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Leaving Art: Writings on Performance, Politics, & Publics, 74-07 by Suzanne Lacy
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ApproximatelyS$ 16.65
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Brand New
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eBay item number:116761777468
Item specifics
- Condition
- Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See all condition definitionsopens in a new window or tab
- Country/Region of Manufacture
- France
- ISBN
- 9780822345695
About this product
Product Identifiers
Publisher
Duke University Press
ISBN-10
0822345692
ISBN-13
9780822345695
eBay Product ID (ePID)
92331850
Product Key Features
Book Title
Leaving Art : Writings on Performance, Politics, and Publics, 1974-2007
Number of Pages
420 Pages
Language
English
Publication Year
2010
Topic
Conceptual, Public Art, Individual Artists / General, Art & Politics, Criticism & Theory, Performance, History / General
Illustrator
Yes
Genre
Art
Format
Trade Paperback
Dimensions
Item Height
1.1 in
Item Weight
26 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
LCCN
2009-053842
Reviews
"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, "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, "Reflection in and on the present momentrather than a concern for prestige or posteritydefines 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, "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 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, “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, "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, “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, "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
Dewey Edition
22
Dewey Decimal
709.2
Table Of Content
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
Synopsis
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., A collection of thirty texts written by the internationally renowned conceptual and performance artist Suzanne Lacy between 1974 and 2007.
LC Classification Number
N6537
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