Author Archives: Mira

A Discussion on Facebook about Feminism

Yesterday the New York Times Sunday Review lead editorial was “The Campaign Against Women.” The editorial focused on a number of recent state and federal laws put forward and passed by Republican legislative majorities affecting women’s reproductive rights, healthcare, equal pay and domestic violence protection, among others (and they didn’t even mention recent laws requiring transvaginal ultrasound probes for women seeking abortions).

I posted the Times editorial on Facebook with the  query “is there still a need for “Woman”-focused feminism or would other theories and political positions be more useful?” This query partially emerges from instructive and provocative conversations I had with some of my students this past semester in a course on Feminist art practice about a range of political and theoretical identifications and positionalities some of which I experienced as being in stark contrast to the actualities of female experience around the globe as well in our own seemingly privileged culture.These conversations suggested more study and rethinking, and, if I’m not sure I can alter some of my deeply held views, I see in renewed focus other points of views that I need to rethink and study further.

The ensuing comments thread is an example of what can occasionally make Facebook an interesting space for discussion among people who are not in the same room and who may or may not have ever actually met, beyond its role monetizing your personal data for the benefit of Facebook. The people who participated, some of whom rarely “speak up” on Facebook to my knowledge, were articulate, informed, and clearly cared deeply about the issues raised. I learned from their comments and responses in this thread, as participants discussed some of the parameters of the impasse in which feminism occasionally seems trapped, between developments and positions on the “left” and the “right.”  With the permission of my Facebook friends who participated  I am republishing this comments thread here, to expand the readership. I have done this once before, in the spirit of extending conversation when it seems worth it: I would encourage anyone who wants to engage in this discussion to do so on the Facebook comments thread and I will add them to this blog entry if they continue the discussion in a productive way.

Fung-Lin Hall: I just posted for John Stuart Mill… he was for women’s rights.

Tracey Harnish: I was just talking about this with another artist. How young women do not seem like to like the term feminism. It seems like something new is needed, but what? This regressive Repub stance is unbelievable!

Lori Ellison: OWS is forming a feminist movement inside of the ideas already percolating.

Ula Einstein: good question Mira! I don’t have an answer yet. and Tracey, I wonder if young women don’t like it because they don’t fully understand the history; although Feminism is not a word I use much either. I am completely interested in who and how we are as women c0-creating change, consciousness and culture. hmmmmmm.

Mira Schor: I may be misinterpreting them but this semester in my Feminist Art Practice course my students and I had a heated discussion (well, I was heated) over a statement made during the conference I hosted at Parsons (*at the moment the conference is partially online–please note introduction for order of speakers which appear as individual videos–but not the discussion segments, when these go online I will link to them), where one participant said she had no trouble with the identification feminist, but she did have a problem with the identification Woman, this was related to a queer identification and queer theory/discourse, adopted by most of the students whether gay, queer, transgender, or straight, & some at least still had some issues with the term feminist although of course they would agree with feminist political points of view. It is most curious. My point was that when the most brilliant minds of a generation in a relatively privileged culture take that position (I’m thinking of people like Judith Butler who many of my students idolize, for her gender work as well as more recent writings on war, non-violence etc) , then when women’s rights are under assault, there is no discourse to defend them, because discourse has migrated, in this case, to queer rights, which are important, but I do not think are the same thing, and so feminist activism seems to be disabled…I could go on and on, as my students discovered with some alarm!!!

Ula Einstein: again, thanks for letting us know the Context: Mira: I don’t think they’re the same thing either. and yes: then when women’s rights are under assault, there is no discourse to defend them, because discourse has migrated, in this case, to queer rights, which are important, BUT I DO NOT THINK ARE THE SAME THING, and so feminist activism seems to be disabled

Lori Ellison: Feminism is more important than ever. I heard an interview with the creator of the TV show Girls on Fresh Air and Terri Gross said at her age they were pressing to be called women. Dunham blithely glided over that. I think there is a gathering storm over the War on Women as the media has called it. And Obama. There will be a lot of women who in earlier times were able to take certain things for granted and never think deeply about feminism that will now.

Donna Ruff: I heard that interview too, and am kind of horrified by the series- I don’t mind being referred to as a girl, having gone through the woman era, but the humiliating and confused actions of the girls on the show- if this is indicative of a generation it makes me very sad. Of course it’s fiction but is this a piece of the anti-feminist, anti-woman zeitgeist?

Lori Ellison: Yes, the internalized backlash.

Mira Schor: Donna I don’t get HBO, but friends have told me about how disturbing it is to see the young women on Girls accept totally degrading sex without question making the women on Sex and the City positive feminists for insisting on their own pleasure! it is worrisome if a generation of women raised during the Reagan/Bush/ and yes the Obama years would allow so much of the misogyny always threatening to overwhelm any civilization to go unquestioned and unopposed. The less clear opposition and questioning there is, the more years to again denaturalize that misogyny.

Monika Weiss: For years I thought in the West there was no more need for “women focused feminism” because we were on a different level of fighting otherness and underprivileged conditions, as opposed to some non-Western countries and continents, where women focused feminism was and is still a necessity. In light of recent developments here on the Right, with their attempts to undermine most of the women rights we have achieved in the 20th century (short of preventing us from voting–but perhaps this is coming as well, since the other legislation debated now is as absurd as voting prevention, perhaps because voting is not good for raising kids, and takes our female minds –if there are any –away from the households) — thus I have to admit that yes, we do need, once again, fully on, a “women focused feminism”, which would be positioned under the agenda of defending human rights as such.

p.s. There are good reasons why so many of our students love Judith Butler and especially her more recent books on war and violence — perhaps because there are connections, some obvious and some more hidden from general view–between oppressive systems that treat woman as an under-class, under-human, and other forms of oppression such as war (which in Butler’s terms is always already a crime) with those “not grievable” lives. I think this is a time not only for “women focused feminism” but a larger critique of a culture or civilization that makes possible a reversal of human rights. This is a great question by the way, thank you Mira for asking it.

