This thesis aims to explore the c.7,500 exhibition curated by Lucy Lippard as a culminating point for Lippard's activism in the arts, and more specifically, women's representation in conceptualism. Understanding Lippard's political involvement within the arts and the networks established before c.7,500 further illuminates the activist approach of an all-women's art show. Throughout Lippard's career, she has advanced the exposure of women artists through her curatorial endeavors and written criticism. Her Numbers series is continuously referenced today though little documentation of each show has been easily accessible. By looking at ephemeral artifacts and artworks from c.7,500 I aim to establish a collective analysis of the show in relation to second-wave feminism while simultaneously highlighting the significance of women in conceptualism.
The unique nature of c.7,500 is best understood through the experimental index cards used to curate and organize the exhibition. Analyzing select physical items from the exhibition highlights both the material elements in the show while also lending women artists perspective on an array of topics such as labor, domesticity, land, space, and time. The synthesizing of activism, art, curation, and writing are exemplified in c.7,500 which consisted of artists from a variety of statuses. Lippard's main objective in her practice was to expose the works of underrepresented artists and through this analysis, I aim to do the same. Discussing selected artworks from the exhibition I connect feminist activism and ideology to the experiences and concerns of women artists creating conceptual artworks in the 1970s.
| Identifer | oai:union.ndltd.org:ucf.edu/oai:stars.library.ucf.edu:honorstheses-1698 |
| Date | 01 January 2019 |
| Creators | Felicella, Francesca |
| Publisher | STARS |
| Source Sets | University of Central Florida |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | Honors Undergraduate Theses |
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