Deborah Frizzell

Published in conjunction with a major monographic retrospective of the work of Brazilian painter, sculptor and performance artist Lygia Clark, this publication presents a linear and progressive survey of the artist's groundbreaking practice. Having trained with modern masters from the late 1940s to mid-1950s, Clark was at the forefront of Constructivist and Neo-Concretist movements in Brazil and fostered the active participation of the spectator through her works. Examining Clarks output from her early abstract compositions to the biological architectures and relational objects she created late in her career, this is the most comprehensive volume on the artist available in English. Three sections based on key phases throughout her career Abstraction, Neo-Concretism and The Abandonment of Art examine these critical moments in Clarks production, anchor significant concepts or constellations of works that mark a definitive step in her work, and shed light on groundbreaking sets of ...

This article is an analysis of artist-activist Nancy Spero’s War Series paintings, 1966–70. The author analyzes her paintings from this crucial time period within the context of significant historical events that impacted her artistic development of themes, formal devices, and radical breaks from numerous canonical art tenets. Within the emergence of the American political and artistic Left, Spero’s political radicalism became the foundation of her artistic content and studio practice. From this foundation, as an early feminist artist, Spero produced a wide-ranging figurative oeuvre that pioneered a new lexicon of image/text and figure/ground conjunctions, overturning the prescriptive universalist ideals of modern art.

This article is an analysis of artist-activist Nancy Spero's War Series paintings, 1966-70. The author analyzes her paintings from this crucial time period within the context of significant historical events that impacted her artistic development of themes, formal devices, and radical breaks from numerous canonical art tenets. Within the emergence of the American political and artistic Left, Spero's political radicalism became the foundation of her artistic content and studio practice. From this foundation, as an early feminist artist, Spero produced a wide-ranging figurative oeuvre that pioneered a new lexicon of image/text and figure/ground conjunctions, overturning the prescriptive universalist ideals of modern art.

This article is composed of photographs and remembrances: my own and those of several students and friends who participated in the Women’s Marches in New York and Washington, DC, on January 21, 2017. The images and text raise questions brought to life by the marches. They address the efficacy of mass marches and similar forms of protest in an era driven by polarization of both social media and mainstream news media. The article poses such questions as, what was the nature of the Women’s March, and how did it differ from previous demonstrations? What did it achieve? Can solidarity be sustained in an environment of heightened and ongoing divisiveness?

Architectural and textile structures are generally categorized as binaries or as occupying polarities in which one term is privileged over the other: hard vs. soft, cold vs. warm, permanent vs. ephemeral, architecture vs. fashion. The classically Western dynamics of this oppositional model were challenged in the nineteenth century by German architect and theorist Gottfried Semper (1803-1879), who systematically traced the domestic origins of architecture (both Western and non-Western) to the draping of