Donna Ruff: The alarming thing is that it’s no longer something to be identified as a movement by those on the Right, because the Right has migrated to the center. As for the series, it’s not just degrading sex, but sex with no feeling whatsoever. Along with a sort of nihilist drifting through life and relationships.

Mira Schor: Donna I don’t think the Right has migrated to the Center, the Right has migrated to the extreme right, and everyone else has moved right accordingly, so that today’s “center” is basically mid 20th Republican or worse. For example many of Nixon’s domestic policies would today be perceived as  left, even socialist by the standards of the more rabid Republicans, whereas many agree that Pres. Obama basically has the policy outlook of a moderate Republican pre. Gingrich.

Donna Ruff: Yes, after I posted that I realized I had worded it badly! What I meant was that these attempts to deny women’s rights through legislation aren’t coming from some right wing extremists, but from the House Speaker and Republicans who should have more moderate, and Representative (ironic use of word) views. So that the so-called Right has spread like a mutated virus.

Monika Weiss: This is of course true-we have lost the Left in this move towards the Right and extreme Right. how to position the feminist movement now, in this context of loss of Left?

Terry R Myers: Mira, I assume you know Monique Wittig’s essay “One is Not Born a Woman”? I’m curious if the student in your class that you mention above knows Wittig’s work?

Mira Schor: Hi Terry, thanks for the reference  to Monique Wittig’s essay “One is Not Born a Woman”. I don’t have a copy of the essay (do you happen to have a PDF?). I can’t speak for whether my students would agree or disagree, though on the face of it, most likely would agree. There just seems to be a very fine line between several verities: one is not born but becomes a woman..yes, since each culture and class interprets that role differently…but hormones do make for gender coded differences>and so interesting now that we have gone from feminism to queer to transgender surgeries and hormonal treatments that reinscribe the body…somewhere between “Woman” being a cultural construct and the loss of an effective feminist activism, there’s been a mutation with political effects.

Mira Schor: In response to Monika Weiss’s interesting comment et al, I think it is certain that this could not be passed now: This UNIVERSAL DECLARATION OF HUMAN RIGHTS passed by the UN in 1948 under the leadership of Eleanor Roosevelt.

“Whereas recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world…”

Elaine Angelopoulos: My position and experience (to this day) has always told me that I cannot separate Feminism from Queer, Class, and Racial concerns. These are threads among many. It’s like atom splitting, and thus nuclear (as in disaster). We may all have our subaltern positions, but we all have to acknowledge the Other. Making fun and denegrating the Other is what falls prey to larger devisive mechanisms rather than moving forward. I may not know Butler from the back of my hand, but I know enough to say that people read what they want into text because they want to identify with it so much, and to believe that it represents their being. I know this is a stance that makes people sigh and roll their eyes in frustration.

Donna Ruff: Not surprising that Butler would be popular with students, who are looking for ways to self-identify with academic underpinnings! Mira, are you saying that this cultural backlash is due to the blurring of gender identification? Fear-based, as these movements usually are?

Something that I honestly never considered, though it now seems obvious to me.

Jen Bradford: Highly recommend this review of Girls (“The Loves of Lena Dunham” by Elaine Blair | The New York Review of Books). Brushing it aside as internalized woman-hatred misses a lot, and will make conversations with students pretty difficult moving forward.

Terry R Myers: Hi Mira – I think I do have a PDF somewhere – searching . . .

Monique Wittig, from "One is Not Born a Woman," 1981, thanks to Terry R. Myers for sending me a PDF so promptly!

Donna Ruff: Jen, thanks for posting that, it’s a good read. I guess removing myself from a literal reading of the show, I’d still characterize myself as, in her words, “admiring but distinctly nervous.”

Mira Schor: ‎Jen, thanks I’ll take a look..actually don’t think my students are watching TV.

Jen Bradford: I don’t mean you (or they) have to watch or approve of the show – but it could tell you something more complex about where they’re coming from.

Mira Schor: absolutely

Terry R Myers: Mira – I just sent you an email (with the PDF of Monique Wittig’s essay)

Monika Weiss: Regarding the UNIVERSAL DECLARATION OF HUMAN RIGHTS, the problem, the old problem is with our body. When does it cease to be “Everyone” simply because it is impregnated or even “almost impregnated”, on its way to be such, thus the life of a woman as only and mainly the live of a future mother and not a life of an equal citizen [one of the great books on this is “Women and children first: feminism, rhetoric,and public policy” which is a look at policies that make this view dominant] . If according to some, “Everyone” begins in the “seed” itself, and wherever that “seed” lands, is a land occupied by it, so to speak, then women cease to be subjects of such declaration of rights, soon after they have been “landed” … (contraception rights debate being the current example) — this is an old medieval argument (in Western tradition Virgin Mary is a vessel but not a full human being-no other agency–and in my mind I imagine her always already beheaded) — this is all returning full speed now, “the reproductive rights” debate having repercussion for other areas of human rights, including gay rights in a sense that of course if the marriage is an assumed act of an official procreation the it is not a union of two independent human lives… [the question remains, what discourses and actions are appropriate now, in light of the loss of real Left]

Kikuko Tanaka: For me…. feminism is the sets of interdisciplinary knowledge that brings justice to all the people, through the emancipation of the people in the feminine status, including women, sexual dissidents, the poor, non-whites, foreigners, immigrants, children, the insane and the criminalized.

It is sad that the Universal Declaration of Human Right still remains our goals to be achieved, and despite the UN’s declaration and its humanitarian efforts, the UN itself has also functioned as an another form of empirism: western domination of the racial others.

Republicans are too backward in the country presumed to be advanced. We have more and more knowledge about how oppression and domination work. But how can we make real changes? Voting and protests are important, but they do not seem enough. What do we do?

