Mar 9, 2025
1971 letter from artist Nancy Spero to art critic Lucy Lippard
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1971 letter from artist Nancy Spero to art critic Lucy Lippard
Cecilia Vicuña: About to Happen, Contemporary Arts Center, New Orleans, LA / Siglio Press, South Egremont, MA, 2017 [Art: © Cecilia Vicuña]
Lucy Lippard - Desmaterializacion del arte
HELENA ALMEIDA & REBECCA SOLNIT
Es decir, un camino no se revela a sí mismo en ningún punto en particular, ni desde ningún punto en particular.
Los caminos aparecen y desaparecen... No tenemos un único punto de vista para un camino, excepto uno móvil, moverse a lo largo de él.
_ Lucy Lippard citada por Rebeca Solnit en Wanderlust. Una historia del caminar.
_ Helena Almeida, de la serie Desenhos Habitados (Inhabited Drawings «Sem Título» 2004
At The Aldrich Contemporary Art Museum, “52 Artists: A Feminist Milestone” unites work by feminist artists who span generations and media.
"At the beginning of the 1970s, American artists were demanding more equitable representation in institutional shows. Organizations such as the Black Emergency Cultural Coalition and the Ad Hoc Committee of Women Artists staged protests over the Whitney Museum’s omission of Black and women artists in their exhibitions. Against this landscape, the writer, critic, curator, and activist Lucy Lippard mounted “Twenty-Six Contemporary Female Artists” at The Aldrich Contemporary Art Museum in 1971 in Ridgefield, Connecticut. With this show, Lippard hoped to help shift the white, patriarchal paradigm that had long pervaded American institutions.
In her accompanying exhibition essay, Lippard wrote: “Within the next few years, I expect a body of art history and criticism will emerge that is more suited to women’s sensibilities. In the meantime, I have no clear picture of what, if anything, constitutes ‘women’s art.’” Lippard hoped that the show would offer a platform for emerging female artists of the time and midwife a new generation of even more liberated female artists.
“52 Artists: A Feminist Milestone,” a new show at The Aldrich , curated by Amy Smith-Stewart and Alexandra Schwartz, tracks the evolution of feminist art practices in the decades since “Twenty-Six.”
Read the full piece (including multiple art pieces) here: https://www.artsy.net/article/artsy-editorial-expansive-new-celebrates-five-decades-feminist-art
Art critic Lucy Lippard’s first outing as a feminist curator in 1971 has, until recently, been almost entirely absent from history.
“The intersections of nature, culture, history, and ideology form the ground on which we stand—our land, our place, the local. The lure of the local is the pull of place that operates on each of us, exposing our politics and our spiritual legacies. It is the geographical component of the psychological need to belong somewhere, one antidote to a prevailing alienation. The lure of the local is that undertone to modern life that connects it to the past we know so little and the future we are aimlessly concocting. It is not universal (nothing is) and its character and affect differ greatly over time from person to person and from community to community.”
Lucy Lippard, The Lure of the Local
Six Years: The Dematerialization of the Art Object from 1966 to 1972