{"id":46191,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46191"},"modified":"2026-03-10T08:34:54","modified_gmt":"2026-03-10T08:34:54","slug":"intentos-de-escapada-escape-attempts","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/intentos-de-escapada-escape-attempts\/","title":{"rendered":"Intentos de escapada \/ Escape Attempts"},"content":{"rendered":"

Autor:<\/strong> Bego\u00f1a Rodr\u00edguez<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 214<\/p>\n\n

Lucy R. Lippard (Nueva York, 1937) ha vivido y narrado la segunda mitad del siglo xx desde su posici\u00f3n de feminista de izquierdas. Ha sido testigo y parte activa de una \u00e9poca fren\u00e9tica en Nueva York, con el despunte del arte minimal y conceptual, los movimientos por los derechos civiles y la explosi\u00f3n de las reivindicaciones feministas. No se reconoce como una te\u00f3rica, aunque haya escrito decenas de ensayos sobre arte, cr\u00edtica, cultura y feminismo. Tampoco se siente c\u00f3moda con el t\u00e9rmino \u201ccr\u00edtica\u201d. Prefiere la libertad que le permite denominarse \u201ccr\u00edtica cultural\u201d. <\/p>\n

Entre sus publicaciones, se encuentran Changing: Essays in art criticism <\/em>(1971), Six Years: The Dematerialization of the Art Object from 1966 to 1972 <\/em> (1973), From the Center: feminist essays on women’s art <\/em>(1976), Issue: Social Strategies by Women Artists (1980) <\/em>, Overlay: Contemporary Art and the Art of Prehistory <\/em> (1983), Pop Art <\/em>(1985), The Lure of the Local: Sense of Place in a Multicentered Society <\/em>(1997), On the Beaten Track: Tourism, Art and Place <\/em> (1999), y las monograf\u00edas sobre Eva Hesse <\/em> (1976) y Sol LeWitt <\/em> (1978). Ha sido comisaria de unas cincuenta exposiciones en Estados Unidos, Europa y Am\u00e9rica Latina, y tambi\u00e9n cofundadora y miembro de numerosos colectivos art\u00edsticos. <\/p>\n

Lippard entr\u00f3 en la d\u00e9cada de los sesenta, junto a Robert Ryman, en el Bowery neoyorquino, formando parte de un c\u00edrculo donde figuraban Sol LeWitt, Ray Donarski, Robert Mangold, Sylvia Plimack Mangold, Frank Linoln Viner, Tom Doyle y Eva Hesse. A trav\u00e9s de LeWitt, al que agradece una influencia trascendental en su vida, conoce la obra de Dan Graham, Robert Smithson, Hanne Darboven, Art & Language, Hilla y Bernd Becher, Joseph Kosuth y Mel Bochner, entre otros. <\/p>\n

Durante su reciente visita a Espa\u00f1a, invitada por el Centro de Documentaci\u00f3n y Estudios Avanzados de Arte Contempor\u00e1neo ( cendeac ) \u2013para impartir un taller en Murcia, titulado \u201cIntentos de escapada: una vida dentro y fuera del arte\u201d\u2013, <\/em>tuvimos la ocasi\u00f3n de conversar con ella. <\/p>\n

Pregunta .- Cuando regres\u00f3 a Nueva York en 1958, despu\u00e9s de graduarse en el Smith College y pasar una temporada en M\u00e9xico, quer\u00eda trabajar en una galer\u00eda porque le parec\u00eda \u201cm\u00e1s rom\u00e1ntico\u201d que hacerlo en un museo. Sin embargo, empez\u00f3 a trabajar en The Museum of Modern Art. <\/p>\n

Respuesta.- Afortunadamente, no era suficientemente guapa, y tampoco sab\u00eda mecanograf\u00eda, as\u00ed que empec\u00e9 a trabajar en la biblioteca del m o ma . Se estaba mucho mejor all\u00ed. Sol LeWitt era el recepcionista de noche, Robert Ryman y Dan Flavin trabajaban como guardas de seguridad del museo. Tambi\u00e9n conoc\u00ed all\u00ed a Robert Mangold, que se qued\u00f3 con mi puesto de trabajo cuando lo dej\u00e9. <\/p>\n

P.- \u00bfEra consciente de haber aterrizado en un c\u00edrculo excepcional, en un momento que generar\u00eda tantas transformaciones en el panorama art\u00edstico? <\/p>\n

