Blog Archives

Heresies

Heresies: A Feminist Publication on Art and Politics ran independently from 1977 to 1993. Each issue focused on a different topic such as food, theater, or ecology. Between the covers you’ll find photography, film stills, sculptures, paintings, poems, prose, memoirs, collage, and documentations of performance art. Contributors included Harmony Hammond, Ida Applebroog, May Stevens, Mary Beth Edelson, Sally Webster, and Amy Sillman.

Here is the homepage for the 2009 documentary on Heresies called “The Heretics”, directed by Joan Braderman. The site includes an index to the articles.

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We have 24 of the 27 issues of Heresies in our back stacks. Come explore them.

Feminism and Ecology

Heresies, Vol. 4, No. 1, Issue 13. 1981.
Cover, Back cover.

Pie Face

Heresies, Vol. 6, No. 1, Issue 21. 1987.

Food is a Feminist Issue

Heresies, Vol. 6, No. 1, Issue 21. 1987.
Cover, Back cover.

The Women's Pages

Heresies, Vol. 4, No. 2, Issue 14. 1982.
Cover, Back cover.

Sex Issue

Heresies, Vol. 3, No. 4, Issue 12. 1981.
Cover, Back cover.

Portrait of an Office

Heresies, Vol. 2, No. 3, Issue 7. Spring 1979.
From the article “Portrait of an Office” by Margaret Willey

Female and Male Body Language

Heresies, Vol. 2, No. 3, Issue 7. Spring 1979.

Heresies

Heresies, Vol. 7, No. 3, Issue 27. 1993.

issue 23s

Heresies, Vol. 6, No. 3, Issue 23. 1988.
“Baby Contest” by Annette Savitski

Women in Theater and Performance

Heresies, Vol. 5, No. 1, Issue 17. 1984.
Feminist Theatrical Performances

Sex Issue

Heresies, Vol. 3, No. 4, Issue 12. 1981.
Jersey Shore Women’s Wrestling Club

Post-Totalitarian Criticism

Heresies, Vol. 7, No. 2, Issue 26. 1992.
Maria Serebriakova, untitled collage, 1989.

Russian Billboard

Heresies, Vol. 7, No. 2, Issue 26. 1992.
Russian Billboard

Kristin Reed

Heresies, Vol. 7, No. 1, Issue 25. 1990.
“Predominant Ideology” by Kristin Reed, 1988. Krylon, xerox, gouache, chalk. 12″x14″.

Heresies, Vol. 1, No. 3, Issue 3. Fall 1977.
Betsy Dam, The 7000 Year Old Woman. Performance #2, a street event, fully clothed. Photo by Su Friedrich.

Food is a Feminist Issue

Heresies, Vol. 6, No. 1, Issue 21. 1987.

Judith Ren-Lay as "Ivy Mouse"

Heresies, Vol. 5, No. 1, Issue 17. 1984.
Judith Ren-Lay as “Ivy Mouse”

Heresies

Heresies, Vol. 2, No. 3, Issue 17. Spring 1979.

Carol Harmel.

Heresies, Vol. 3, No. 4, Issue 12. 1981.
Photo by Carol Harmel.

Heresies

Heresies, Vol. 1, No. 3, Issue 3. 1977.

Sandra Desando

Heresies, Vol. 1, No. 3, Issue 3. Fall 1977.
Sandra Desando

"No Longer Afraid" by Susan Spencer Cole

Heresies, Vol. 6, No. 3, Issue 23. Fall 1988.
“No Longer Afraid” by Susan Spencer Cole

Installation and Set for "Private Places" by Vernita Nemec

Heresies, Vol. 6, No. 3, Issue 23. Fall 1988.
Installation and Set for “Private Places” by Vernita Nemec

"T.V." by marina Gutierrez

Heresies, Vol. 5, No. 1, Issue 17. 1984.
“T.V.” by Marina Gutierrez, 1979, Monoprint/Color Etching

"The Rat Patrol" by Christy Rupp

Heresies, Vol. 4, No. 1, Issue 13. 1981.
“The Rat Patrol” by Christy Rupp, 1979

Sports – Wrestling +++

+++ See Picture +++

Wrestling is an ancient art, and a glorious, however cheap hoax. Whether it be sumo, Olympic, or professional, all varieties take skill, athleticism, dedication, and in the case of the latter, bravado and character personification.  The sport certainly attracts eccentric competitors. In the picture collection you’ll find 70 wildly gestural pictures (and lots of eyeliner).

Wrestling Madness by Matt Hunter.

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Mil Maskaras
Wrestling Madness by Matt Hunter.

Wrestling Madness by Matt Hunter.

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Wrestling Madness by Matt Hunter.

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Wrestling Madness by Matt Hunter.

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Wrestling Madness by Matt Hunter.

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Wrestling Madness by Matt Hunter.

High Performance

High Performance Spines

High Performance was published by Art in the Public Interest from 1978 to 1997:

Originally a magazine covering performance art, over time it gradually shifted its editorial focus from art that was formally adventurous to art that was socially and culturally adventurous. Back issues of the magazine can still be seen at better libraries around the world. The High Performance archive is in the collection of the J. Paul Getty Trust in Los Angeles (Art in the Public Interest  website, accessed 12/18/2013).

In the SVA library, by definition, one of the better, you’ll find all but a few issues of High Performance, 64 in total, from the 2nd issue (1978) to the 76th and final issue (1997).

