From Publishers Weekly
Ostensibly the topic of these essays is women and contemporary art; however, given the author's own activism, it offers a much broader reading of alternative culture, its politics and practices. A feminist and journalist, Lippard has been penning her accounts of the art world with the acumen of an experienced foot soldier since the early '70s. This collection brings together works from various publications, including the Village Voice, Z and the Nation, along with selections from three of Lippard's previous books, including From the Center: Feminist Essays on Woman's Art. What begins with a commitment to art by women, evolves into an even more radical commitment to change. Having initially worked as a writer in New York to bring women into the mainstream, Lippard ends up establishing herself firmly in the margins: her most recent essays champion global cross-cultural exchanges that take place well outside the limits of the established art world. Her subjects include the well-known feminist artist Judy Chicago and the infamous Guerrilla Girls, as well as the less-known "Garbage Girls" (artists who make art from trash). Her frankly opinionated writing is clear and concise, characterized by a welcome sense of critical flexibility. Lippard calls it as she sees it?albeit sometimes mistakenly?to make accessible the work and politics of many vital and lesser-known artists working today.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
Lippard is an eminent art activist, organizer, writer, critic, curator, lecturer, propagandist, and sometimes performance artist who has been committing her vociferous artistic and political views to print since the 1960s. This volume reprints 30 of her many essays originating in From the Center: Feminist Essays on Women's Art (1976), Get the Message?: Activist Essays on Art & Politics (1984), the Village Voice, and elsewhere. The important introduction records her latest (mellowing?) thought and traces the significant part she has played in the feminist art movement. (Most of the feminist artworks peppering her text are up to date, many from the 1990s.) Considered controversial and radical?and perhaps still so to the uninitiated reader?this snappy but occasionally repetitive prose seems mostly right on target, the voice of a maturing idealist committed to eliminating all artistic, cultural, and institutional sexism, racism, ethnocentrism, ghettoization, and marginalization. Lippard is neither a deconstructionist nor an essentialist but a self-styled Socialist feminist, albeit a romantic one, and a cultural feminist, albeit a quasi-Marxist one. Necessary for most art and all feminist collections.?Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1995 Reed Business Information, Inc.