R.- Bueno, entonces no ten\u00eda la sensaci\u00f3n de estar formando parte de nada. \u00c9ramos muy j\u00f3venes y no sab\u00edamos que fu\u00e9ramos a ser el centro de todo un movimiento. No ten\u00edamos dinero y quer\u00edamos trabajar. Lo que vino despu\u00e9s simplemente ocurri\u00f3. Sol LeWitt es algo mayor que yo, pero todav\u00eda no hab\u00eda realizado sus obras principales. \u00c9l ejerci\u00f3 una gran influencia sobre todos nosotros, o al menos sobre m\u00ed. <\/p>\n

P.- \u00bfQu\u00e9 buscaba entonces? <\/p>\n

R.- Ten\u00eda 21 a\u00f1os, era un poco idealista y el mundo del arte me fascinaba. Quer\u00eda escribir ficci\u00f3n, novelas, pero resolv\u00ed escribir sobre arte un tiempo. En aquella \u00e9poca te daban cuatro o incluso hasta cinco d\u00f3lares por cada cr\u00edtica, as\u00ed que era una buena manera de ganarme unos cuartos hasta que escribiera la gran novela americana. Viv\u00eda con pintores, y ellos me arrastraron al mundo del arte. Cre\u00eda que si uno era artista, o trabajaba en el mundo del arte, pod\u00eda ser totalmente libre, pero resulta que uno nunca puede ser libre del todo en un sistema social que no lo es. <\/p>\n

P.- \u00bfLe satisfizo tanto la cr\u00edtica como para dejar de lado la ficci\u00f3n? <\/p>\n

R.- No, aunque mi ficci\u00f3n no es muy buena\u2026 Me llev\u00f3 doce a\u00f1os escribir la novela. Vine una temporada a Espa\u00f1a [a Carboneras, Almer\u00eda, en 1970] para trabajar en ella. Se titula I See\/You mean <\/em>, que no quiere decir \u201cveo lo que me quieres decir\u201d, sino \u201cyo veo y t\u00fa le das sentido a lo que veo\u201d. Todo muy abstracto, y con muchas influencias del arte conceptual. Me di cuenta de que, aunque no es mala, es muy dif\u00edcil de leer, muy experimental. Prefer\u00eda las novelas que contaban historias, pero no era capaz de escribirlas, y para entonces ya estaba inmersa en el mundo del arte, viviendo una \u00e9poca realmente emocionante. <\/p>\n

P.- Con todo, en varias ocasiones, usted ha explicado que entiende la cr\u00edtica como una forma de ficci\u00f3n. De hecho, en cierta medida, ampli\u00f3 la posici\u00f3n tradicional del cr\u00edtico. Organiz\u00f3 su primera exposici\u00f3n, Eccentric Abstraction <\/em>, en 1966 (en la galer\u00eda Fischbach, con obras de Eva Hesse, Alice Adams, Bruce Nauman, Louise Bourgeois, Gary Kuehn, Keith Sonnier, Don Pots, Frank Viner), cuando no era habitual que los cr\u00edticos organizaran exposiciones, y lo consider\u00f3 entonces \u201cotra forma de cr\u00edtica de arte\u201d. Experiment\u00f3 adem\u00e1s con la narrativa, aplicando la libertad conceptual a sus textos, con estrategias como la fragmentaci\u00f3n, la recopilaci\u00f3n de datos o citas y su presentaci\u00f3n sin apenas comentarios, la imitaci\u00f3n\u2026 \u00bfQu\u00e9 renovaci\u00f3n pretend\u00eda? <\/p>\n

R.- En realidad no pretend\u00eda renovar nada. Nunca me he considerado una \u201ccr\u00edtica\u201d. Todo lo que s\u00e9 lo he aprendido de los artistas. Nunca he sido su adversaria. No quer\u00eda ser artista, pero sent\u00eda que intent\u00e1bamos hacer cosas similares. Era m\u00e1s bien una especie de colaboraci\u00f3n; yo no me manten\u00eda al margen, escribiendo mis rese\u00f1as. Los artistas con los que me mov\u00eda dec\u00edan \u201ccualquier cosa que hagamos es arte\u201d, as\u00ed que conclu\u00ed que si cualquier cosa que hace un artista es arte, cualquier cosa que haga un cr\u00edtico es cr\u00edtica. Comisariaba una exposici\u00f3n, colaboraba con artistas, escrib\u00eda cosas raras, y todo era cr\u00edtica, porque yo era cr\u00edtica. Eso hace que todo sea m\u00e1s sencillo. M\u00e1s tarde hice tiras c\u00f3micas, performances <\/em>, teatro callejero, arte pol\u00edtico, etc., pero no soy artista. <\/p>\n

