{"product_id":"leaving-art-9780822345695","title":"Leaving Art","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eA collection of thirty texts written by the internationally renowned conceptual and performance artist Suzanne Lacy between 1974 and 2007.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.” - Holland Cotter, \u003ci\u003eNew York Times\u003c\/i\u003e\u003cbr\u003e“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making\u003ci\u003e Leaving Art\u003c\/i\u003e a strong resource for public and live artists working now.” - Becky Hunter, \u003ci\u003eWhitehot Magazine\u003c\/i\u003e\u003cbr\u003e“The book, then, performs best as an archive of methods. One text explicitly\u003cbr\u003eoutlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.” - Sally O’Reilly, \u003ci\u003eArt Monthly\u003c\/i\u003e\u003cbr\u003e“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’” - Abigail Solomon-Godeau, \u003ci\u003eArt in America\u003c\/i\u003e\u003cbr\u003e“As both artist and theorist, Suzanne Lacy has pioneered the field of collaborative and socially engaged art. Over the past several decades, she has refigured artistic practice as a means for the production of new publics. This book is an incomparable toolbox for anyone seeking a renewal of art’s social and political potential today.”—\u003cb\u003eHans Ulrich Obrist\u003c\/b\u003e, Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London\u003cbr\u003e“Suzanne Lacy is the most important public artist working today, in part because she is also an inspired organizer, writer, and public intellectual. Multicultural and multicentered, and devoted to civic dialogue, she balances esthetics and politics, pragmatics and imagination, while collaborating with those living inside the issues. Her feminist energy infuses this book. It will turn many heads.”—\u003cb\u003eLucy R. Lippard\u003c\/b\u003e, author of \u003ci\u003eThe Pink Glass Swan: Selected Feminist Essays on Art\u003c\/i\u003e\u003cbr\u003e“Suzanne Lacy’s work is a communal improvisation inviting life to happen in all its drama, absurdity, pain, and danger. At its best, it has the passion and complexity of Action Painting.”—\u003cb\u003eEleanor Antin\u003c\/b\u003e, artist and Professor Emeritus, University of California, San Diego\u003cbr\u003e“For nearly 40 years Ms. Lacy’s collaborative, community-based art projects, some involving hundreds of people, have been grappling with matters of race, class and possible social change with a hands-on audacity that few artists can match. This book, with a persuasive introduction by the artist-historian Moira Roth, at last puts Ms. Lacy’s own fluent accounts of her life and work between covers. The result is a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead.” -- Holland Cotter * New York Times *\u003cbr\u003e“Lacy remains close in spirit to the feminism that emerged in the late '60s. Many of her most significant performances directly addressed women's issues, especially rape, prostitution, pornography and physical aging. With a canny understanding of mass communications. Lacy calibrated her staged actions to garner media attention, and to be readily comprehensible to those outside the art world. One of the most consistent elements of her activity is its emphasis on forming multiracial alliances under the banner of ‘Women.’” -- Abigail Solomon-Godeau * Art in America *\u003cbr\u003e“Reflection in and on the present moment–rather than a concern for prestige or posterity–defines and sets apart Lacy’s experimental documents as in some way ‘live’ themselves, making\u003ci\u003e Leaving Art\u003c\/i\u003e a strong resource for public and live artists working now.” -- Becky Hunter * Whitehot Magazine *\u003cbr\u003e“The book, then, performs best as an archive