Leaving Art: Writings on Performance, Politics, and Publics, 1974–2007
by Suzanne Lacy contributions by Moira Roth and Kerstin May
Duke University Press, 2010 Paper: 978-0-8223-4569-5 | eISBN: 978-0-8223-9122-7 | Cloth: 978-0-8223-4552-7 Library of Congress Classification N6537.L26L33 2010 Dewey Decimal Classification 709.2
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
Since the 1970s, the performance and conceptual artist Suzanne Lacy has explored women’s lives and experiences, as well as race, ethnicity, aging, economic disparities, and violence, through her pioneering community-based art. Combining aesthetics and politics, and often collaborating with other artists and community organizations, she has staged large-scale public art projects, sometimes involving hundreds of participants. Lacy has consistently written about her work: planning, describing, and analyzing it; advocating socially engaged art practices; theorizing the relationship between art and social intervention; and questioning the boundaries separating high art from popular participation. By bringing together thirty texts that Lacy has written since 1974, Leaving Art offers an intimate look at the development of feminist, conceptual, and performance art since those movements’ formative years. In the introduction, the art historian Moira Roth provides a helpful overview of Lacy’s art and writing, which in the afterword the cultural theorist Kerstin Mey situates in relation to contemporary public art practices.
AUTHOR BIOGRAPHY
Suzanne Lacy is an internationally known artist whose work includes installations, video, and large-scale performances on social themes and urban issues. She is also chair of the Master in Fine Arts in Public Practice program at Otis College of Art and Design. Lacy edited the collection Mapping the Terrain: New Genre Public Art and has published more than seventy articles on public and performance art.
REVIEWS
“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.” - Holland Cotter, New York Times
“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making Leaving Art a strong resource for public and live artists working now.” - Becky Hunter, Whitehot Magazine
“The book, then, performs best as an archive of methods. One text explicitly
outlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.” - Sally O’Reilly, Art Monthly
“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’” - Abigail Solomon-Godeau, Art in America
“As both artist and theorist, Suzanne Lacy has pioneered the field of collaborative and socially engaged art. Over the past several decades, she has refigured artistic practice as a means for the production of new publics. This book is an incomparable toolbox for anyone seeking a renewal of art’s social and political potential today.”—Hans Ulrich Obrist, Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London
“Suzanne Lacy is the most important public artist working today, in part because she is also an inspired organizer, writer, and public intellectual. Multicultural and multicentered, and devoted to civic dialogue, she balances esthetics and politics, pragmatics and imagination, while collaborating with those living inside the issues. Her feminist energy infuses this book. It will turn many heads.”—Lucy R. Lippard, author of The Pink Glass Swan: Selected Feminist Essays on Art
“Suzanne Lacy’s work is a communal improvisation inviting life to happen in all its drama, absurdity, pain, and danger. At its best, it has the passion and complexity of Action Painting.”—Eleanor Antin, artist and Professor Emeritus, University of California, San Diego
“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.”
-- Holland Cotter New York Times
“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’”
-- Abigail Solomon-Godeau Art in America
“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making Leaving Art a strong resource for public and live artists working now.”
-- Becky Hunter Whitehot Magazine
“The book, then, performs best as an archive of methods. One text explicitly
outlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.”