P.- \u00bfCon qu\u00e9 estrategias afronta el acercamiento a una obra o a un artista? <\/p>\n

R.- No tengo una manera definida de hacerlo. No s\u00e9 qu\u00e9 hay que hacer para ser cr\u00edtico porque no estudi\u00e9 nada, simplemente sal\u00eda con la gente. Me gusta el arte contempor\u00e1neo. Me gustaba ver lo que estaba pasando en los estudios para luego escribir sobre ello. Estuve en el momento preciso en el lugar adecuado. Cuando empec\u00e9 a escribir, se utilizaba un estilo muy po\u00e9tico, muy literario, para las cr\u00edtica de arte. A nosotros, los de mi generaci\u00f3n, los \u201cconceptualistas minimalistas\u201d, no nos gustaba ese estilo y \u00e9ramos muy directos, no utiliz\u00e1bamos tantas descripciones. Nuestra manera de escribir era muy clara. Despu\u00e9s de nuestra \u00e9poca, vino un per\u00edodo dedicado a la teor\u00eda, al lenguaje incomprensible. Adem\u00e1s, yo disfrutaba intentando adaptar mi escritura al artista. Por ejemplo, si estaba escribiendo sobre Donald Judd, trataba de escribir como su arte, y si era sobre otro, cambiaba mi estilo para adaptarme. Intentaba que el texto siguiera las pautas marcadas por el arte (Sol LeWitt repet\u00eda que la imitaci\u00f3n es el mayor de los homenajes). Nunca he considerado que la cr\u00edtica se sostuviera por s\u00ed sola, siempre la he considerado en colaboraci\u00f3n con el arte, con el artista. Otra cosa que me gusta mucho hacer, aunque enfade a la gente, es cambiar de opini\u00f3n. Escrib\u00ed un ensayo titulado Consistency in Small Minds <\/em>[La consistencia en las mentes peque\u00f1as, recogido en Changing. Essays in art criticism <\/em>, <\/em>1971] porque alguien, no s\u00e9 si Bertrand Russell, dijo que \u201cla consistencia es la prueba de una mente peque\u00f1a\u201d. As\u00ed que decid\u00ed ser inconsistente. Tambi\u00e9n me parec\u00eda un desaf\u00edo escribir sobre \u201ccosas\u201d visuales, porque es casi imposible escribir sobre el arte visual. Hay un vac\u00edo entre las palabras y las im\u00e1genes que nunca se puede llenar. Es un desaf\u00edo interesante. <\/p>\n

P.- Ahora prefiere que la denominen con la expresi\u00f3n cultural critic <\/em> (cr\u00edtica cultural). \u00bfC\u00f3mo define ese t\u00e9rmino? <\/p>\n

R.- Empec\u00e9 a usarlo hace quince o veinte a\u00f1os, ya que me parec\u00eda un t\u00e9rmino m\u00e1s amplio y me gusta entrecruzar disciplinas. Nunca he sido artista. Tengo un m\u00e1ster en historia del arte, pero nunca he querido quedarme estancada ah\u00ed. El t\u00e9rmino surgi\u00f3 cuando empec\u00e9 a escribir m\u00e1s sobre geograf\u00eda cultural y temas antropol\u00f3gicos. Decid\u00ed dejar de llamarme \u201ccr\u00edtica de arte\u201d para llamarme \u201ccr\u00edtica cultural\u201d, as\u00ed ten\u00eda m\u00e1s espacio en el que moverme. <\/p>\n

P.- Reconoce que el feminismo cambi\u00f3 su vida en muchas esferas, tambi\u00e9n en su aproximaci\u00f3n a la cr\u00edtica. \u00bfC\u00f3mo fue ese encuentro? <\/p>\n

R.- Signific\u00f3 un gran cambio. El tipo de cr\u00edtica que yo desarrollaba se basaba en el minimalismo y en el conceptualismo, y en un estilo muy claro y directo, incluso se podr\u00eda decir que \u201cmasculino\u201d. Cuando empec\u00e9 a escribir sobre trabajos realizados por artistas femeninas, quise ser m\u00e1s accesible y m\u00e1s emocional, como la obra de Eva Hesse. Se pod\u00eda ser emocional dentro de un marco que fuera m\u00e1s minimalista o m\u00e1s formal, pero que dejara traspasar las emociones, y el feminismo me permiti\u00f3 hacer lo que quer\u00eda de manera diferente a como lo hac\u00eda desde el conceptualismo. Me dio una estructura seg\u00fan la que escribir, porque antes siempre me hab\u00eda sentido sola; muchas veces era la \u00fanica persona con intereses pol\u00edticos, la \u00fanica mujer trabajando en un campo muy masculino, aunque hab\u00eda varias mujeres en el campo de la cr\u00edtica, y muy buenas. Adem\u00e1s, el feminismo ten\u00eda m\u00e1s que ver con las experiencias vividas. Las feministas \u00e9ramos mucho m\u00e1s autobiogr\u00e1ficas. La mayor\u00eda de los cr\u00edticos no suelen escribir sobre s\u00ed mismos, pero yo s\u00ed; intento que mi escritura no verse solo sobre m\u00ed, pero utilizo mis propias experiencias cuando escribo. <\/p>\n