Mira Schor: Monika and Kiko, so we are at an impasse? (I mean if the Declaration of Human Rights is seen as a flawed document by the global “left”, and honored mainly through being ignored and breached, because if I understand correctly, it is the product of the Enlightenment, which itself seems devalued by all sides, from the left because it was a product of the patriarchal, colonialist West and by the right for all the reasons we can imagine (poor stupid enslaved people make it easier for rich people to have total power)…not expecting any of us to have an answer

Kikuko Tanaka: I don’t want to think that we are at an impasse! though sometimes, I cannot escape that feeling…

Yes…Universal Declaration sounds right and comforting on the surface, but idea of “right” itself presupposes the existence of an “individual autonomous being” who are entitle to possess “property.” It is true that idea of human rights has helped to improve general work condition, but with an intention to prevent the rises of socialism….

Emily Caigan: I am joining late, but if it’s ok – I’ll jump in. I usually start teaching Feminist Art and Culture by reading The Declaration of Sentiments from the Seneca Falls Convention. The 1st wave feminist issues helps ground the conversation – especially since men and women of color were very active ( the race issue became problematic later). Gender Studies is an important topic mostly for third wave and LGBTQ for second wave. Basically it reminds us about many rights that we did not have 100 years ago and that women in other countries don’t have today. THEN we get into art and culture. I may do this in order to keep my sanity :).

Mira Schor: Emily, very interesting to hear how you organize your course. I’ll keep it in mind. As you say, start with life and general history, not with art. I have thought about starting a version of this course next year with statistics relating to women’s rights from beginning of second wave and from now, to focus on actual rights and lack thereof, actual facts about women’s lives, because I think that there is a sense of “the way it was” and now with huge gaps of knowledge about life for women at both ends of the time frame.

A thirty year old woman today may find it hard to really understand that 40 years ago she would have had no significant women teachers in graduate school and few role models in the art world, but at the same time she may also not realize to what degree sexism still exists at the center of what seems on the surface like a much improved world. This is something I myself find surprising: 40 years ago I never dreamed that at this point in my life I would be up against deeply ingrained patriarchal operations within my most inner circle in the art world, despite so many gains, and that it would be so much harder to cope with because it is embedded within networks of friends and supporters, and because it is unspoken, even with a strong support network of like-minded women: the lack of a larger movement makes it impossible to point to something and say, look, look at what is going on here. And of course I’m no longer protected by the gloss of youth, which always helps a lot and may insulate the student generation, as it did me to some extent: but I came of age during the women’s movement and very significantly I had seen in my teens how my mother fared when she was widowed, young, how society had favored the man and the couple, and how difficult it was for a woman alone, and how heroic any woman is who battles through on her own talent and wits.

Monika Weiss: The UNSPOKEN is the key word here, I agree, and the impossibility to “point at it” because of the apparent lack of a larger movement (although I would like or hope to believe that we don’t need a glow of youth to deal with this). Yes, there has been some progress and female graduate students today have some wonderful women role models to look up to. But there is a new kind of resistance to this “progress” within graduate environment– and the art world in general — some, the opponents, point out that this thing, let’s call it feminism at al, is “not so interesting” anymore, or as that which “has been done before”– this despite the Wack! etc. and other recent exhibitions resurrecting early feminisms in art). There is an uncanny level of reversal embedded in this process too akin to the political reversal going on today. But somehow I still maintain a basic trust in the promise of education. P.s. and yes, I also agree with Emily Caigan that we need to teach Feminisms [in any of the contexts of contemporary art] by first discussing the main historical and socio-political contexts etc.

Emily Caigan: I should mention that my course does not exist in Art History dept., but instead in Women’s Studies, along with a course that is called Performing Feminism. I was once called a “threat” because of my teaching and my students only receive AH credit if they are BFA majors. I appreciate these conversations immensely on FB. Mira, your story about your mother would be vital to an intro in any women’s studies class. It’s moving to me. My mom was a young widower and right up until she died in 2010, she said to me, ” You have no idea…”. Monica, ( hi, btw) It is absolutely the ” problem that has no name.” Here we are trying to name it.

Monika Weiss: responding to the earlier question about our condition of suspension inside an “impasse”–yes, I believe we are. It

It is still the same old problem with modernity and its multiple shadows. The Declaration offers a pretty good path, but we still disagree on the subject of who is a human being and who is not. Or perhaps, what it exactly entails and for whom. There is still a problem with our shallow and diversified understanding of equality of human rights–which are acceptable when they are offered within our own circle but not so crucial for “others” and elsewhere. And then there is again the problem of body, especially body marked by otherness, thus the body that is female, gay, colored is still an “obstacle” for the individual who inhabits such marked body–since white male and straight body is still being Privileged. This has also economic consequences. So the battle for gender equality as the battle for human rights, is and has always been the SAME with all other battles that take on otherness and power structures. Why this impasse though? Perhaps because we somehow managed to convince younger generations of women (and workers and some of the third world etc.) — that the battle has been won, at least on the policy level, or at least in the “developed” world. The level of shame or ‘threat’ that comes with even those words “feminism” or “socialism” is the unexpected twist or result of the lack of vigilance. I guess I am going in circle here, where all roads lead to Left, and the Left is being mourned by us in this conversation. [Meanwhile Chicago is demonstrating, and, as I said before, I still have some trust in education, in universities and in cities, as places that a certain potential is honed…]

Susan Silas: re: Girls, it seems pretty generation specific. My daughter, who is about 5 years younger doesn’t seem to relate to it….I still think there is something meaningful in the category “Woman” despite the theoretical discourses that put emphasis elsewhere because 51% of the world’s population is considered biologically female and the political backlash is against all of those persons no matter how they self-identify. Some of the stratification in the women’s movement developed because of insensitivity to the concerns of women with different identifications and experiences due to race and class and that splintering has never really been mended or adequately addressed but it allows some male intellectuals to dismiss feminism as a form of identity politics by listing it along with a list of very the specific identity concerns of much smaller groups when the overall concern is one of over half the population. Somehow, the question needs to be reformulated but not by letting go of the entire category unless there is really a better one to supplant it strategically.

