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 recovering the motivation of love that set aloft the freedom in Morgan to determine her artistic path—that which she voiced in terms of the pleasures of intimacy with God—we witness how amateurism operates as a critical position committed to other allegiances and defined by other competencies, even as it interacts and interweaves with the formal codes, networks, and sociocultural norms of professionalism.
While organizing the 2017 permanent collection reinstallation at the Utah Museum of Fine Arts, Mythmaking and Truth-Telling: American and Regional Art, I made discoveries in the artist’s papers at the Archives of American Art that allow us to precisely date Miss Maude Adams, as “L’Aiglon” and to better contextualize the painting within the intellectual milieu of its creation.
Elizabeth Welch, PhD Candidate, Department of Art and Art History, University of Texas at Austin
The box commemorates, nearly to the day, the ninth anniversary of Cornell’s relationship with [Lillian] Moore, encapsulating a bit of the sparkle that she had lent to him with her positive response to his early ballet work.
If American modernism had a soundtrack, it would be jazz. A homegrown genre, its music came to define the burgeoning northern cities, the cultural forms of black expression, and an avant-garde impetus to question established boundaries.
In 1984, the city of Los Angeles hosted the twenty-third Olympics, a spectacular display of multinational unity under the banner of classical, humanist ideals.
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