P.- \u00bfTiene alguna tentaci\u00f3n autobiogr\u00e1fica en la cartera, en forma de memorias o algo parecido? <\/p>\n

R.- No una biograf\u00eda, pero s\u00ed algo parecido… Cuando me fui de Nueva York, hab\u00eda acumulado much\u00edsimas obras de arte que la gente me hab\u00eda dado y las ten\u00eda bajo la cama, almacenadas detr\u00e1s de cosas, sucias y polvorientas. Cuando las saqu\u00e9, llen\u00e9 cinco habitaciones enormes, y decid\u00ed donarlas al Museo de Santa Fe [Nuevo M\u00e9xico], que organiz\u00f3 una gran exposici\u00f3n. La titul\u00e9 Sniper’s Nest: Art that has lived with Lucy Lippard <\/em>(El nido del francotirador: arte que ha convivido con Lucy Lippard). Ahora puede que el t\u00edtulo no suene muy apropiado, dado el tiempo que vivimos. Suena demasiado militar, pero entonces se me ocurri\u00f3 como met\u00e1fora, pues me veo como una persona que emerge como un disparo en el mundo del arte, desde el exterior. Esa muestra se podr\u00eda considerar una autobiograf\u00eda, porque era toda mi vida all\u00ed expuesta. Fue muy emocionante verlo todo desplegado. Un amigo se ech\u00f3 a llorar al ver la exposici\u00f3n. \u201cEstos objetos son parte de tu vida\u201d, me dijo. Mi hijo pens\u00f3 lo mismo. La exposici\u00f3n comprend\u00eda desde obras de Robert Ryman a piezas de arte nativo americano. Si alg\u00fan d\u00eda escribiera una autobiograf\u00eda, lo har\u00eda a trav\u00e9s de descripciones de objetos, y hablar\u00eda del lugar que ocup\u00f3 cada cosa en mi vida, en donde ha habido desde rocas a cuadros pintados por artistas desconocidos, objetos de otras culturas… <\/p>\n

P.- \u00bfSigue conservando obras debajo de la cama? <\/p>\n

R.- Intento no hacerlo, pero vivo en una casa peque\u00f1a y no hay mucho espacio en las paredes, lo que me lleva a guardar cosas all\u00ed debajo. De todas formas, casi todo lo he donado… \u00a1aunque ahora mismo tengo un dibujo de Eva Hesse bajo la cama! <\/p>\n

P.- Para ilustrar la portada de su libro From the Center: Feminist Essays on Women’s Art <\/em> (1976) escogi\u00f3 la imagen de Femme maison <\/em> (1947), de Louise Bourgeois, una artista a la que ha dedicado buena parte de su trabajo. \u00bfQu\u00e9 significado ten\u00eda entonces esa imagen para usted? <\/p>\n

R.- Louise ha hecho cosas maravillosas, la admiraba mucho y era bastante mayor que nosotras, as\u00ed que me gust\u00f3 la idea de utilizar una obra suya en la portada como un homenaje. Todas sab\u00edamos que est\u00e1bamos atrapadas por la casa, era un tema com\u00fan en la obra realizada por mujeres, y hab\u00eda gran cantidad de arte femenino en el que las mujeres aparec\u00edan intentando salir de sus casas, representadas como sof\u00e1s, etc. Fue un bonito tributo a Louise, que ha sido una figura muy importante, aunque no siempre ha reconocido que el feminismo le hubiera ayudado. <\/p>\n

P.- Para las artistas mujeres, \u00bfel arte conceptual fue la v\u00eda de entrada m\u00e1s amplia al mundo del arte? <\/p>\n

