
Contents
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A Network of Nodes A Network of Nodes
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Positionality Positionality
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Feminisms Feminisms
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Essentialism Essentialism
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Performance Performance
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Whiteliness Whiteliness
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Place Place
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Coalition Building: Traveling Between Coalition Building: Traveling Between
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Participation Participation
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Naming Participation Naming Participation
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Problems of Participation Problems of Participation
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Participation in the Art World Participation in the Art World
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Introduction: Positionality, Performance, and Participation
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Published:March 2010
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Abstract
The introduction discusses the rationales behind the “new genre public art” displayed and exercised by artist Suzanne Lacy. Lacy, a product of the social movements of the 1970s, sought to establish the often nebulous relationship between body and space, if not the ensuing but poignantly human frustration of being unable to get out of one's “skin.” With West Coast art, feminism, and identity politics as the backdrop, her works sought to perform vibrant and visual social analyses and critique, in bringing her art to life—so to speak—by encouraging participation and collaboration within her artistic spaces. And perhaps, most of all, the “betweenness”—that is, the interaction and tension between modes of art and life, built space and human flesh—is characteristic of Lacy's conceptual art and her efforts to remark on the politics of her day.
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