-- Sally O’Reilly Art Monthly
TABLE OF CONTENTS
Illustrations ix
Preface xiii
Acknowledgments xv
Introduction. Suzanne Lacy: Three Decades of Performing and Writing/Writing and Performing / Moira Roth xvii
Part 1. Learning to Look: The Seventies
Introduction 2
1. Prostitution Notes (1974) 5
2. Falling Apart (1980) 20
3. Body Contract (1974) 30
Photo Essay. Learn Where the Meat Comes From (1976) 43
4. Cinderella in a Dragster (1977) 48
5. The Bag Lady: On Memory (1982) 52
6. The Life and Times of Donaldina Cameron (with Linda Palumbo and Kathleen Chang) (1978) 57
7. In Mourning and In Rage (With Analysis Aforethought) (1978) 64
8. Learning to Look: The Relationship between Art and Popular Culture Images (with Leslie Labowitz) (1970) 72
9. Feminist Artists: Developing a Media Strategy for the Movement (with Leslie Labowitz) (1981) 83
10. Time, Bones, and Art: Anatomy of a Decade (1995) 92
Part 2. Political Performance Art: The Eighties
Introduction 108
11. Broomsticks and Banners: The Winds of Change (1980) 109
12. The Greening of California Performance: Art of Social Change—A Case Study (1982) 114
13. Made for TV: California Performance in Mass Media (1982) 120
14. Battle of New Orleans (1980) 126
15. Beneath the Seams (1982) 137
16. In the Shadows: An Analysis of The Dark Madonna (1990) 144
17. Political Performance Art: A Discussion by Suzanne Lacy and Lucy R. Lippard (1985) 151
Part 3. Debated Territory: The Nineties
Introduction 160
18. The Name of the Game (1991) 161
19. Debated Territory: Toward a Critical Language for Public Art (1994) 172
20. Affinities: Thoughts on an Incomplete History (1994) 185
21. Love, Cancer, Memory: A Few Stories (1996) 194
22. Cancer Notes (with Leslie Becker) (1995) 211
23. What It Takes (with Ann Wettrich) (2002) 222
Part 4. Leaving Art: After 2000
Introduction 236
24. The Skin of Memory/La Piel de la Memoria (with Pilar Riaño-Alcalá) (2006) 237
25. Seeking an American Identity (Working Inward from the Margins) (2003) 250
26. Cop in the Head, Cop in the Street (2006) 267
27. Having It Good: Reflections on Engaged Art and Engaged Buddhism (2005) 284
28. Hard Work in a Working-Class Town (2006) 300
29. Tracing Allan Kaprow (2007) 319
Afterword: In|ter|ceptions and In|tensions—Situating Suzanne Lacy's Practice / Kerstin Mey 327
Appendix. Chronology and Selected Performances and Installations 339
Notes 343
Index 369
REQUEST ACCESSIBLE FILE
If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you
with an electronic file for alternative access.
Please have the accessibility coordinator at your school fill out this form.
Leaving Art: Writings on Performance, Politics, and Publics, 1974–2007
by Suzanne Lacy contributions by Moira Roth and Kerstin May
Duke University Press, 2010 Paper: 978-0-8223-4569-5 eISBN: 978-0-8223-9122-7 Cloth: 978-0-8223-4552-7
Since the 1970s, the performance and conceptual artist Suzanne Lacy has explored women’s lives and experiences, as well as race, ethnicity, aging, economic disparities, and violence, through her pioneering community-based art. Combining aesthetics and politics, and often collaborating with other artists and community organizations, she has staged large-scale public art projects, sometimes involving hundreds of participants. Lacy has consistently written about her work: planning, describing, and analyzing it; advocating socially engaged art practices; theorizing the relationship between art and social intervention; and questioning the boundaries separating high art from popular participation. By bringing together thirty texts that Lacy has written since 1974, Leaving Art offers an intimate look at the development of feminist, conceptual, and performance art since those movements’ formative years. In the introduction, the art historian Moira Roth provides a helpful overview of Lacy’s art and writing, which in the afterword the cultural theorist Kerstin Mey situates in relation to contemporary public art practices.
AUTHOR BIOGRAPHY
Suzanne Lacy is an internationally known artist whose work includes installations, video, and large-scale performances on social themes and urban issues. She is also chair of the Master in Fine Arts in Public Practice program at Otis College of Art and Design. Lacy edited the collection Mapping the Terrain: New Genre Public Art and has published more than seventy articles on public and performance art.