R.- No siempre. Para m\u00ed lo fue, pero porque yo estaba metida en ese mundo; sin embargo, a muchas otras no les interesaba. El arte conceptual ofrec\u00eda muchas maneras novedosas de hacer arte y las mujeres encontraron ah\u00ed un camino de entrada a ese mundo. Hubo algunas que consiguieron entrar, pero otras se quedaron fuera. Adrian Piper, por ejemplo. Hubo otras plataformas, como la performance <\/em>y la autobiograf\u00eda, que tambi\u00e9n abrieron camino. Para las pintoras y escultoras, fue m\u00e1s dif\u00edcil al principio, pues trabajaban en un campo que se consideraba masculino por excelencia. Ahora hay pintoras muy reconocidas, y muchas avanzaron a trav\u00e9s del feminismo. Elizabeth Murray, Joan Snyder o Susan Rothenberg… Hasta cierto punto, todas ellas han sido feministas. A Susan no le gusta que le pongan la etiqueta de feminista, aunque ha sacado mucho provecho del movimiento, como muchas otras que se han beneficiado del feminismo, pero que no han querido ser designadas \u201cfeministas\u201d. <\/p>\n

P.- Pero tambi\u00e9n se traza una l\u00ednea en el sentido inverso: el feminismo acoge ciertas figuras, las asume, en beneficio de su causa, aunque esas mujeres rechacen la pertenencia al movimiento feminista\u2026 <\/p>\n

R.- Eso sucede en ocasiones, pero la mayor\u00eda de las veces funciona al rev\u00e9s. A m\u00ed se me ha acusado de que ya no soy feminista, porque ya no escribo sobre el tema, pero considero que todo lo que hago est\u00e1 tocado por el feminismo. Lo que ocurre es que como no soy una te\u00f3rica, no he seguido profundizando en el feminismo; he pasado a otros asuntos. <\/p>\n

P.- \u00bfQu\u00e9 dir\u00eda a todas esas mujeres artistas que rechazan el t\u00e9rmino \u201cfeminista\u201d? <\/p>\n

R.- Bueno, esperar\u00eda a que sus propias experiencias les llevaran a entender m\u00e1s a fondo el feminismo. Pasaba lo mismo en los albores del movimiento. Las j\u00f3venes afirmaban: \u201cEsto no tiene nada que ver conmigo, a m\u00ed no me afectan ninguno de esos problemas\u201d. Luego sal\u00edan al mundo y se daban cuenta de que en realidad s\u00ed los sufr\u00edan. Creo, adem\u00e1s, que las j\u00f3venes pueden y deben reinventar el feminismo. <\/p>\n

P.- \u00bfC\u00f3mo ha cambiado el arte hecho por mujeres con vocaci\u00f3n feminista respecto a la explosi\u00f3n de los a\u00f1os sesenta y setenta, respecto a los temas y estrategias que se empleaban entonces? <\/p>\n

R.- Al principio sal\u00edan tantas cosas que nunca hab\u00edan expresado las mujeres que todo era muy crudo. Ahora puede que no parezca tan expl\u00edcito, pero entonces nunca se hab\u00edan abordado aquellos temas antes y era muy emocionante poder expresarlos. Ahora es bastante m\u00e1s sutil, m\u00e1s complicado. Es m\u00e1s \u201cpeligroso\u201d ahora ser feminista. Una de las razones por las que nadie quiere serlo ya es porque estamos viviendo una \u00e9poca muy represiva en los Estados Unidos; cualquiera que se salga de la norma se puede buscar problemas. <\/p>\n

P.- En el panorama actual, \u00bfse sigue considerando a las artistas feministas como algo ex\u00f3tico o anecd\u00f3tico? <\/p>\n

R.- No, no creo que sea as\u00ed, aunque eso no signifique que sea bueno. Creo que las feministas han sido artistas femeninas. Hay que dejar bien claro que se trata de dos cosas diferentes, el feminismo es una cosa y las mujeres artistas son otra. Las mujeres artistas se han abierto hueco en el mundo del arte y algunas de ellas son feministas. Lo malo es que cuando entran en el mundo del arte son absorbidas por el entorno. Hoy nadie considera a Barbara Kruger o Jenny Holzer como artistas feministas. Ambas son mujeres muy fuertes y Jenny s\u00ed fue bastante feminista, aunque esto no se dejara ver demasiado en su obra. Tras los a\u00f1os setenta, las mujeres empezaron a ocupar el sitio que les correspond\u00eda en el mundo del arte. <\/p>\n

P.- Pero entonces, \u00bfse ha agotado ya el debate sobre la tan controvertida cuesti\u00f3n del arte femenino? \u00bfSe ha cerrado, se ha resuelto, o se prescinde ya de entrar en esa discusi\u00f3n? \u00bfSigue siendo necesaria? <\/p>\n