Accessible in print at the SVA Library and electronically for SVA students via Art Source (MySVA username and password required), Jenni Sorkin’s article in Art Journal, “Envisioning High Performance chronicles High Performance’s history and lasting influence, and provides this description of the magazine’s format for the first five years of its existence:  

With the commencement of High Performance, publisher, founder, and editor Linda Frye Burnham invented a standard format for the documentation and dissemination of live and ephemeral artworks, creating single- or double-paged spreads that paired a photograph with an artist-supplied text chronicling the live event. Operating on an open submission policy from its founding in 1978 until 1982, Burnham published any artist who could provide black-and-white photographic documentation, dates, and a description of the performance (Sorkin).

It was important in terms of documentation, ensuring that these performance art pieces, which often only occurred once, could have a life beyond the memories of a small audience that happened to witness them. It also helped define and lend credence to a genre of art that was not receiving serious critical attention, not least of all because the lack of documentation. High Performance helped define performance art both by what it published and also with what it didn’t. By “rejecting outright the inclusion of dance, theater, and music, HP delineated clear boundaries by determining what was not performance art” (Sorkin). Among many other,  artists featured include Carolee Schneeman, Pat Oleszko, The Waitresses,  Paul McCarthy, Kim Jones, Linda Montano, and Barbara T. Smith.

Please enjoy the following sample from the pages of:

High Performance, no 20. 1983.

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High Performance, no 21. 1983.

Anne Bean's "The Fall of Babylon".

High Performance, no 25. 1984. Back Cover.
Anne Bean’s “The Fall of Babylon”. Photos by Chris Bishop.

Johanna Went. Photo by Anna Barrado

Johanna Went. Photo by Anna Barrado
High Performance, no 28. 1984.

"Orbit on the Hour" by Yura Adams.

“Orbit on the Hour” by Yura Adams. Photo by Kim McLean.
High Performance, no 22. 1983.

"Dermoid" by Nancy Forest Brown.

“Dermoid” by Nancy Forest Brown.
High Performance, no 14. Summer 1981.

Carolee Schneemann

Carolee Schneemann. Photo by James Tenney.
High Performance, no 20. 1983.

Wendy O

Wendy O of the Plasmatics
High Performance, no 21. 1983.

Sheree Levin and Bob Flanagan

Sheree Levin and Bob Flanagan’s Improvisation with Food and Poetry. Photo by Bones.
High Performance, no 16. Winter 1981-2.

"Disturbed Water" by Louise Udaykee

“Disturbed Water” by Louise Udaykee. Photo by Gregory X.
High Performance, no 08. Winter 1979-1980.

"Rolling Drawing" by Nigel Rolfe

“Rolling Drawing” by Nigel Rolfe.
High Performance, no 14. Summer 1981.

Protest Performance

Performance protesting discrimination against women and minority artists in museums.
High Performance, no 15. Fall 1981.

The Waitresses(?)

The Waitresses(?)
High Performance, no 16. Winter 1981-2.

High Performance

High Performance, no 14. Summer 1981.

"In the Garden" by Anne Mavor and Marianne Bonetti

“In the Garden” by Anne Mavor and Marianne Bonetti. Photo by Elizabeth Canelake.
High Performance, no 09. Spring 1980.

Bea Licata

Bea Licata. Photo by Karen Lightner.
High Performance, no 09. Spring 1980.

Sandra Binion, Jurgen Klauke

Left: Sandra Binion. Photo by Dustin Pittman.
Right: Jurgen Klauke. Photo by Betzel Verlag.
High Performance, no 09. Spring 1980.

High Performance

High Performance, no 02. June 1978. Back Cover.

Paul McCarthy

Left: Coco Gordon. Photo by Helmet Becker.
Right: Paul McCarthy. Photo by the Dark Bob
High Performance, no 09. Spring 1980.

High Performance, no 04. December 1978.

Likay performance in Thailand

High Performance, no 52. Winter 1990. Back Cover.
The Boonlert Sit Homhuan Theater of Bangkok performing Likay, the traditional popular theater of Thailand, during the Los Angeles Festival.
Photo by Dr. Thomas F. Reese.

Rain Spirit and Trash Monster in "Rites of Spring" Procession

High Performance, no 67. Fall 1994. Back Cover.
Rain Spirit and Trash Monster in “Rites of Spring” Procession.
Photo by Shanna Dressler.

High Performance, no 04. December 1978.z

 

Works Cited

 Sorkin, Jenni. “Envisioning High Performance.” Art Journal 62.2 (2003): 36-51. Art Source. Web. 5 Dec. 2013.

Circus – Clowns

The Circus category has been subdivided. Along with a general folder, you will find Circus – Acrobats, Circus – Clowns, and CircusPosters & Advertisements. Please enjoy the below selections from the Clowns folder, which has 42 items packed clownishly into one folder. They run the gamut, from the manic and frightening, to the heartbroken and cabbage-coddling.

© National Geographic Society 1948. Photos by Harold E Edgerton and Edwin L Wisherd.

Sunpak Camera Ad

© Geo, Volume II, June 1980. Photo: Richard D Gordon. This clown is “One of the actors in a skit on the Gang of Four.”

© National Geographic Society 1948. Photo by J Baylor Roberts.

Ringling Bros Barnum & Bailey “Circus Clown Alley” Troupe