• 00:01 On women’s recognition. Nancy Spero did not sell a thing for many years.
  • 01:19 Cecilia Vicuña stopped painting because nobody was paying any attention.
  • 04:26 When Ana Medieta died, she was not famous.
  • 05:54 Meanwhile… I am not waiting around. You need to take charge of the dialogue.
  • 07:04 The late 60s: Barnard College, A.I.R. Gallery, civil rights movements, Columbia University…
  • 15:51 The conversation has shifted very far: self-identified women artists in New York
  • 18:41 Artists' books
  • 24:41 Still lives. I need more pleasure in my life
  • 26:33 “Demonology”, 2018. Painting is a way of understanding images.
03/06/2020 31' 33''

English

Susan Bee "Demonolgy", 2018

We dig up some unreleased fragments of our conversation with Susan Bee that we were unable to include the first time around.  Susan Bee was born in New York, where she has always lived and worked. As an art student in the late sixties, she first came in contact with feminist activism and other social movements such as black power, gay rights, and protests against the Vietnam War. In 1986, she embarked on the project M/E/A/N/I/N/G, a self-managed art magazine that she co-edited with fellow artist Mira Schor for thirty years. From the strict black and white pages of M/E/A/N/I/N/G, a plurality of voices of artists, poets, thinkers, and writers have discussed and reflected on art and feminism, art and racism, art and maternity, and art and activism, and on censorship, sexuality, poetry, aesthetics, and visual culture.

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