R.- El tema del g\u00e9nero sigue siendo un asunto muy importante, pero se ha complicado mucho. Ahora no se trata solo de mujeres. Las reivindicaciones de los gays <\/em> y lesbianas nos han proporcionado una transici\u00f3n entre g\u00e9neros muy positiva. Creo que a la gente le interesa menos lo que se pueda llamar \u201carte femenino\u201d porque ahora tiene muchas capas, se ha convertido en algo muy complicado, y eso es bueno. Cuando empezamos a crear ese arte, era algo totalmente nuevo. Me parece que las mujeres entendieron buena parte de lo que hicimos, y evolucionaron para hacer otras cosas, para llevar aquello m\u00e1s all\u00e1. Ya no es cosa de biolog\u00eda, del rosa y de los vestidos con volantes. Sin embargo, me enfada mucho cuando oigo hablar del \u201cpostfeminismo\u201d, pues sigue habiendo asuntos que no se han solucionado. <\/p>\n

P.- En 1970, particip\u00f3 en la ofensiva del Ad Hoc Women Artists Committee (una ramificaci\u00f3n de la Art Workers Coalition ( awc, Coalici\u00f3n de Trabajadores Art\u00edsticos) contra el Whitney Museum. Publicaron un anuncio falso del Whitney en la prensa, en donde se afirmaba que en la exposici\u00f3n anual del museo (que dar\u00eda paso a la famosa Whitney Biennial en 1973) habr\u00eda un cincuenta por cien de mujeres. Dise\u00f1aron, adem\u00e1s, invitaciones falsas para la exposici\u00f3n y proyectaron diapositivas de mujeres sobre los muros del museo. Cada fin de semana, repet\u00edan los pitidos y las sentadas, dejando huevos y t\u00e1mpax por las esquinas. Finalmente, consiguieron que el Whitney multiplicara por cuatro la participaci\u00f3n de mujeres en ese evento. \u00bfSe le ocurre alguna acci\u00f3n espectacular para realizar en estos momentos? <\/p>\n

R.- Las protestas de entonces parecer\u00edan muy anticuadas si se repitieran hoy, pero tiene que haber nuevas maneras\u2026 \u00a1Quiz\u00e1 ahora todo tenga que ser digital! A principios de los noventa, la Women’s Action Coalition <\/em>organizaba tamborradas y armaba unos estruendos tremendos cuando iban a manifestarse a cualquier sitio. \u00a1Mucho ruido y buenos ritmos! As\u00ed consegu\u00edan que todos les prestaran atenci\u00f3n. Susan Lacy, en las performances <\/em> que realiz\u00f3 espec\u00edficamente para los medios [ In Mourning and in Rage <\/em>, <\/em>1977], creadas como cap\u00edtulos que trabajan asuntos feministas, utilizaba mujeres alt\u00edsimas, con una m\u00e1scara y un palo cubierto por una tela negra. La imagen no era solo la de una mujer de negro, sino la de una mujer de dos metros vestida de negro, y la usamos varias veces en manifestaciones en Colorado, acompa\u00f1\u00e1ndola de un llanto terrible, haciendo mucho ruido. As\u00ed nos present\u00e1bamos, dos metros de altura, vestidas de negro, con m\u00e1scaras y acompa\u00f1adas de ese terrible llanto… Salimos dos veces en la portada de los peri\u00f3dicos, en a\u00f1os diferentes. <\/p>\n

P.- \u00bfLas culturas perif\u00e9ricas viven ahora la misma situaci\u00f3n que las mujeres antes de los a\u00f1os sesenta y setenta? <\/p>\n

R.- Desde luego. En los \u00faltimos veinte a\u00f1os, los artistas globales de pa\u00edses como \u00c1frica y China han ido tomando posiciones en el mundo del arte occidental, incluso comprobando que las culturas dominantes realizan una criba radical antes de dejarles paso. Igual sucedi\u00f3 con el feminismo, cuando no todas las artistas feministas consiguieron entrar en el mundo del arte. No todos los artistas africanos lo consiguen. El poder sigue decidiendo qui\u00e9n entra y qui\u00e9n no; sigue d\u00e1ndose una situaci\u00f3n colonial. <\/p>\n

P.- En el prefacio que escribi\u00f3 para el libro Contemporary Women Artists <\/em>(1999), un compendio de m\u00e1s de 350 mujeres artistas, recuerda c\u00f3mo al principio del movimiento feminista muchas creyeron que en el plazo de una d\u00e9cada la mujer artista dejar\u00eda de ser definida por ese calificativo para ser considerada simplemente \u201cartista\u201d… <\/p>\n

