Artist Lee Lozano declared a general strike against the art world with the statement she read at the public hearing organized by the Art Workers Coalition in New York City on April 10, 1969. Lozano announced to the crowded SVA auditorium that she was not an Art Worker but an Art Dreamer intent on pursuing TOTAL REVOLUTION PERSONAL and PUBLIC. She called this endeavor GENERAL STRIKE PIECE. Often framed as out of step with the politics and aspirations of her fellow artists, GENERAL STRIKE PIECE has been glossed over and cast as apolitical, uncompromising, angry, self-serving, misled or inauthentic in recent critical literature on Lozano. Revisiting the published (AWC, 1969) record of the Open Hearing, however, shows that Lozano was not alone and many artists spoke of breaking with the art world for the radical vision of a different art world run for and by artists, not its reform. This same impulse drove GENERAL STRIKE PIECE, during which time Lozano withdrew from the “official” or “uptown” art world to direct her energy into one of her own making. This TOTAL REVOLUTION would come into being through a lived daily practice. Alongside other works such as DIALOGUE PIECE, GENERAL STRIKE PIECE is exemplary of art as a space to engage in the political. Not only is it invested in the social economy of art ideas in the community of artists, but GENERAL STRIKE PIECE also shows Lozano wrestling with the gender/identity politics of her day.
|Advisor:||Patterson, Zabet, Uroskie, Andrew|
|Commitee:||Lee, Sohl, Galloway, Alexander|
|School:||State University of New York at Stony Brook|
|Department:||Art History and Criticism|
|School Location:||United States -- New York|
|Source:||DAI-A 82/1(E), Dissertation Abstracts International|
|Subjects:||Art history, Art Criticism|
|Keywords:||Art dreamer, Art Workers Coalition, General Strike Piece, Lee Lozano, Total Revolution|
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