*

The conversation above took place May 20. Today’s New York Times featured the following front page story, above the fold, “THE NEW AMERICAN JOB: More Men Enter Fields Dominated by Women.”

More than a few men said their new jobs had turned out to be far harder than they imagined.
But these men can expect success. Men earn more than women even in female-dominated jobs. And white men in particular who enter those fields easily move up to supervisory positions, a phenomenon known as the glass escalator — as opposed to the glass ceiling that women encounter in male-dominated professions, said Adia Harvey Wingfield, a sociologist at Georgia State University.

For men, the glass escalator, instead of women’s two traditional possibilities in that fragile material, the glass slipper and the glass ceiling. Yes, let’s all get on that.

 

 

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Two Years of a Year of Positive Thinking: A Table of Contents

My first post on A Year of Positive Thinking was published April 28, 2010. In “Looking for art to love in all the right places” I teased out the different ways one can fall in love with an art work, as opposed to a person. My first project was to go out into New York city galleries in search of art that I love, in keeping with the goal of the blog, which was to turn my attention to the art work that sustains and inspires me, in contrast to the works with which I have engaged in equally vital though perhaps more “negative” polemical battles in many of my other writings.

As a friend said, well, that lasted about two weeks.

It’s true that it has not always been easy to stick to the positive though as I point out in the “About” page of this blog:

A Year of Positive Thinking may turn out to be a battleground between the two sides of my personality, something like Cassandra and Pollyanna! Cassandra tells truths no one wants to hear and Pollyanna actually does the same thing: she’s not the sweet cloying character we think of when we use the name in a disparaging way, she looks right at what she sees in the dysfunctional little town she has come to live in and her engagement with the people she meets sets in motion positive change.

I have published fifty-two posts in two years and I intend to continue for a while longer, although other writing projects I’ve been germinating may claim my attention. The year of a positive thinking is a metaphorical time frame.

Publishing a blog allows for instant communication but it also fosters instant oblivion, in a way that a book does not. I hope this table of contents featuring about thirty-eight posts will help give a sense of what I have done in these past two years, essentially writing another book, one which despite the availability of the material on the blog’s archive, I would love to sometime see published in hard copy book form, a form which I think still has a gravitas and a usefulness that online material does not.

Trying to find an order of subject matter is hard because the blog format, with its capacity for links and pictures and the web’s orientation towards  a more diverse range of writing than the strictly or even partially academic has fostered my already marked penchant for associative thinking. Also, parenthetically, blog publishing allows for the immediate accessibility through links of material that in a book would be consigned to the endnotes and left to the reader’s enterprise to delve into further. And the writing style of the blog posts owe much of their tone and flavor to the kind of more personal and informal writing that I enjoyed salting away into the endnotes of my books. Whereas my two books each focus pretty evenly on feminism, painting, and teaching, the blog has given me the opportunity to comment on political events, write about film, delve into personal memory, and occasionally veer towards the photo essay. In keeping with this fluid, infinitely connected textual and visual frame, this table of contents of blog posts will put specific posts into more than one section when it seems relevant, in order to be true to the content and to connect to the most readers, true to the web environment of samplers, and surfers, and multi-taskers, and Google and Wikipedia addicted readers of this time. Within each section, the posts, linked for instant accessibility of course, are listed in chronological order with a little summary of the subject and an occasional excerpt. This table of contents does not contain links to named people and events, these exist within the posts themselves.

Preface: “About”

Introduction: Looking for art to love in all the right places (April 28, 2010)

I’ve fallen in love with many more artworks than I have men and without giving anything away I’d have to say that I’ve had better luck with the artworks I’ve loved and even the ones I’ve hated. No painting I’ve ever seen was married or loved someone else, or got in the way of my need for independence or solitude, and if I’ve tired of a work, having taken from it all that I needed and then outgrown it, the parting has always been amicable with the possibility of hooking up again always open to me. Meanwhile, and you can fill in the personal analogy or not, I pay a lot of attention to works I really dislike and get a lot of energy for my own work as a result.

Feminism:

Two posts were directly related to the Modern Women project at MoMA, including exhibitions and conferences:

Stealth Feminism at MoMA (May 16, 2010)

On gradually realizing during a random visit to the museum that individual works by women artists and small shows of works by women artists were scattered throughout the museum, like treasures in a treasure hunt that has not been advertised as such.

MoMA Panel: Art “Institutions and Feminist Politics Now”  (May 23, 2010)

A recap of a day of panel discussion held at MoMA, held May 21, 2010, as part of their Modern Women Project.

According to Roxana Marcoci, Curator, Photography, these curatorial discussions and initiatives emerged from a desire for greater transparency within the institution; she described the participants’ organization as non-hierarchical and cross-generational. The nature of this feminist work had forced departmental boundaries to be breached as researching work by women forced a greater transdisciplinarity. …

This question of permission is both the positive and negative side of the whole story: better to get the permission — which can only come from an activism brewing from below anyway — than not get the permission. But any freedom or rights based on patriarchal noblesse oblige or realpolitik can be withdrawn when it serves the institution, which is why continued vigilance and activism are always necessary. Some might take issue with the idea that it is better to get that permission and get some feminist action in a dominant institution such as MoMA but I think it all has to happen all over all the time and over and over again (over and over because feminism has tended not to have a good institutional memory, even if you take into account that we live in an ahistorical time).

A Great Artist (on Louise Bourgeois) (May 31, 2010), written the day Louise Bourgeois died.

Sometimes an artwork hedges its bets, or, by some minute concession to accessibility, in some tiny betrayal of form, apologizes for itself. I never detected that in Bourgeois’s work.

Stephan von Huene, Feminist Teacher (September 4, 2010) written about my mentor at CalArts, with whom I studied after I left the Feminist Art Program.

