M/E/A/N/I/N/G brings together essays and commentary by over a hundred artists, critics, and poets, culled from the art magazine of the same name. The editors—artists Susan Bee and Mira Schor—have selected the liveliest and most provocative pieces from the maverick magazine that bucked commercial gallery interests and media hype during its ten-year tenure (1986–96) to explore visual pleasure with a culturally activist edge.
With its emphasis on artists’ perspectives of aesthetic and social issues, this anthology provides a unique opportunity to enter into the fray of the most hotly contested art issues of the past few decades: the visibility of women artists, sexuality and the arts, censorship, art world racism, the legacies of modernism, artists as mothers, visual art in the digital age, and the rewards and toils of a lifelong career in art. The stellar cast of contributing artists and art writers includes Nancy Spero, Richard Tuttle, David Humphrey, Thomas McEvilley, Laura Cottingham, Johanna Drucker, David Reed, Carolee Schneemann, Whitney Chadwick, Robert Storr, Leon Golub, Charles Bernstein, and Alison Knowles.
This compelling and theoretically savvy collection will be of interest to artists, art historians, critics, and a general audience interested in the views of practicing artists.
For 10 years, from the mid-'80s to the mid-'90s, artist and designer Susan Bee and Mira Schor, a painter on the faculty of the Parsons School of Design, edited a magazine they had founded, devoted to "visual pleasure with a culturally activist edge." Bee and Schor have culled 40 of the most representative essays, reviews, critical forums, interviews and "musings" for M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism, which takes its name from their magazine. Book artist Johanna Drucker contributes a foreword; Alison Knowles, Carolee Schneemann, Richard Tuttle, Nancy K. Miller, Rackstraw Downes, Joanna Freuh, Jerry Saltz and many others weigh in. The book makes for a fascinating snapshot of a transitional era in American art, one whose terms and preoccupations are still being reworked and worked out. ( Feb.)