Addressing the Other Woman Textual Correspondences in Feminist Art and Writing
Produktdetaljer
Biografisk notat
Kimberly Lamm is Associate Professor of Gender, Sexuality, and Feminist Studies at Duke University.<p>'In looking at the decade that occupies a unique place in the ongoing history of the transnational feminist movement, [Lamm has] uncovered hitherto unassessed materials and proposed insightful new readings in the archives of feminism, whilst also presenting us with an archival rearrangement that produces new objects with which to think about art history.'<br />Francesco Ventrell,<i> Art History</i></p>
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List of figures
Introduction: addressing the other woman
Part I: Writing the 'I' otherwise: telegraphing black feminism in the work of Adrian Piper and Angela Davis
1 Adrian Piper’s textual address
2 Letters from an imaginary enemy, Angela Davis
Part II: Typing the poetry of monsters: Nancy Spero and Valerie Solanas write aggression
3 Writing the drives in Nancy Spero’s Codex Artaud
4 Valerie Solanas’ SCUM Manifesto and the texts of aggression
Part III: Hieroglyphs of maternal desire: the collaborative texts of Mary Kelly and Laura Mulvey
5 Rewriting maternal femininity in Mary Kelly’s Post-Partum Document
6 Feminist desires and collective reading in the work of Laura Mulvey
Conclusion
Bibliography
Index
In Addressing the other woman, Kimberly Lamm analyses how the artists Adrian Piper, Nancy Spero, and Mary Kelly worked with the visual dimensions of language in the 1960s and 1970s. Using text and pictures of writing, these artists challenged dominant images of femininity, inviting viewers to participate in the project of imagining women beyond familiar worlds that reinforce their subordination.
At the heart of this project is ‘the other woman’, a figure Lamm identifies as representing a utopian wish to reach other women and correspond with them across similarities and differences. In order to make the artworks’ aspirations to address the other woman more concrete, Lamm places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible. These writers enlarge our understanding of the artists’ textual interventions, and their own efforts to imagine, create, and reach their audiences shed light on how and why the artists turned to text and writing.
Rigorously composed and convincingly argued, Addressing the other woman offers a multi-faceted picture of the feminisms that emerged in the 1960s and 1970s. It will appeal to scholars and students of feminist art history, visual studies, and literature.