Colette Fahy
Research Blog
From 1971, a powerfully succinct letter from Nancy Spero to Lucy Lippard; two highly influential women whose paths crossed numerous times; Spero as a feminist artist, Lippard as a feminist art critic, historian and curator.
(via feministpizza)
The art: Ed Ruscha, from “Thirtyfour Parking Lots in Los Angeles,” 1967, also as a set of gelatin silver prints Ruscha made in 1999.
The news: “Taking Parking Lots Seriously as Public Spaces,” by Michael Kimmelman for the New York Times.
The source: In the collection of many institutions, including the Museum of Modern Art, New York. The Walker Art Center, Minneapolis, has a complete set of the gelatin silver prints.
“ So I’m going to lay this down, just to clarify, so that nobody from the future gets confused: we hate this shit. Everyone hates this shit. These spots reflect nothing about how we live, see, or think, they’re just some weird meme for the impossibly rich that nobody knows how to stop.
The art: Brian Ulrich, Chicago, IL from the series “Copia,” 2004.
The news: “Big-Box Superstores as Bellwether Indicators,” by Sally Herships for American Public Media’s “Marketplace.”
The source: The artist’s (excellent) website, which features dozens of works in his “Copia” series about American retail. An exhibition of Ulrich’s series is on view through Feb. 26 at the Cleveland Museum of Art. You can see images from the show here. The beautiful, Aperture-published accompanying book is available here.
Nice write-up in Le Cool
talk
Women, Shopping and Public Places
It’s x amount of days till Christmas…x amount of days of men lurking outside Topshop at Stephen’s Green with twelve stuffed bags at their feet, x amount of days of intercom announcements in toystores ‘Would the mother of Anna Murphy please come to the customer service desk…’ But we still brave the battle of the prams, queues in Penneys and condescension from Brown Thomas shopgirls, and we don’t even do it out of necessity - we do it for fun. Why?! Why, Lord, why?! Let Colette Fahy give you a bit of insight into the evolution of woman’s obsession with the shop, and man’s disdain therewith (unless the outlet stocks Black and Decker.) The relationship isn’t just a girly aesthetic folly: the shop has been integral to feminine emancipation. Don’t believe me? Find out for yourself at Dublin Contemporary! / Kate Frances Coleman
where Earlsfort Terrace, Dublin 2.
when 6pm Wednesday October 26th
how much Free
