Does art matter? What can you do about it?
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A personal view of the role of arts in development in the UK as presented to the University of West of England Post Graduate Certificate in Participatory Practice in Arts and Media
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Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s
Author(s): Lucy R. Lippard
Source: Art Journal, Vol. 40, No. 1/2, Modernism, Revisionism, Plurism, and Post-Modernism
(Autumn - Winter, 1980), pp. 362-365
Published by: College Art Association
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Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
Lucy R. Lippard is an art critic
and a member of the collective that
publishes Heresies, afeminist
periodical on politics and the arts.
By now most people-not just feminist
people-will acknowledge that feminism
has made a contribution to the avant-
garde and/or modernist arts of the 1970s.1
What exactly that contribution is and how
important it has been is not so easily
established. This is a difficult subject for
a feminist to tackle because it seems
unavoidably entangled in the art world's
linear I-did-it-firstism, which radical fem-
inists have rejected (not to mention our
own, necessarily biased inside view). If
one says-and one can-that around
1970 women artists introduced an ele-
ment of real emotion and autobiographi-
cal content to performance, body art,
video, and artists' books; or that they
have brought over into high art the use of
"low" traditional art forms such as em-
broidery, sewing, and china painting; or
that they have changed the face of central
imagery and pattern painting, of layering,
fragmentation, and collage-someone
will inevitably and perhaps justifiably
holler the names of various male artists.
But these are simply surface phenomena.
Feminism's major contribution has been
too complex, subversive, and fundamen-
tally political to lend itself to such inter-
necine, hand-to-hand stylistic combat. I
am, therefore, not going to mention names,
but shall try instead to make my claims
sweeping enough to clear the decks.
Feminism's greatest contribution to the
future of art has probably ...
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The document discusses the role of social animators in promoting social change and development in communities. It explains that communities have interconnecting cultural dimensions, including technological, economic, political, institutional, aesthetic, and conceptual dimensions. The social animator acts as a social change agent and must understand how these cultural dimensions interconnect in order to effectively introduce new ideas or technologies without disrupting the community. The animator should see the community as a superorganic system and consider how changes in one cultural dimension will impact other dimensions.
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