REVIEWS
“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.” - Holland Cotter, New York Times
“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making Leaving Art a strong resource for public and live artists working now.” - Becky Hunter, Whitehot Magazine
“The book, then, performs best as an archive of methods. One text explicitly
outlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.” - Sally O’Reilly, Art Monthly
“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’” - Abigail Solomon-Godeau, Art in America
“As both artist and theorist, Suzanne Lacy has pioneered the field of collaborative and socially engaged art. Over the past several decades, she has refigured artistic practice as a means for the production of new publics. This book is an incomparable toolbox for anyone seeking a renewal of art’s social and political potential today.”—Hans Ulrich Obrist, Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London
“Suzanne Lacy is the most important public artist working today, in part because she is also an inspired organizer, writer, and public intellectual. Multicultural and multicentered, and devoted to civic dialogue, she balances esthetics and politics, pragmatics and imagination, while collaborating with those living inside the issues. Her feminist energy infuses this book. It will turn many heads.”—Lucy R. Lippard, author of The Pink Glass Swan: Selected Feminist Essays on Art
“Suzanne Lacy’s work is a communal improvisation inviting life to happen in all its drama, absurdity, pain, and danger. At its best, it has the passion and complexity of Action Painting.”—Eleanor Antin, artist and Professor Emeritus, University of California, San Diego
“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.”
-- Holland Cotter New York Times
“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’”
-- Abigail Solomon-Godeau Art in America
“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making Leaving Art a strong resource for public and live artists working now.”
-- Becky Hunter Whitehot Magazine
“The book, then, performs best as an archive of methods. One text explicitly
outlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.”
-- Sally O’Reilly Art Monthly
TABLE OF CONTENTS
Illustrations ix
Preface xiii
Acknowledgments xv
Introduction. Suzanne Lacy: Three Decades of Performing and Writing/Writing and Performing / Moira Roth xvii
Part 1. Learning to Look: The Seventies
Introduction 2
1. Prostitution Notes (1974) 5
2. Falling Apart (1980) 20
3. Body Contract (1974) 30
Photo Essay. Learn Where the Meat Comes From (1976) 43
4. Cinderella in a Dragster (1977) 48
5. The Bag Lady: On Memory (1982) 52
6. The Life and Times of Donaldina Cameron (with Linda Palumbo and Kathleen Chang) (1978) 57
7. In Mourning and In Rage (With Analysis Aforethought) (1978) 64
8. Learning to Look: The Relationship between Art and Popular Culture Images (with Leslie Labowitz) (1970) 72
9. Feminist Artists: Developing a Media Strategy for the Movement (with Leslie Labowitz) (1981) 83
10. Time, Bones, and Art: Anatomy of a Decade (1995) 92
Part 2. Political Performance Art: The Eighties
Introduction 108
11. Broomsticks and Banners: The Winds of Change (1980) 109
12. The Greening of California Performance: Art of Social Change—A Case Study (1982) 114
13. Made for TV: California Performance in Mass Media (1982) 120
14. Battle of New Orleans (1980) 126
15. Beneath the Seams (1982) 137
16. In the Shadows: An Analysis of The Dark Madonna (1990) 144
17. Political Performance Art: A Discussion by Suzanne Lacy and Lucy R. Lippard (1985) 151
Part 3. Debated Territory: The Nineties
Introduction 160
18. The Name of the Game (1991) 161
19. Debated Territory: Toward a Critical Language for Public Art (1994) 172
20. Affinities: Thoughts on an Incomplete History (1994) 185
21. Love, Cancer, Memory: A Few Stories (1996) 194
22. Cancer Notes (with Leslie Becker) (1995) 211
23. What It Takes (with Ann Wettrich) (2002) 222
Part 4. Leaving Art: After 2000
Introduction 236
24. The Skin of Memory/La Piel de la Memoria (with Pilar Riaño-Alcalá) (2006) 237
25. Seeking an American Identity (Working Inward from the Margins) (2003) 250
26. Cop in the Head, Cop in the Street (2006) 267
27. Having It Good: Reflections on Engaged Art and Engaged Buddhism (2005) 284
28. Hard Work in a Working-Class Town (2006) 300
29. Tracing Allan Kaprow (2007) 319
Afterword: In|ter|ceptions and In|tensions—Situating Suzanne Lacy's Practice / Kerstin Mey 327
Appendix. Chronology and Selected Performances and Installations 339
Notes 343
Index 369
REQUEST ACCESSIBLE FILE
If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you
with an electronic file for alternative access.
Please have the accessibility coordinator at your school fill out this form.
It can take 2-3 weeks for requests to be filled.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE