real world, class and gender, it is necessary to know that in America artists are rarely respected unless they are stars or rich or mad or dead. Being an artist is not being "somebody." Middle-class families are happy to pay lip service to art but god forbid their own children take it so seriously as to consider it a profession. Thus a man who becomes an artist is asked when he is going to "go to work," and he is not-so-covertly considered a child, a sissy (a woman), someone who has a hobby rather than a vocation, someone who can't make money and therefore cannot hold his head up in the real world of men—at least until his work sells, at which point he may be welcomed back. Male artists, bending over backward to rid themselves of this stigma, tend to be particularly susceptible to insecurity and machismo. So women daring to insist on their place in the primary rank–as art makers rather than as art housekeepers (curators, critics, dealers, "patrons")–inherit a heavy burden of male fears in addition to the economic and psychological <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_087.jpg"/> discrimination still rampant in a patriarchal, money-oriented society.</p> <p> Most art being shown now has little to do with any woman's experience, in part because women-rich ones as "patrons," others as decorators and "home-makers"—are in charge of the private sphere, while men identify more easily with public art-art that has become public through economic validation (the million-dollar <orgName key="Rembrandt" ref="http://www.wikidata.org/entity/Q5598">Rembrandt)</orgName>. Private art is often seen as mere ornament; public art is associated with monuments and money, with "high" art and its containers, including unwelcoming whitewalled galleries and museums with classical courthouse architecture. Even the graffiti artists, whose work was unsuccessfully transferred from subways to art galleries, were all men, concerned with facades, with having their names in spray paint, in lights, in museums...</p> <p> Private art is visible only to intimates. I suspect the reason so few women "folk" artists work outdoors in large scale (like <orgName key="Simon Rodia" ref="https://oac.cdlib.org/findaid/ark:/13030/kt8k402266/">Simon Rodia</orgName>'s <title level="m">Watts Towers</title> and other "naives and visionaries" with their cement and bottles) is not only because men aspire to erections and know how to use the necessary tools, but because women can and must assuage these same creative urges inside the house, with the pink glass swan as an element in their own works of art the living room or kitchen. In the art world the situation is doubly paralleled. Women's art until recently was rarely seen in public and all artists are voluntarily "women" because of the social attitudes mentioned above; the art world is so small that it is "private."</p> <p> Just as the living room is enclosed by the building it is in, art and artist are firmly imprisoned by the culture which supports them. Artists claiming to work for themselves alone, and not for any audience at all, are passively accepting the upper-middle class audience of the internal art world. This is compounded by the fact that to be middle-class is to be passive, to live with the expectation of being taken care of and entertained. But art should be a consciousness-raiser; it partakes of and should fuse the private and the public spheres. It should be able to reintegrate the personal without being satisfied by the merely personal. One good test is whether or not it communicates, and then, of course, what and how it communicates. If it doesn't communicate it may just not be very good art from anyone's point of view; or it may be that the artist is not even aware of the needs of others, or simply doesn't care.</p> <p> For there is a need out there, a need vaguely satisfied at the moment by "schlock." <note type="researchNote">Bernard Kirchenbaum, in correspondence. Celender, op. cit., offers proof of this need and of the huge (and amazing) interest in art expressed by the working class, though it should be said that much of what is called art would not be agreed upon by the taste dictators.</note> And it seems that one of the basic tenets of the feminist arts should be a reaching out from the private sphere to transform that "artificial art" and to more fully satisfy that need. For the art-world artist has come to consider her/his private needs paramount, and has too often forgotten about those of the audience, any audience. Work that communicates to a dangerous number of people is derogatorily called a "crowd pleaser." This is a blatantly classist attitude, taking for granted that most people are by nature incapable of understanding good art (ie., upper-class or quality art). At the same time, much ado is made about art-educational theories that claim to "teach people to see" (consider the political implications of this notion) and muffle all issues by stressing the "universality" of great art.</p> <p> It may be that at the moment the possibilities are slim for a middle-class art world's understanding or criticism of the little art we see that reflects working-class cultural values. Perhaps our current responsibility lies in humanizing our own activities so that they will communicate more effectively with all women. Hopefully we will aspire to more than women's art flooding the museum and gallery circuit. Perhaps a feminist art will only emerge when we become wholly responsible for our own work, for what becomes of it, who sees it, and who is nourished by it. For a feminist artist, whatever her style, the prime audience at this time is other women. So far, we have tended to be satisfied with communicating with those women whose social experience is close to ours. This is natural enough, since this is where we will get our greatest support, and we need support in taking this risk of trying to please women, knowing that we are almost certain to displease men in the process. In addition, it is embarrassing to talk openly about the class system which divides us, hard to do so without sounding more bourgeois than ever in the implications of superiority and inferiority inherent in such discussions (where the working class is as often considered superior as the middle class).</p> <p> A book of essays called <title>Class and Feminism</title> written by <orgName>The Furies</orgName>, a lesbian feminist collective, makes clear that from the point of view of working-class women, class is a definite problem within the women's movement. As <persName key="Myron, Nancy, 1943-" ref="http://viaf.org/viaf/79318339/">Nancy Myron</persName> observes, middle-class women: <quote>can intellectualize, politicize, accuse, abuse and contribute money in order not to deal with their own classism. Even if they admit that class exists, they are not likely to admit that their behavior is a product of it. They will go through every painful detail of their lives to prove to me or another working-class woman that they really didn't have any privilege, that their family was exceptional, that they actually did have an uncle who worked in a factory. To ease anyone's guilt is not the point of talking about class... You don't get rid of oppression just by talking about it.</quote></p> <figure/> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_088.jpg"/> <p>Women are more strenuously conditioned toward upward cultural mobility or "gentility" than men, which often results in the woman consciously betraying her class origins as a matter of course. The hierarchies within the whole span of the middle class are most easily demarcated by lifestyle and dress. For instance, the much-scorned "Queens housewife" may have enough to eat, may have learned to consume the unnecessities, and may have made it to a desired social bracket in her community, but if she ventures to make art (not just own it), she will find herself back at the bottom in the art world, looking wistfully up to the plateau where the male, the young, the bejeaned seem so at ease.</p> <p> For middle-class women in the art world not only dress "down," but dress like working-class men. They do so because housedresses, pedal pushers, polyester pantsuits, perrnanents, the wrong accents are not such acceptable disguises for women as the boots, overalls and win breaker syndromes are for men. Thus young middle-class women tend to deny their female counterparts and take on "male" (unisex) attire. It may at times have been chic to dress like a native American or a Bedouin woman, but it has never been chic to dress like a working class woman, even if she's trying to look like <persName key="Jacqueline Kennedy Onassis" ref="http://www.wikidata.org/entity/Q165421">Jackie Kennedy</persName>. Young working-class women (and men) spend a large amount of avallable money on clothes; it's a way to forget the rats and roaches by which even the cleanest tenement-dwellers are blessed, or the mortgages by which even the hardest-working homeowners are blessed, and to present a classy facade. Artists dressing and talking "down" insult the hardhat much as rich kids in rags do; they insult people whose notion of art is something to work for-the pink glass swan.</p> <p> Yet women, as evidenced by the Furies' publication, and as pointed out elsewhere (most notably by <persName>Bebel</persName>), have a unique chance to communicate with women across the boundaries of economic class because as a "vertical class" we share the majority of our most fundamental experiences-emotionally, even when economically we are divided. Thus an economic analysis does not adequately explore the psychological and esthetic ramifications of the need for change within a sexually oppressed group. Nor does it take into consideration that women's needs are different from men's-or so it seems at this still unequal point in history. The vertical class cuts across the horizontal economic classes in a column of injustices. While heightened class consciousness can only clarify the way we see the world, and all clarification is for the better, I can't bring myself to trust hard lines and categories where fledgling feminism is concerned.</p> <p> Even in the art world, the issue of feminism has barely been raised in mixed political groups. In 1970, women took our rage and our energies to our own organizations, or directly to the public by means of picketing and protests. While a few men supported these, and most politically conscious male artists now claim to be feminists to some degree, the political and apolitical art world goes on as though feminism didn't exist-the presence of a few vociferous feminist artists and critics not withstanding. And in the art world, as in the real world, political commitment frequently means total disregard for feminist priorities. Even the increasingly Marxist group ironically calling itself <orgName>Art- Language</orgName> is unwilling to stop the exclusive use of the male pronoun in its theoretical publications. <note type="researchNote">This despite their publication of and apparent endorsement of Carolee Schneemann's "The Prounoun Tyranny" in the Fox, 3(1976)</note></p> <p> Experiences like this one and dissatisfaction with Marxism's lack of interest in "the woman question" make me wary of merging Marxism and feminism. The notion of the non-economic or "vertical" class is anathema to Marxists and confusion is rampant around the chicken-egg question of whether women can be equal before the establishment of a classless society or whether a classless society can be established before women are liberated. As <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> says of her own Marxism and feminism: <quote>They are at once incompatible and in real need of one another. As a feminist and a Marxist I carry their contradictions within me and it is tempting to opt for one or the other in an effort to produce a tidy resolution of the commotion generated by the antagonism between them. But to do that would mean evading the social reality which gives rise to the antagonism. <note type="researchNote">Sheila Rowbotham, Women: Resistance and Revolution (London, 1972).</note></quote></p> <p>As women, therefore, we need to establish far more strongly our own sense of community, so that all our arts will be enjoyed by all women in all economic circumstances. This will happen only when women artists make conscious efforts to cross class barriers, to consider their audience, to see, respect, work with the women who create outside the art world-whether in suburban crafts guilds or in offices and factories or in community workshops. The current feminist passion for women's traditional arts, which influences a great many women artists, should make this road much easier, undess it too becomes another commercialized rip-off. Despite the very real class obstacles, I feel strongly that women are in a privileged position to satisfy the goal of an art which would communicate the needs of all classes and sexes to each other, and get rid ofthe we/they dichotomy to as great an extent as is possible in a capitalist framework. Our sex, our oppression and our female experience–our female culture, just being explored–offer access to all of us by these common threads.</p> </div> </body> <back> <p>Lucy R. Lippard is a feminist art critic, writes fiction too, and has been active politically. She is co-founder of several women artists' groups and has published 10 books on contemporary art, the two most recent ones being <title>From the Center: Feminist Essays on Women's Art</title> (E.P. Dutton) and <title>Eva Hesse</title> (N.Y.U. Press).</p> </back> </text> </TEI>