Biographies of Women Artists: Instinct and Intellect  (July 10, 2011) Some thoughts about Lee Krasner, on the occasion of a New York Times book review of Gail Levin’s biography of the artist.

“I’m 27 and Unmarried…” 40 Years later  (October 10, 2011) I use a piece written by my sister Naomi Schor for Glamour Magazine in 1971 to reflect on the early years of the Women’s Liberation Movement and how some of contradictions and societal imperatives of that time may still exist despite many advances for women in the United States.

A Feminist Correspondence  (December 9, 2011) This post republishes my appreciation of British feminist art historian and psychotherapist Rozsika Parker from November 22, 2010, with a more recent quite extraordinary correspondence this post initiated, between me and Parker’s collaborator, the art historian Griselda Pollock.

In your blog you rightly captured what it was that Rosie gave us and me in terms of making me a feminist writer on art: that things mattered deeply and seriously and that art touches on things that matter to us as we live them. That was what saved me from a bloodless and remote art history which i still cannot inhabit. (G. Pollock)

Women Artists:

Since there is much contestation over the designation feminist and in order to make access to posts about individual artists easier, I thought I’d create this separate category, of the notable posts on specific women artists.

Looking for Art to love–MoMA: A Tale of Two Egos (May 8, 2010)

Marina Abramovic: The Artist is Present is itself a tale of two egos: downstairs, that of the individual living woman whose body you can witness and potentially engage with at some level, and, upstairs, the projected ego of the woman who has hijacked curatorial common sense, whose many incarnations are screaming at you in an unpardonably cacophonous, unedited installation, who has created a kind of Disneyworld of the Spanish Inquisition through her use of re-enactors in stressful situations while rewriting the history of performance art so that she exists sui generis, without any historical context.

A Great Artist (on Louise Bourgeois)

A Remembrance: Sarah Wells (June 6, 1950-June 6, 1998) (June 6, 2011) On the work of a wonderful artist and a wonderful person, a dear friend exactly my age, who died too young, on her birthday.

Biographies of Women Artists: Instinct and Intellect

Art (painting and sculpture):

Reality Show: Otto Dix  (June 28, 2010) I’ll let one of my readers sum this one up:

I’ll confess, when I saw the tweets start flying about Mira Schor’s essay on Otto Dix, Greater NY, and Bravo’s Work of Art, I was skeptical. How the hell was she gonna fit any of those, never mind all three–at once–onto a blog called A Year of Positive Thinking?

By gum, she pulled it off.

Otto Dix, a brief footnote: drawing and ideational aesthetics (July 5, 2010)

Under the circumstances, I was struck by the speaker’s use of the word “ideation” as a substitute for the word drawing. It stuck in my head partly because it is sort of a cool word, with its pseudo-scientific and vaguely military/corporate buzz. On the other hand it’s somewhere between annoying and sinister in its implications to art making.

Postcard post (August 8, 2010) In this set of virtual postcards to my readers, I write about some of my favorite works of art and works of popular culture, including Andrea Mantegna’s The Dead Christ, the sculptural program of the North Portal of Chartres Cathedral, Giotto’s frescoes from the Scrovegni Chapel, Star Trek, and Buster Keaton.

Anselm Kiefer@Larry Gagosian: Last Century in Berlin (December 24, 2010)  The forcible eviction of a few peaceable demonstrators by the NYPD from the Kiefer exhibition at Gagosian Gallery in December 2010 was the spur to consider aspects of this body of Kiefer’s work with its inflated production values and questionable arrogation of Judaism.

Above the entrance of a vast space occupied by a German were letters written in black script. In transliterated Hebrew and English, they spelled out “Next Year in Jerusalem,” the concluding line of the Passover Haggadah. Next Year in Jerusalem? My hackles were officially raised even before I turned the corner and entered the occupied territory of Gagosian Gallery. I still don’t really want to write about Kiefer, so here is just a précis. The installation reminded me of nothing so much as Bloomingdales’s cosmetics floor if its Christmas decorations had a Holocaust theme.

The fault is not in our stars but in our brand: Abstract Expressionism at MoMA (October 3, 2010)

This led me to think about the work through the lens of the Brand. At first this seems to contradict approaches to art-making that are characteristic of the period, such as the picture plane as the arena of existential search. But of course most of the artists in the first two generations of Abstract Expressionism became known for a particular stylistic brand: drip (Pollock), zip (Newman), stroke (de Kooning), chroma (Rothko). Here then are some major case histories from the main exhibition.

Money can’t buy you love but art friendships can create joy (February 6, 2011) This post, about the exhibition “Poets and Painters” at Tibor de Nagy Gallery last winter, allowed me to consider the joyful and creative network of friendships among artists including Rudy Burckhardt, Yvonne Jacquette, Edwin Denby, Alex Katz, Mimi Gross, Red Grooms, Joe Brainard and Ron Padgett, John Ashberry, James Schuyler, Frank O’Hara, Jane Freilicher, and Larry Rivers, among others.

There is a particular kind of collaboration among artists who are friends that is special because it takes place outside of the frame of the art market, often before each individual’s path is fixed and their fate is determined, that is before some become rich and famous, while others struggle along, and still others die or vanish from the scene into another type of life than the one of the artist. Such moments are nearly impossible to sustain, but it can be pretty conclusively proven that these are often the happiest times in the lives of these artists and often too those artworks that later are seen to have the greatest market value emerge from just these moments of friendships and creative projects undertaken in relative conditions of anonymity, for the sheer joy of making and the pleasure in shared ideas.

Wonderment and Estrangement: Reflections on Three Caves, parts 1 and 2 of 3  (July 28, 2011) & part 3 (August 18, 2011)  A consideration of three caves, the Chauvet-Pont-d’Arc cave featured in Werner Herzog‘s Cave of Forgotten Dreams, the cave inside a malachite mine deep in the Ural Mountains featured in a 1946 Russian children’s movie The Stone Flower, and the cave whose entrance lurks in the shadow of Giovanni Bellini’s St. Francis in the Desert, which was on special display at the Frick Museum in New York last spring.

You may once have had experiences of wonderment and delight, perhaps most uniquely in childhood, in your imagination, reading a book, hearing a story, or seeing something of incomparable beauty. You’d think being an artist would give you continued access to such experiences but for the most part life as a professional artist is at best a negotiation among the constantly changing realities of contemporary art, the limitations of one’s own abilities, and some internal core ability to still experience such wonderment when it presents itself, despite competitiveness, jealousy, and the infrequency of such experiences. Basically we once experienced wonderment and now we do the best we can. So when we do on rare occasions experience wonderment or delight, it is notable, and for a moment we may return to the prelapsarian intensity, awe, and joy first experienced in childhood and which is part of the secret fuel for a lifetime of art practice.

Art of the Occupy Wall Street Era (October 12, 2011) On Creative Time curator Nato Thompson’s exhibition, Living as Form

Youthfulness in Old Age (December 8, 2011) On expansive creativity in old age, exhibitions of  later works by Joan Mitchell, Richard Artschwager, and Matta.

You put a spell on me (January 1, 2012) on two extraordinary exhibitions at the Metropolitan Museum of Art, The Renaissance Portrait from Donatello to Bellini and Heroic Africans: Legendary Leaders, Iconic Sculptures.

As a teacher, I’m interested in how one can use art or artifacts that may seem inaccessible or irrelevant because they were made in ancient or foreign cultures seemingly alien to our own and also because works like these African sculptures or Renaissance paintings seem to have already been digested, for once and for all by our own history, so that our ability to use them appears doubly blocked. How do you use old art? How do you use any great art while not sinking into preciousness?

As a sub-theme to this section, one thread that runs through several posts is the importance of drawing as a way to apprehend the world. Several posts feature my love of drawing, including works by Philip Guston and Otto Dix, and the importance of drawing to my own art practice becomes a practical tool to circumvent institutional prohibitions of photography in special exhibitions, in posts such as Otto Dix, a brief footnote: drawing and ideational aesthetics, Looking for art to love in all the right places, You put a spell on me, and a post about The Mourners at the Metropolitan Museum, Looking for art to love, day two: uptown from May 1, 2010.

Politics:

My Whole Street is a Mosque (August 19, 2010)  This piece was written when there was a media furor over the plans to build a mosque near Ground Zero and it occurred to me how absurd this was when the street that I lived on in Lower Manhattan, Lispenard Street, effectively was an outdoor mosque, when men pray on the sidewalk several times a day. This blog post ended up on The Huffington Post and was one of my few experiences with going viral, in a very modest way.

Confessions of a Yellow Dog Democrat (October 21, 2010) Attempting to reconcile my own profound disappointment at the timidity of Democratic party politicians with the reasons I could for many years call myself a “Yellow Dog Democrat,” I tried to cram as many references with as many links to as many great moments in American history, some which I witnessed, some which I already experienced as legendary, as I could, in order to give younger readers a sense of why anyone would still identify with a political party or regret no longer identifying with it.

This Past Week in Activism: Three Modest Gestures (December 12, 2010) How Manet’s The Execution of the Emperor Maximilian of Mexico, 1868, at the National Gallery in London, becomes a potent witness for a teach-in of students protesting the tripling of educational fees by the Cameron Government, and other valiant political gestures.

Should we trust anyone under 30? (with some excerpts from “Recipe Art” and other essays (June 20, 2011) Concerns about generational reversals, as observed before Occupy Wall Street.

Somebody Had to Shoot Liberty Valance (September 18, 2011)  The relevance to our current political dilemmas of John Ford’s late masterpiece The Man Who Shot Liberty Valance, a starkly simple, cinematically almost archaic yet profound meditation on the role of violence in creating the American democracy and on the nature of history itself.

Art of the Occupy Wall Street Era

A Discussion on Facebook About “Occupy Museums” (October 19, 2011) A topical example of the kind of Facebook discussion thread which at its best is a new form of group authorship. Bonus: photos of a 1984 demonstration outside the renovated MoMA to protest the lack of women in the inaugural exhibition.

“Books are like people” (November 15, 2011) The destruction of the People’s Library by the NYPD seen through the lens of art historian Leo Steinberg’s  remembrances of the signal importance of books during his childhood as a young refugee in Berlin and London.

Teaching:

All my writing is an extension of my deeply felt vocation for teaching but some texts specifically address conditions and specifics of teaching art.

Teaching Contradiction: Reality TV and Art School (August 27, 2010) On contradictions that exist within the expectations placed on artists studying in MFA programs around the country, as suggested by the end of the first season of the Bravo Network reality show “Work of Art: The Next Great Artist.”

While working on a syllabus on a winter’s afternoon (January 17, 2011) Listening to “A Beautiful Symphony of Brotherhood: A Musical Journey in the Life of Martin Luther King, Jr.,” while planning a syllabus including works and writings by Guy Debord, Michel de Certeau, John Cage, and Simone Weil (& see also Should we trust anyone under 30? to learn more about what happened in that class.)

Film:

Magic Tricks in the Dark (May 14, 2010), on William Kentridge‘s installation of 7 Fragments for Georges Méliès

In the Wave (May 20, 2010) a comparative appreciation of the films and the artistic friendship of Francois Truffaut and Jean Luc Godard, inspired by Emmanuel Laurent’s documentary Two in the Wave.

Money can’t buy you love but art friendships can create joy  This post includes an appreciation of Rudy Burckhardt’s films including Money, (1967), his first feature film of his 200 or so films, with script by Joe Brainard, about a money mad billionaire played by Edwin Denby, a film which combines a goofy, spontaneous home movie feeling (with actors including the artists Red Grooms, Mimi Gross, Yvonne Jacquette, Neil Welliver,  Rackstraw Downes, as well as these artists’ children, Jacob Burckhardt, Titus Welliver, and Tom Burckhardt–now all adult artists engaged in film, acting, and painting).