of methods. One text explicitly\u003cbr\u003eoutlines how to develop a media strategy for a feminist campaign, with excellent practical tips on structuring an event and how to convey its meaning to the media. But, more subliminally, we can gauge throughout how certainty wavers and how uncertainty, when viewed in retrospect, is ultimately productive.” -- Sally O’Reilly * Art Monthly *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIllustrations ix\u003cbr\u003e Preface xiii\u003cbr\u003e Acknowledgments xv\u003cbr\u003e Introduction. Suzanne Lacy: Three Decades of Performing and Writing\/Writing and Performing \/ Moira Roth xvii\u003cbr\u003e Part 1. Learning to Look: The Seventies \u003cbr\u003e Introduction 2\u003cbr\u003e 1. Prostitution Notes (1974) 5\u003cbr\u003e 2. Falling Apart (1980) 20\u003cbr\u003e 3. Body Contract (1974) 30\u003cbr\u003e Photo Essay. Learn Where the Meat Comes From (1976) 43\u003cbr\u003e 4. Cinderella in a Dragster (1977) 48\u003cbr\u003e 5. The Bag Lady: On Memory (1982) 52\u003cbr\u003e 6. The Life and Times of Donaldina Cameron (with Linda Palumbo and Kathleen Chang) (1978) 57\u003cbr\u003e 7. In Mourning and In Rage (With Analysis Aforethought) (1978) 64\u003cbr\u003e 8. Learning to Look: The Relationship between Art and Popular Culture Images (with Leslie Labowitz) (1970) 72\u003cbr\u003e 9. Feminist Artists: Developing a Media Strategy for the Movement (with Leslie Labowitz) (1981) 83\u003cbr\u003e 10. Time, Bones, and Art: Anatomy of a Decade (1995) 92\u003cbr\u003e Part 2. Political Performance Art: The Eighties \u003cbr\u003e Introduction 108\u003cbr\u003e 11. Broomsticks and Banners: The Winds of Change (1980) 109\u003cbr\u003e 12. The Greening of California Performance: Art of Social Change—A Case Study (1982) 114\u003cbr\u003e 13. Made for TV: California Performance in Mass Media (1982) 120\u003cbr\u003e 14. Battle of New Orleans (1980) 126\u003cbr\u003e 15. Beneath the Seams (1982) 137\u003cbr\u003e 16. In the Shadows: An Analysis of \u003ci\u003e\u003ci\u003eThe Dark Madonna\u003c\/i\u003e\u003c\/i\u003e (1990) 144\u003cbr\u003e 17. Political Performance Art: A Discussion by Suzanne Lacy and Lucy R. Lippard (1985) 151\u003cbr\u003e Part 3. Debated Territory: The Nineties \u003cbr\u003e Introduction 160\u003cbr\u003e 18. The Name of the Game (1991) 161\u003cbr\u003e 19. Debated Territory: Toward a Critical Language for Public Art (1994) 172\u003cbr\u003e 20. Affinities: Thoughts on an Incomplete History (1994) 185\u003cbr\u003e 21. Love, Cancer, Memory: A Few Stories (1996) 194\u003cbr\u003e 22. Cancer Notes (with Leslie Becker) (1995) 211\u003cbr\u003e 23. What It Takes (with Ann Wettrich) (2002) 222\u003cbr\u003e Part 4. Leaving Art: After 2000 \u003cbr\u003e Introduction 236\u003cbr\u003e 24. The Skin of Memory\/La Piel de la Memoria (with Pilar Riaño-Alcalá) (2006) 237\u003cbr\u003e 25. Seeking an American Identity (Working Inward from the Margins) (2003) 250\u003cbr\u003e 26. Cop in the Head, Cop in the Street (2006) 267\u003cbr\u003e 27. Having It Good: Reflections on Engaged Art and Engaged Buddhism (2005) 284\u003cbr\u003e 28. Hard Work in a Working-Class Town (2006) 300\u003cbr\u003e 29. Tracing Allan Kaprow (2007) 319\u003cbr\u003e Afterword: In|ter|ceptions and In|tensions—Situating Suzanne Lacy's Practice \/ Kerstin Mey 327\u003cbr\u003e Appendix. Chronology and Selected Performances and Installations 339\u003cbr\u003e Notes 343\u003cbr\u003e Index 369","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":49406056956247,"sku":"9780822345695","price":27.9,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780822345695.jpg?v=1730494384","url":"https:\/\/bookcurl.com\/products\/leaving-art-9780822345695","provider":"Book Curl","version":"1.0","type":"link"}