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• DOI: 10.2307/430626
• Corpus ID: 143296513

From the Center: feminist essays on women's art

• Lucy R. Lippard
• Published 8 November 1976

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From the Center: Feminist Essays on Women's Art by Lucy R. Lippard

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Sally J. Cloninger, From the Center: Feminist Essays on Women's Art by Lucy R. Lippard, The Journal of Aesthetics and Art Criticism , Volume 35, Issue 4, Summer 1977, Pages 492–493, https://doi.org/10.2307/430626

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From the Center: feminist essays on women's art Paperback – November 8, 1976

• Print length 314 pages
• Language English
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• Publication date November 8, 1976
• Dimensions 20 x 20 x 20 inches
• ISBN-10 0525485015
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• Publisher ‏ : ‎ Studio (November 8, 1976)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 314 pages
• ISBN-10 ‏ : ‎ 0525485015
• ISBN-13 ‏ : ‎ 978-0525485018
• Item Weight ‏ : ‎ 1.05 pounds
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Lucy Lippard

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American art critic who is particularly known for her writings on Conceptual art and Feminist art. She was born in New York and studied at Smith College and the New York Institute of Fine Arts. In 1969 she was one of the founders of the Art Workers' Coalition, which combined demands for artists' rights with protests against the Vietnam War. She was closely involved with the early history of Conceptual art, and in 1973 published the first attempt in book form to document its growth, Six Years: The Dematerialization of the Art Object. This used a collage of chronologically ordered references and quotations and deliberately suspended aesthetic judgement. Part of the reason Lippard was interested in this kind of art was that its abandoning of a physical ‘product’ appeared to undermine the commercial values of the art market, although she admitted in her ‘post-face’ to the book that by 1972 Conceptual artists were selling works for substantial sums and that ‘art and artists in a capitalist society remain luxuries’. Lippard's other books include Pop Art (1966), Changing: Essays in Art Criticism (1971), From the Center: Feminist Essays on Women's Art (1976), A Different War: Vietnam in Art (1990), Mixed Blessings: New Art in a Multicultural America (1992), and monographs on Eva Hesse (1976) and Ad Reinhardt (1981).

From:   Lippard, Lucy   in  A Dictionary of Modern and Contemporary Art »

Subjects: Art & Architecture

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Lucy R. Lippard

Lucy Rowland Lippard (1937, New York City) is an art historian, curator, writer and activist. As a critic, Lippard is best known for her study of conceptual art in Six Years: the Dematerialization of the Art Object from 1966 to 1972 and for her writing on feminist art and politically engaged art. Lippard has curated over 50 exhibitions and currently resides in Galisteo, New Mexico.

• 1.2 Catalogues
• 1.4 Essays (selection)
• 2 Interviews, conversations
• 3 Documentaries
• 4 Literature

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum . In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing , in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse .

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone , about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine , and has been a contributing editor of Art in America .

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers' Coalition . She is a co-founder of several feminist and artist organizations including the feminist collective Heresies , which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter , a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace , an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker. (Source)

Publications [ edit ]

Books [ edit ].