Somebody Had to Shoot Liberty Valance

Wonderment and Estrangement: Reflections on Three Caves, parts 1 & 2 (July 28, 2011) a post inspired by Werner Herzog’s film Cave of Forgotten Dreams and my rediscovery of the 1946 Soviet era children’ film, The Stone Flower.

Conditions of Writing a Blog:

Three blog posts from the summer of 2011 examine the conditions of contemporary web publication and readership, centered around instant readership tracking mechanisms such as Google analytics, and their effect on what gets written about, and the increasingly compressed time available for elucidation of artworks and events, in relation to earlier forms of hard copy small journal publications, with a post devoted to two essays by John Berger, “The Moment of Cubism” and “The Hals Mystery.”

Invisibility and Criticality in the Imperium of Analytics (July 31, 2011)

The Imperium of Analytics (August 2, 2011)

The Berger Mystery (August 11, 2011)

Family:

These texts form the nucleus of one of my next book projects, an artistic autobiography into which I would fold my parents’ lives and artworks.

For Father’s Day: Ilya Schor (1904-1961) (June 18, 2010), a celebration of my father Ilya Schor’s work, featuring some small paintings made in Marseilles, France while my parents awaited a visa to America.

“I Love You with All My Hearth” (December 5, 2010) an appreciation of my mother Resia Schor’s work, published on what would have been her 100th birthday:

That my mother as a person had sought economic survival through her own aesthetic labor was already a lesson in feminism for me and my sister. And, as she developed her own style and techniques in her new medium, it became intriguingly clear that my parents’ work embodied a strangely crossed gender art message that in itself contributed to my sister Naomi and my involvement with feminism and perhaps too to the slightly unusual flavor of our feminist outlook. Inasmuch as art movements are gender coded, my father’s work — folkloric, figurative, narrative, Jewish, delicate, light in weight — carried a feminine code. My mother’s work, abstract, muscularly sculptural although still relatively small in scale but heavy in weight carried a code that would seem to be masculine, as those terms are used.

“I’m Unmarried and Single…” 40 Years Later (October 10, 2011). On my sister Naomi Schor’s birthday, I begin a task I hope to continue, of writing about her via the magazines she collected over the years, to address her intellectual life through the popular culture she loved and the political events we lived through together, rather than through her notable work as a feminist theorist and scholar of French Literature and psychoanalytic theory, a body of work too daunting for me to address effectively.

Orbis Mundi (April 24, 2011) An essay prompted by a major move and the resulting intimate contact with my family’s archival ephemera and their collection of art objects, including a mysterious ceramic ball with Christian liturgical associations, which lays the path for my future project of writing an artistic autobiography in a photo essay format.

So I have bucked an American axiom, that you can’t go home again. I have returned to the building I was born into, and to the beautiful apartment I moved into when I was five–the day I first saw the apartment with my parents, taking the elevator from our smaller apartment a few floors below, is the moment where my conscious memory truly begins. Thus infuriating circumstances have precipitated my taking on part of what I consider my destiny, that is to archive and to mark as best I can the memory of my family’s life, particularly my parents’ lives in Warsaw and Paris before the War, their escape from Nazi-occupied Europe, and their creative life in New York as the background for the path I have taken in my life as what I would call an inflected American.

Although it would seem that I should set aside A Year of Positive Thinking in order to more fully develop the project of writing such an artistic autobiography as well as another one of developing my writings about teaching art, while continuing to teach and, of course, do my work, I am reluctant to do so because it is hard to give up any space for public speech, even if, as a self-published blog with a modest readership, I am speaking while standing on a tiny slippery stone in the middle of a vast ocean of media and opinion. So, in the sporadic fashion of the past two years, I plan to continue for a while longer..if anything because even just the goal of looking for art I love, and the occasional discovery of such work, is a lifelong proposition and can only help expand my cultural life as an artist.


 

 

 

 

 

 

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Invitation to a reading

Dear Followers of A Year of Positive Thinking:

A Year of Positive Thinking made its debut with a first post, Looking for art to love in all the right places, on April 28th, 2010, so it is about to be two years old this weekend. To celebrate, I will be reading from the blog at my current exhibition, “Mira Schor: Voice and Speech” at Marvelli Gallery on Friday April 27th at 6PM. Please join us.

A Year of Positive Thinking was developed with the support of a 2009 Creative Capital/Warhol Foundation Arts Writers Grant. The “Year” is a state of mind, one sometimes hard to attain but always worth seeking, so I plan to continue the blog into a third year.

Thanks for your continued support,

Mira

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“Miss Read”

One of the strangest yet most memorable evenings of my life is associated in my mind with a book by an author who wrote as “Miss Read.” The book, Thrush Green, depicts a day in the life of a small English village, in fact, May Day, a day of festival. I had bought it because I loved all things English and was an Agatha Christie Miss Marple fan, still am. But as I began to read it, I felt that there was something weird about the book, it seemed somehow uncanny, it was not overtly or exactly a children’s book yet it was too simple to be a grown-up’s book, though, as I recall, there was a slight cast of dark doings in the village, not unlike the sinister activities in Miss Marple’s fictional village of St. Mary Mead where between tea parties with the Vicar people are murdered at an alarming rate without compunction.

The author’s pseudonymic name, “Miss Read”–in quotes–added to the peculiarity. Another strange thing was that on the cover, that name was typeset as if it were the title of the book rather than the name of the author–top line, larger type. I felt unsure as to the book’s identity, its place in literature, its authenticity. What exactly was I reading, or, miss-reading?

That night, March 14, 1988, I was on a train back from Providence. This was the semester when I taught a weekly graduate sculpture seminar at RISD, which felt pretty weird in itself: in those days disciplinary identities held more sway than they do now in art academia and, as a painter, I felt just ever so slightly inauthentic teaching “sculpture” students even though I had spent a year during that decade making three dimensional person-size figural sculptures out of chicken wire, plaster, and rice paper, tackling basic sculptural issues such as gravity and stability in a back-assed manner since I lacked any specific skills or training for the purpose and doing this with the purpose of bursting through the material and dimensional properties of my small works of pigment on rice paper to the more sculptural material of oil paint on linen, which was my goal.