R.- Yo tambi\u00e9n pens\u00e9 que en diez a\u00f1os podr\u00edamos cambiar el mundo… \u00a1y eso fue hace treinta! Pero s\u00ed cambiamos ciertas cosas. <\/p>\n

P.- Su empe\u00f1o por hacer visible un arte alternativo al sistema preponderante, y el compromiso pol\u00edtico que abander\u00f3, \u00bfqu\u00e9 resultados han dado? <\/p>\n

R.- Creo que ahora el sistema ha acabado por aceptar much\u00edsimas m\u00e1s cosas, as\u00ed que conseguimos algo. Los artistas lograron abrir el mundo del arte para que aceptara m\u00e1s conceptos; hemos expandido la definici\u00f3n de \u201carte\u201d (al decir \u201chemos\u201d, me refiero a todos los que hayamos hecho cualquier cosa). A la vez, nos hemos dado cuenta de que vivimos en un sistema capitalista, de que las paredes siguen ah\u00ed y es muy dif\u00edcil derrumbarlas, aunque hay puertas. Hay un flujo mayor desde un lado y otro de la pared, aunque \u00e9sta siga siendo muy resistente. <\/p>\n

P.- \u00bfEs usted optimista, entonces? <\/p>\n

R.- Citar\u00e9 a Antonio Gramsci, que dice: \u201cPesimismo del intelecto, optimismo de la voluntad\u201d. Ahora mismo no es muy f\u00e1cil ser optimista en los Estados Unidos. Estamos viviendo unos a\u00f1os bastante alarmantes; hay una ola muy seria de conservadurismo, mucha censura. Las fuerzas conservadoras han utilizado el 11 de septiembre para crear una especie de sociedad del miedo. <\/p>\n

P.- En 1993 usted decidi\u00f3 abandonar Nueva York y establecerse en Galisteo, un pueblo de 265 habitantes en Nuevo M\u00e9xico, al margen del mundo del arte. <\/p>\n

R.- Viv\u00ed en Nueva York la mayor parte de mi vida y lleg\u00f3 un momento en el que sent\u00ed que quer\u00eda pasar m\u00e1s tiempo en el exterior. Mi c\u00edrculo activista neoyorquino se hab\u00eda deshecho, llevaba medio a\u00f1o dando clases en el Oeste y me gustaba mucho la zona. Mis abuelos y bisabuelos vivieron all\u00ed, as\u00ed que me sent\u00eda como en casa. Pens\u00e9 que vivir\u00eda all\u00ed el resto de mi vida. Pero no fue una decisi\u00f3n, nunca tomo decisiones. No es m\u00e1s que otro cap\u00edtulo en mi vida. <\/p>\n

P.- Pas\u00f3 sus dos primeros a\u00f1os all\u00ed sin red el\u00e9ctrica, leyendo con una l\u00e1mpara de queroseno… \u00bfFue una vuelta a la caba\u00f1a, a lo salvaje, a la naturaleza, como en Walden <\/em>o La vida en los bosques <\/em>, <\/em>de Henry D. Thoreau? <\/p>\n

R.- En cierta manera lo fue, aunque era bastante m\u00e1s civilizado que Walden <\/em>. Ten\u00eda dinero para construir la casa, \u00a1pero no para conectar la luz! Lo llaman estar \u201coff the grid\u201d (desconectado del suministro)… Cuando vives en la ciudad, ni siquiera sabes qu\u00e9 es eso del \u201csuministro\u201d. Durante un tiempo, viv\u00ed con la casa conectada al coche, a trav\u00e9s de un cable; ten\u00eda que conducir a diario para recargar la bater\u00eda. Un d\u00eda alguien me dijo: \u201c\u00a1Si t\u00fa siempre has vivido desconectada <\/em>!\u201d. Se refer\u00eda al hecho de que siempre hab\u00eda estado desconectada del sistema. Ahora s\u00ed tengo luz, pero con energ\u00eda solar. <\/p>\n

P.- Desde su nueva ubicaci\u00f3n se ha dedicado a cuestiones que tienen m\u00e1s que ver con el paisaje, el medio ambiente, el turismo, la arquitectura, la geograf\u00eda, la antropolog\u00eda, la cultura de los indios americanos… <\/p>\n

R.- Llevo diez a\u00f1os preparando un libro sobre el lugar donde vivo. No tiene nada que ver con el mundo del arte. Ahora estoy m\u00e1s metida en el mundo de la arquitectura, el uso de la tierra. He empezado a abarcar nuevos campos. No echo de menos estar \u201cconectada\u201d. De todos modos, no me he apartado por completo. Mis amigos son artistas, sigo viendo arte y tengo que seguir trabajando para ganarme la vida. <\/p>\n