• The Graphic Work of Philip Evergood , New York: Crown, 1966.
• Pop art , trans. Wim Gijsen, The Hague: Gaade, 1966, 216 pp. (Dutch)
• Pop art , trans. Roberto Sanesi, Milan: Gabriele Mazzotta, 1967, 256 pp; repr., Milan: Rusconi, 1989, 215 pp. (Italian)
• Pop Art , trans. Milica Drašković, Belgrade: Jugoslavija, 1967, 215 pp; 2nd ed., Belgrade, 1977, 215 pp. Review: Rus (ZU). (Serbo-Croatian)
• Poppu āto [ポップ・アート], trans. Atsushi Miyakawa, Tokyo: Kinokuniya Shoten, 1967, 216 pp; new ed., Tokyo: 洋販出版, 1993. (Japanese)
• Pop art , trans. Wolfgang Längsfeld and Margarete Längsfeld, Munich: Droemer Knaur, 1968, 236 pp. (German)
• Le pop art , Paris: Hazan, 1969, 216 pp; repr., Paris: Thames & Hudson, 1997. (French)
• A arte pop , Lisbon: Verbo, 1973, 240 pp. (Portuguese)
• Pop art , trans. Giōrgos Tassopoulos, Athens: Ekdoseis Hypodomē, 1984, 248 pp. (Greek)
• 露西.利帕, Pu pu yi shu [普普藝術], Taipei: 遠流, 1991, 264+[16] pp. (Chinese)
• El pop art , trans. Nicolas Calas, Barcelona: Destino, 1993, 216 pp. (Spanish)
• 팝 아트 : 예술과 상품의 경계에 서다, Seoul: 시공사, 2011, 265 pp. (Korean)
• editor, Surrealists on Art , Englewood Cliffs, NJ: Prentice-Hall, 1970, 213 pp.
• editor, Dadas on Art: Tzara, Arp, Duchamp and Others , Englewood Cliffs, NJ: Prentice-Hall, 1971, xii+178 pp, IA .
• Changing: Essays in Art Criticism , New York: Dutton, 1971, 320 pp.
• Seis años: la desmaterializacion del objeto artístico de 1966 a 1972 , trans. Luz Rodríguez Olivares, Madrid: Akal, 2004, 378 pp. (Spanish)
• Eva Hesse , México: Alias, 2017, 357 pp. (Spanish)
• From the Center: Feminist Essays on Women's Art , New York: E.P. Dutton, 1976, IA . Excerpt .
• Yo veo / Tú significas , trans. Paloma Checa-Gismero, Bilbao: Consonni, 2016, 233 pp. [2] (Spanish)
• with Charles Simonds, Cracking / brüchig werden , Cologne: Verlag der Buchhandlung Walther König, 1979, 126 pp. An artist's book about a woman archaeologist who in the process of an excavation is drawn into the imaginary world of simonds's little people, as created in his sculptures. [3] (German)
• Ad Reinhardt , New York: Harry N. Abrams, 1981, 216 pp.
• 원저자명, Obeorei [오버레이 : 먼 과거에서 대지가 들려주는 메시지와 현대미술에 대한 단상], trans. Hyeongmin Yun, Seoul: Hyeonsil Munhwa Yeongu, 2019, 343 pp. (Korean)
• Get the Message? A Decade of Art for Social Change , New York: E.P. Dutton, 1984, 343 pp, IA .
• Mixed Blessings: New Art in a Multicultural America , New York: Pantheon Books, 1990, vii+278 pp; new ed., New York: The New Press, 2000.
• A Different War: Vietnam in Art , Bellingham, WA: Whatcom Museum of History and Art, 1990, 131 pp, IA .
• Partial Recall; with Essays on Photographs of Native North Americans , New York: New Press, 1992, 200 pp, IA .
• The Pink Glass Swan: Selected Essays on Feminist Art , New York: The New Press, 1995, viii+342 pp, IA . TOC .
• The Lure of the Local: Senses of Place in a Multicentered Society , New York: New Press, 1997, 328 pp, IA . Part 1 of 5 .
• On the Beaten Track: Tourism, Art and Place , New York: New Press, 1999.
• Weather Report , Boulder, CO: Boulder Museum of Contemporary Arts, 2007.
• Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West , New York: The New Press, 2014, 200 pp. Review: Meunier (Transatlantica).
• Pueblo Chico: Land and Lives in Galisteo since 1814 , Santa Fe: Museum of New Mexico Press, 2020, 304 pp. Review: Warzel .

Catalogues [ edit ]

A series of four exhibitions named for the populations of the cities they were held in. Their catalogues are made up of collections of loose black-and-white index cards containing statements, documentation, and conceptual works by each artist, to be rearranged, filed, or discarded at will.

• 557,087 , Seattle: Contemporary Art Council of the Seattle Art Museum, 1969, [95] cards. Consists of 95 10cm x 15cm index cards. Exh. held at the Seattle Art Museum Pavilion, 5 Sep-5 Oct 1969. About . [4]
• 955,000 , Vancouver: Vancouver Art Gallery, 1970, [137] cards. Consists of 95 10cm x 15cm index cards from the previous show in Seattle with 42 new index cards added; in total 71 artists from North America and Europe participated. Exh. held at the Vancouver Art Gallery, 13 Jan-8 Feb 1970. [5] [6]
• 2,972,453 , Buenos Aires: Centro de Arte e Communicacion, 1970, [43] cards. Consists of 43 cards; included only artists that were not part of the first two exhibitions held in Seattle and Vancouver. Exh. opened 4 Dec 1970. [7] [8] [9]
• c.7,500 , Valencia, CA: California Institute of the Arts, 1973, [30] cards. Included only women artists. (incl. Wadsworth Atheneum, ICA Boston, Smith College, and Walker Art Center). Exh. held May 1973-Feb 1974 at the California Institute of the Arts, Valencia, CA. Afterwards traveled to six other venues: ICA Boston; Moore College of Art, Philadelphia; Wadsworth Atheneum, Hartford, CT; Walker Art Center, Minneapolis; Royal College of Art, London; Smith College Museum of Art, Northampton, MA. [10] [11]
• 4,492,040 , ed. Jeff Khonsary, afterw. Lucy R. Lippard, Los Angeles and Vancouver: New Documents, 2012. Facsimile reprint of all four of the catalogues, with a new afterword by Lippard . [12]
• Sniper's Nest: Art That Has Lived with Lucy R. Lippard , ed. David Frankel, Annandale-on-Hudson, NY: Center for Curatorial Studies/Bard College, 1996, iv+104 pp.