Mira Schor, Birthday, 1983. Plaster and rice paper.

Once a week in the spring semester of 1988, I would leave the house at 7AM for the 8AM train to Providence, and all day I lived to get back on the 6PM train to New York. That night I was nearly alone in one of the old cars on Amtrak’s Northeast regional train line reading this strange book as the train moved through the dark night, when the train stopped suddenly in the middle of nowhere, about forty-five minutes south of Providence. We sat and sat and sat. Finally, after about an hour of mystery, incommunicado (pre-cell phone era), the conductor explained to the four or five of us in my car that a man had killed himself by throwing himself in front of the train and we were waiting for the local coroner to arrive so that the body could be removed and the train could move on. We waited another hour in what seemed both such a large space, an empty Amtrak train car, immensely solid and powerful–it had just killed a man–yet also a space completely insulated from the world, softly lit in the middle of darkness, before finally getting back under way. It was a unique and strangely beautiful night because of our solitude and safety just the length of a few train cars from the grisly horror, which we did not see, which had interrupted our path home, which had caused us to spend an indefinite amount of time in a still and quiet place of suspended animation, and which would never be spoken of again.

And I read Thrush Green. I thought the book was as fictional as was the moment in the sense that I did not quite believe that it was what it purported to be, a simple book about life in a rural British village. The night, the book, and its author remained a mystery on a train. But here in today’s Times is the obituary of the woman who wrote as “Miss Read,” a wonderfully apt name for an author, though her real name is as wonderful a name for a writer or a fictional character in a story set in an English village, Dora Saint.

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Ongoing Upcoming

I really felt that my mother understood me when, at the beginning of one of our many summers together in Provincetown, as I was getting the house and garden ready, I overheard her telling a friend on the phone, “You know, Mira is very busy, she hasn’t started working yet.”

When I say “my work” I always mean painting, next is writing which is part of the constant process of thinking, and the rest is just work work, job work. I always say that I can paint and write at the same time, the two occupations are complementary and mutually generative. I can teach + try to do all the things one must try to do in order to maintain a professional life, that is, all the things that make all of us say and feel that we are so busy that we have no time to think expansively, spend time with our dearest friends, or do much of anything that might be restful, pleasurable, or generative of new ideas–with a modicum of clean clothes and cooked dinners now and then–and also write, maybe, or maybe also paint, maybe. I can’t do all three, my work, writing, and the big busy of work work job work: this winter writing for A Year of Positive Thinking has proved impossible as I have prepared for a show which just opened and a conference to be held this week while teaching intensely absorbing new courses and the rest of the daily stuff that must get done from the never finished “to do” list.

I really miss writing for the blog and hope to return to it very soon. Meanwhile here is what I’ve been working on and some of the ongoing and upcoming events I’m involved with.

Exhibition: Mira Schor Voice and Speech

I hope you can see my exhibition at Marvelli Gallery in New York City, which just opened and is up until April 28th.

See “The Thing Itself: Mira Schor + Bradley Rubenstein,” a recent interview about the work in the show.

I will do a reading at the gallery April 21 at 6PM to celebrate the 2nd anniversary of A Year of Positive Thinking and will send out more information about that closer to the date.

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Conference: This week on Thursday, April 5th:

Art Practice, Activism, and Pedagogy: Some Feminist Views

The conference will consider feminist art as a zone of multi-disciplinary art production associated with a radical critique of gendered power relations in society. The women artists participating will speak about their current work, their history within feminism, and the relevance of feminist identification and communities to their creative endeavors. They will discuss what it means to be a feminist artist today within an extended range of diverse political engagement.

Speakers include Susan Bee, A. K. Burns, Audrey Chan, Maureen Connor, Andrea Geyer, Caitlin Rueter & Suzanne Stroebe, Ulrike Müller, and Mira Schor. The conference concludes the first MFA Advanced Practice course in Feminist Art taught by Mira Schor in the Parsons Fine Arts MFA Program.

This event is FREE: no tickets or reservations required; seating is first-come first-served

Parsons The New School for Design Theresa Lang Community and Student Center, Arnhold Hall

55 West 13th Street, 2nd floor, New York, NY

Schedule:

*9AM Brief introductory remarks

*Group 1 (9:15)

A.K. Burns, Andrea Geyer, Maureen Connor

*Group 2 (11am)

Susan Bee, Ulrike Müller, Mira Schor

*Lunch break

*Group 3 (1:45pm)

Caitlin Martin-Rueter & Suzanne Stroebe (collaborative+individual presentation), Audrey Chan

*General discussion

The conference concludes the first MFA Advanced Practice course in Feminist Art taught by Mira Schor and at 4PM there will be a screening of MFA student work from the class at the Fine Arts MFA Program studios at 25 East 13th Street, 5th floor.

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Also Ongoing & Upcoming:

*I have an essay in Draw it with your eyes closed: the art of the art assignment published by Paper Monument. The book has gotten rave reviews including one by Dwight Gardner on the New York Times artsbeat blog. Take a look, it’s a great resource, serious and entertaining at the same time.

*CB1 Gallery at the Dallas Art Fair–with Alexander Kroll, Chris Oatey & Mira Schor, April 12-April 15

*Take a look at Agape Enterprise‘s Kickstarter Project and support Momenta Art at their upcoming Spring Benefit 2012 on April 25th at 6PM-10PM

*And do take another look at M/E/A/N/I/N/G‘s 25th Anniversary Edition, published in late 2011. Susan Bee and I are immensely proud of it and hope that readers will continue to come to the important texts by the many artists and writers who contributed to this issue. It is also available on Amazon Kindle.

 

 

 

 

 

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