Eleanor Antin

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Art and Sexual Politics : Why Have There Been No Great Women Artists?
Thomas B. Hess, Elizabeth C. Baker (Eds.)

Book edition of Linda Nochlin’s famous essay “Why Have There Been No Great Women Artists?”, that first appeared in the January 1971 issue of ARTnews, together with the follow-up essay “GREAT WOMEN ARTISTS” by Thomas B. Hess. Together these texts are followed by a collection of ten essay replies to “Why Have There Been No Great Women Artists?”, including “Dialogue” by Elaine de Kooning with Rosalyn Drexler; “The Hermaphrodite” by Bridget Riley; “Do Your Work” by Louise Nevelson; “Women without Pathos” by Eleanor Antin; “The Double-Bind” by Suzi Gablik; “Healthy Self-Love” by Sylvia Stone; “Moving Out, Moving Up” by Marjorie Strider; “Social Conditions Can Change” by Lynda Benglis; “Artists Transgress All Boundaries” by Rosemarie Castoro; “SEXUAL ART-POLITICS” by Elizabeth C. Baker; and “IN THE UNIVERSITY” by Lee Hall. Five sections of the book are made up of exemplary art works by Agnes Martin, Eva Hesse, Mary Bauermeister, Lee Hall, Nancy Graves, Dorothea Rockburne, Lee Bontecou, Jo Baer, Niki de St. Phalle, Kiki Kogelnik, Deborah Remington, Joan Snyder, Louise Nevelson, Lynda Benglis, Eleanor Antin, Sylvia Stone, Suzi Gablik, Joan Mitchell, Bridget Riley, Sylvia Sleigh, Jean Follett, Charmion Von Wiegand, Louise Bourgeois, Marcia Marcus,Marisol, Louisa Matthiasdottir, Chryssa, Mary Frank, Perle Fine, Elaine de Kooning, Roslyn Drexler, and many more.

* Condition: Good (general light wear and edge tanning) – All care is taken to provide accurate condition details of used books, photos available on request.

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Art and Sexual Politics
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From Conceptualism to Feminism
Lucy Lippard's Numbers Shows 1969–74


Four exhibitions of contemporary art curated by Lucy Lippard have become renowned as her ‘numbers shows’. Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c.7,500 opening in Valencia, California, before touring the US and to London.

This book follows Lippard’s curatorial trajectory, analysing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism.

Extensive photographic material is complemented by a major new essay by Cornelia Butler and interviews with Seth Siegelaub and artists Agnes Denes, Alice Aycock, Eleanor Antin and Mierle Laderman Ukeles.

The volume also includes critical responses written at the time by Peter Plagens and Griselda Pollock, and an analysis of artists initiatives in Argentina that give a context for Lippard’s emerging political consciousness by Pip Day.

This is the third publication in the Exhibitions Histories series, co-published with Afterall Books, London.

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From Conceptualism to Feminism
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Troubling Research
Performing Knowledge in the Arts

Edited and with contributions by Carola Dertnig, Diedrich Diederichsen, Tom Holert, Johannes Porsch, Johanna Schaffer, Stefanie Seibold, and Axel Stockburger

In 2010/11, a group of Vienna-based art practitioners (artists, art historians, and cultural theorists) embarked on a journey of experimental research, exploring the genealogical and political implications of the ways in which research rhetorics and policies are currently incorporated into the fields of contemporary art and art education. Troubling Research: Performing Knowledge in the Arts, a collection of “books” of essays and conversations, is the quirky and exhilarating outcome of this collaborative endeavor to render a “problematization” by interrogating the very conditions of the current upsurge of the art/research articulation.  

Michel Foucault once introduced problematization as a “specific work of thought” that transforms “a group of obstacles and difficulties into problems to which diverse solutions will attempt to produce a response.” For this project, the obstacles and difficulties in question were the terms “art” and “research” and their peculiar conjunction as “artistic” or “arts-based research.” As a result of this process, the understanding of individual artistic/theoretical practices was tested. Working both independently and as a collaborative entity, the group found itself negotiating and contesting each participant’s claim to knowledge in the context of art. The eventual responses to the problem of research proved to be both performative and troubling.

Design by Johannes Porsch

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Troubling Research - Performing Knowledge in the Arts
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4,492,040
Lucy Lippard (1969-1974)

Between 1969 and 1974, the influential curator Lucy Lippard (born 1937) curated four decisive Conceptual art exhibitions, and in doing so reinvented the exhibition catalogue. 4,492,040 is a facsimile reprint of the extremely scarce and hugely important catalogues produced for these hugely important “numbers shows” – 557,087 (the Seattle Art Museum), 955,000 (the Vancouver Art Gallery), 7,500 (the California Institute of Art) and 2,972,453 (the Centro de Arte y Comunicación). Titled after the populations of the cities in which the shows were held, each catalogue was an envelope of loose note cards containing statements, documentation and conceptual works by each artist, to be rearranged, filed or discarded at will. If Lippard described Conceptual art as the dematerialization of the art object, these catalogues effectively announced the dematerialization of the art exhibition. (One reviewer claimed Lippard had been the artist, and that her medium had been other artists.) 4,492,040 includes such iconic figures as Vito Acconci, Carl Andre, Siah Armajani, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Daniel Buren, Rosemarie Castoro, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Eleanor Antin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, On Kawara, Edward Kienholz Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N.E. Thing Co., Bruce Nauman, Adrian Piper, Allen Ruppersberg, Ed Ruscha, Richard Serra, Robert Smithson, Jeff Wall and Lawrence Weiner.

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