Heresies : A Feminist Publication on Art & Politics / Sex Issue #1

The first issue of the Heresies, a quarterly feminist publication on art and politics. Issue edited by the First-Issue Collective: Joan Braderman, Harmony Hammond, Elizabeth Hess, Arlene Ladden, Lucy Lippard, and May Stevens. Essays “Traditional Status Values of the Village…” by Mandy Martin; “From the First-Issue Collective”; “Toward Socialist Feminism,” by Barbara Ehrenreich; “Tijuana Maid,” by Martha Rosler; “Women in the Community Mural Movement,” by Eva Cockcroft; “Women and Honor: Some Notes on Lying,” by Adrienne Rich; “Adman and Zucchini Poem,” by Elizabeth Zelvin; “Tribute to Rosa Luxemburg and Two Women,” by May Stevens; “The Art of Not Bowing: Writing by Women in Prison,” by Carol Muske; “Songs from a Free Space,” by Carole Ramer, Deborah Hiller, Gloria Jenson; “La Roquette, Women’s Prison,” by Groupe de Cinq; “Fays, Floozies and Philosophical Flaws,” by Arlene Ladden; “The Esthetics of Power in Modern Erotic Art,” by Carol Duncan; “Now Women Repossess Their Own Sexuality,” by Louise Bourgeois, Marisol, Ann Leda Shapiro, Dotty Attie, Anita Steckel, Joan Semmel; “ABCs,” by Susan Yankowitz; “Do You Think,” by Jayne Cortez; “Bomb Shitting and Torture in Chile,” by Nancy Spero; “The Empress Anastasia in New York,” by Jan Clausen; “Dead in Bloody Snow,” by Meridel Le Sueur; “Notes from the First Year,” by Susan Saxe; “Posters from the People’s Republic of China”; “Feminist Abstract Art – A Political Viewpoint,” by Harmony Hammond; “‘Females Experience in Art,’: The Impact of Women’s Art in a Work Environment,” by Ruth E. Iskin; “Death of the Patriarchy/Heresies,” by Mary Beth Edelson; “A Pink Strip,” by Amy Sillman; “The Pink Glass Swan: Upward and Downward Mobility in the Art World,” by Lucy R. Lippard; “Juggling Contradictions: Feminism, the Individual and What’s Left,” by Joan Braderman; “Posters from Australia,” by Ann Newmarch, Mandy Martin, Toni Robertson; “Moratorium: Front Lawn: 1970,” by Kate Jennings; “Puerto Rican Day Parade,” by Suellen Snyder; “Chicago Mannequin and Twins and Janet,” by Su Friedrich; “Who Are We? What Do We Want? What Do We Do?” by Accion para la Liberacion de la Mujer Peruana; “On Women’s Refusal to Celebrate Male Creativity,” by Rivolta Femminile; “What is Left?” by Assata Shakur; “Around Coming Around – A Performance,” by Marty Pottenger; “Wages for Housework: The Strategy for Women’s Liberation,” by Pat Sweeney; “Selected Bibliography on Feminism, Art and Politics”; “Still Ain’t Satisfied,” by Bonnie Lockhart.

cm 21,5×28; pp. 112; BW ills.; paperback. Publisher: Heresies, New York, 1977.

 250,00

Product Description

The first issue of the Heresies, a quarterly feminist publication on art and politics. Issue edited by the First-Issue Collective: Joan Braderman, Harmony Hammond, Elizabeth Hess, Arlene Ladden, Lucy Lippard, and May Stevens. Essays “Traditional Status Values of the Village…” by Mandy Martin; “From the First-Issue Collective”; “Toward Socialist Feminism,” by Barbara Ehrenreich; “Tijuana Maid,” by Martha Rosler; “Women in the Community Mural Movement,” by Eva Cockcroft; “Women and Honor: Some Notes on Lying,” by Adrienne Rich; “Adman and Zucchini Poem,” by Elizabeth Zelvin; “Tribute to Rosa Luxemburg and Two Women,” by May Stevens; “The Art of Not Bowing: Writing by Women in Prison,” by Carol Muske; “Songs from a Free Space,” by Carole Ramer, Deborah Hiller, Gloria Jenson; “La Roquette, Women’s Prison,” by Groupe de Cinq; “Fays, Floozies and Philosophical Flaws,” by Arlene Ladden; “The Esthetics of Power in Modern Erotic Art,” by Carol Duncan; “Now Women Repossess Their Own Sexuality,” by Louise Bourgeois, Marisol, Ann Leda Shapiro, Dotty Attie, Anita Steckel, Joan Semmel; “ABCs,” by Susan Yankowitz; “Do You Think,” by Jayne Cortez; “Bomb Shitting and Torture in Chile,” by Nancy Spero; “The Empress Anastasia in New York,” by Jan Clausen; “Dead in Bloody Snow,” by Meridel Le Sueur; “Notes from the First Year,” by Susan Saxe; “Posters from the People’s Republic of China”; “Feminist Abstract Art – A Political Viewpoint,” by Harmony Hammond; “‘Females Experience in Art,’: The Impact of Women’s Art in a Work Environment,” by Ruth E. Iskin; “Death of the Patriarchy/Heresies,” by Mary Beth Edelson; “A Pink Strip,” by Amy Sillman; “The Pink Glass Swan: Upward and Downward Mobility in the Art World,” by Lucy R. Lippard; “Juggling Contradictions: Feminism, the Individual and What’s Left,” by Joan Braderman; “Posters from Australia,” by Ann Newmarch, Mandy Martin, Toni Robertson; “Moratorium: Front Lawn: 1970,” by Kate Jennings; “Puerto Rican Day Parade,” by Suellen Snyder; “Chicago Mannequin and Twins and Janet,” by Su Friedrich; “Who Are We? What Do We Want? What Do We Do?” by Accion para la Liberacion de la Mujer Peruana; “On Women’s Refusal to Celebrate Male Creativity,” by Rivolta Femminile; “What is Left?” by Assata Shakur; “Around Coming Around – A Performance,” by Marty Pottenger; “Wages for Housework: The Strategy for Women’s Liberation,” by Pat Sweeney; “Selected Bibliography on Feminism, Art and Politics”; “Still Ain’t Satisfied,” by Bonnie Lockhart.

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