Word: movement
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Dates: during 1970-1979
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...Poet-Essayist Adrienne Rich, it is "the great unwritten story." Author Nancy Friday calls it "the last taboo," and Psychology Writer Lucy Freeman sees it as the feminist movement's "last liberation." The subject of these slightly breathless descriptions: the tangled, ambivalent and often hostile relationship between mothers and daughters...
Until recently, this touchy and complex relationship seemed almost an embarrassment to the women's movement. If it was discussed at all, it was done privately. Says Village Voice Women's Movement Observer Karen Durbin: "It's a painful topic that has been rattling around in women's consciousness-raising groups for years." Now, in a spate of popular writing, accompanied by some unsisterly mudslinging, the knotty mother-daughter relationship is finally emerging from the feminist closet...
This position has outraged some feminists who think that the women's movement should focus on the abuses of male power rather than on what women do to each other. Says Feminist Author Judith Pildes Arcana: "The message is still the same−blame your mother, woman-negative." In her view, mother-daughter problems are really the result of the repressive roles forced on women by what she calls "patriarchial capitalism." Sociologist Pauline Bart has even accused Friday of trying to push her into a blame-Mother position during an interview for her book...
...five curators who chose the show have given us is a pan around a diverse, though often bland horizon, rather than a squared-up essay in the dominance of some historical direction. And rightly so: one lesson of the past ten years in American art has been that movements have vanished with the death of the avantgarde. The very idea of collaborative groupings, once an essential part of modernist practice, seems to have lost its strength−at least for the moment. In fact, it takes some effort to remember the days in the '60s when...
...only "big" movement of the 1960s with an aesthetic that continues to be felt in the 1979 Whitney Biennial is, oddly enough, minimalism−a style made up of simple, primary, uninflected forms, usually garnished with tangled masses of oversubtilized criticism. Less, these days, does not seem to be more, especially when the work in question is yet another empty grid by Sol LeWitt, or something like Richard Serra's Toll, 1978-79−three walls of a gallery enclosure painted dead, oily black. In the past, some of Serra's sculptures have been memorable, their slabs...