Mira Schor
MIRA SCHOR is a painter and writer living in New York City. In recent years she has had one-person exhibitions at CB1 Gallery in Los Angeles and Marvelli Gallery in New York City as well as at Momenta Art in Brooklyn, NY. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life and the blog A Year of Positive Thinking, as well as the author of Wet: On Painting, Feminism, and Art Culture and she editedThe Extreme of the Middle: The Writings of Jack Tworkov, for Yale University Press. She is the co-editor, with Susan Bee, of M/E/A/N/I/N/G Online: they published a 25th Anniversary Edition in 2011. Schor teaches in the MFA in Fine Arts Program at Parsons The New School for Design. Her website is www.miraschor.com
When an artist dies before they have fully achieved the critical place their work calls for, a necessary task begins, of sharing their work and creating critical and historical context. Susanna Heller: Beyond Pain, The Last Drawings, compiled, edited, and published by two of Heller’s oldest and dearest friends, artist Marlene Dumas and art historian Suzanne Styhler, is the first step in that task of celebrating and contextualizing an important body of work.
Fifteen years later, we still seem to be in a condition of “post-feminism” and what bell hooks, referring to Sheryl Sandberg’s brand of “lean in” feminism, has called “faux feminism.”
Warp: strong and straight, from Old English weorpan, to throw, the cast of the net, the warp of the fabric is that across which the woof is thrown
At a recent talk, I was asked whether I thought that we can experience art without language, whether we need language and words. My answer was that it is pretty well established that language is precessionary to perception.
Productive anonymity—the ability to experiment without much at stake except your own process of discovery.
Sandro Botticelli’s “Portrait of a Lady at a Window” (c. 1470 – 75),included in The Renaissance Portrait from Donatello to Bellini at the Metropolitan Museum,is a beautiful, philosophically complex painting.
I am not a feminist artist. Now I’ve got your attention. I am following a time-honored tradition and taking a page out of Marina Abramovic’s playbook.