Editor [ edit ]

• editor, "Time: A Panel Discussion" , Art International 13:9, Nov 1969, pp 20-23, 39, IA .
• co-editor, Heresies: A Feminist Publication on Art and Politics , New York: Heresies Collective, 1977-1993.

Documentaries [ edit ]

• Artists’ Call to Central America: Lucy Lippard and Art for a Cause , Paper Tiger Television, 1984, 28 min. A show documenting a two week benefit festival of performance art held in January of 1984, curated and organized by Lucy Lippard.
• !Women Art Revolution , dir. Lynn Hershman Leeson, 2010, 83 min. Website . WP .

Literature [ edit ]

• Julia Bryan-Wilson, "Lucy Lippard's Feminist Labor" , ch. 4 in Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era , University of California Press, 2009.
• Julia Bryan-Wilson, "Still Relevant: Lucy Lippard, Feminist Activism, and Art Institutions" , pp 70-92.
• Cornelia H. Butler, et al., From Conceptualism to Feminism: Lucy R. Lippard's Numbers Shows, 1969-74 , London: Afterall Books, 2012, 304 pp. TOC . Publisher .
• Sabeth Buchmann, "Curating with/in the System" , OnCurating 26: "Curating Degree Zero Archive: Curatorial Research", Oct 2015. On Lippard's 'Number shows'.
• Genese Grill, "Re-Materialization, Remoteness, and Reverence: A Critique of De-Materialization in Art", Georgia Review 70:3, Fall 2016, pp 563-581; repr.," Caesura , Sep 2020; repr. in Grill, Portals: Reflections on the Spirit in Matter , Splice 2022.
• Celina Figueiredo Lage, Maria Gabriela Carvalho, "Get the message? Lucy R. Lippard após a desmaterialização da arte" , Art Sensorium 7:2, Jul-Dec 2020. (Brazilian Portuguese)
• Karen Benezra, "Introduction" , in Benezra, Dematerialization: Art and Design in Latin America , University of California Press, 2020.

See also [ edit ]

• Art Workers' Coalition
• Printed Matter

Links [ edit ]

• Lucy R. Lippard papers, 1930s-2010, bulk 1960-1990 , Archives of American Art
• PAD/D Collection at MoMA
• Art history
• Art writers
• Feminist art
• Conceptual art
• Artists' publishing
• Art and activism

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Feminism, Has It Changed Art History?

1978, Heresies, A Feminist Publication on Art & Politics

One of the first considerations of feminism's effect on traditional art history, this essay was first published in Women Studies and the Arts, eds. Lola B. Gellman and Elsa H. Fine, January, 1978; and reprinted in Heresies shortly thereafter.

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Australian Feminist Studies

Susan Ballard

Since the revolutions of the 1960s, feminism and art have created spaces for thinking and rethinking the links between gender and creativity. Art has been challenged both within and without the frame, as artists and feminists disrupt and complicate pre-established modes of production and representation. Feminism in turn has been challenged by art that asks: what does a feminist subject look like? What does she read? Think? Feel? Make? Amidst the constant questioning some unexpected encounters occur: art made by women is not necessarily feminist art; patriarchal logics continue to dominate the ongoing boundaries of canon formation; and, it remains necessary to examine gender in all its potentialities. As Susan Best writes, it continues to be our job as feminist artists and art historians to address ‘the refraction of the question of the subject through the lens of gender’ (2013, p.143). Subsequently, this review asks: What do you feel when you encounter feminist art? And, who is art AND feminism for? We pursue these questions through five new or recently updated titles broadly collected under the heading of contemporary feminist art history and theory.

Art Journal

Kate Mondloch

Maura Coughlin

Leiden Arts in Society Blog

Catherine Powell

Where have all the women gone? It can be difficult, sometimes, to find evidence of female participation in the arts and culture of the early modern period. This short essay explores how we can locate women and their participation by approaching our research differently.

Mary D Garrard

Assesses the feminization of art in the United States, and the concomitant devaluing of art in American culture, from the 18th century to the present

Lisa Tickner

Feminism, art history, and three concepts of sexual difference - experiential difference, positional difference, and a psychoanalytic understanding of sexual difference - developed from a paper by Michele Barratt

Marjorie Och

Alexandra Kokoli

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