Decide to Boycott Women. What began as a one-month experiment intended to improve communication with women wound up as a twenty-seven year hiatus from speaking or otherwise relating to them. Her systematic rejection of all members of her own gender lasted for the remainder of her life. Lozano effectively cut off ties with friends, fellow artists, gallerists, and other women who had been long-time supporters of her art, including the feminist curator and art critic Lucy Lippard. Art historian and critic Helen Molesworth has noted that these two conceptual works signaled Lozano's simultaneous rejection of capitalism and patriarchy.[4]
I don't understand how this was successful, nor what is added with Place's textual replication.
An a-poetics rather insists that, to use another numerical referent, the trinity is the new binary, and there is no dialogue, no call and response because the poem is no longer treated as a text to be read, however many ways and loose, but is cut loose altogether. The poem is simply a site of potential engagement like other works of art are simply sites for potential engagement, and there may be no “reading” just as there may be no “writing,” but a tripartite encounter with a textual surface.
Decide to Boycott Women. What began as a one-month experiment intended to improve communication with women wound up as a twenty-seven year hiatus from speaking or otherwise relating to them. Her systematic rejection of all members of her own gender lasted for the remainder of her life. Lozano effectively cut off ties with friends, fellow artists, gallerists, and other women who had been long-time supporters of her art, including the feminist curator and art critic Lucy Lippard. Art historian and critic Helen Molesworth has noted that these two conceptual works signaled Lozano's simultaneous rejection of capitalism and patriarchy.[4]
ReplyDeleteI don't understand how this was successful, nor what is added with Place's textual replication.
An a-poetics rather insists that, to use another numerical referent, the trinity is the new binary, and there is no dialogue, no call and response because the poem is no longer treated as a text to be read, however many ways and loose, but is cut loose altogether. The poem is simply a site of potential engagement like other works of art are simply sites for potential engagement, and there may be no “reading” just as there may be no “writing,” but a tripartite encounter with a textual surface.
ReplyDeleteBut I like this part. How do we enact it?