Although Ukeles is known for her public and environmental “maintenance art” from the 1970s and 1980s, her focus on religion during this same period is not well known. By focusing on Mikva Dreams and her other mikvah projects, this article contextualizes and makes better visible Ukeles’s contribution to contemporary American art and its feminist discourses.
By making his reflexive bodily movements the sole source as well as the transcriber of his ideas, Anastasi mobilized the concept of know-how, or techne. . . . His drawing practice helped him reconcile two emerging identities: one as a dedicated, ambitious artist and the other as an untrained amateur Conceptualist.
Bush’s painting and its presentation demonstrate how difficult it can be to determine the difference between the canny critical interventions of a professional artist and those of an amateur.
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