P.- En su \u00faltimo libro, On the Beaten Track: Tourism, Art and Place <\/em>(1999), explora estas preocupaciones acerca del espacio y la cultura, y habla del \u201ccanibalismo\u201d presente tanto en el arte como en el turismo. \u00bfQu\u00e9 valoraci\u00f3n hace del arte como gran reclamo tur\u00edstico? <\/p>\n

R.- Es una cuesti\u00f3n de consumo. El turismo no es m\u00e1s que un apetito voraz por todo lo que est\u00e1 fuera de nuestra propia experiencia. La sociedad occidental quiere engullirlo todo. Respecto al turismo cultural, no se trata solamente de las visitas a las grandes exposiciones de museos, que se pueden considerar una imposici\u00f3n, el gusto de una clase muy poderosa que ha decidido que ese arte es magn\u00edfico (\u00a1contemplamos la obra de artistas que ya han fallecido!), tiene que ver tambi\u00e9n con palacios y lugares espectaculares. Nunca vemos las casas de la gente normal. Acabamos con una visi\u00f3n distorsionada del lugar que visitamos. Y lo engullimos todo. <\/p>\n

Traducci\u00f3n: Laura F. Farhall <\/p>\n

Escape attempts<\/strong><\/p>\n

Lucy R. Lippard (New York, 1937) has lived and narrated the second half of the 20 th century from her position as left-wing feminist. She witnessed and played an active role during a frenetic period in New York, with the emergence of minimal and conceptual art, civil right movements and the eruption of feminist demands. Lucy Lippard does not think of herself as a theoretician, even though she has written dozens of essays on art, criticism, culture and feminism. Neither is she comfortable with the term \u201ccritic.\u201d She prefers the freedom of classing herself as a \u201ccultural critic.\u201d <\/p>\n

Her publications include Changing: Essays in art criticism <\/em>(1971), Six Years: The Dematerialization of the Art Object from 1966 to 1972 <\/em> (1973), From the Center: feminist essays on women’s art <\/em>(1976), Issue: Social Strategies by Women Artists (1980) <\/em>, Overlay: Contemporary Art and the Art of Prehistory <\/em> (1983), Pop Art <\/em>(1985), The Lure of the Local: Sense of Place in a Multicentered Society <\/em>(1997), On the Beaten Track: Tourism, Art and Place <\/em> (1999), and monographs on Eva Hesse <\/em> (1976) and Sol LeWitt <\/em> (1978). She has curated some fifty exhibitions in the United States, Europe and Latin America, and is co-founder and member of many artistic groups. <\/p>\n

Lippard entered the New York Bowery in the sixties, alongside Robert Ryman, becoming part of a circle of acquaintances gathering Sol LeWitt, Ray Donarski, Robert Mangold, Sylvia Plimack Mangold, Frank Linoln Viner, Tom Doyle and Eva Hesse. LeWitt, who she claims had a transcendental influence on her life, introduced her to Dan Graham, Robert Smithson, Hanne Darboven, Art & Language, Hilla and Bernd Becher, Joseph Kosuth and Mel Bochner, among others. <\/p>\n

We were able to talk to her during a recent trip to Spain, invited by the Centro de Documentaci\u00f3n y Estudios Avanzados de Arte Contempor\u00e1neo ( cendeac ) \u2013for a workshop in Murcia, entitled \u201cIntentos de escapada: una vida dentro y fuera del arte\u201d [Escape Attempts: A Life in and out of Art]. <\/p>\n

Question .- When you returned to New York in 1958, after graduating at the Smith College and spending some time in Mexico, you wanted to work in a gallery because you considered it \u201cmore romantic\u201d than working in a museum. Yet, you got a job at the Museum of Modern Art. <\/p>\n

Answer.- Fortunately I wasn’t pretty enough and I couldn’t type either, so I got a job at the m o ma library. That was a much better place to be. Sol LeWitt was at the night desk, Robert Ryman and Dan Flavin were guards. That is where I met Robert Mangold, who took my job when I left. <\/p>\n

Q.- Were you aware of being part of an exceptional circle, at a time that would generate so many transformations on the artistic panorama? <\/p>\n

A.- Well, back then I didn’t feel like I was in the middle of anything. We were very young and we didn’t know we were going to be the middle of a whole movement. We were all poor and wanted to work. What occurred afterwards simply just happened. Sol LeWitt is older than me, but he hadn’t made his real work yet. He was a great influence on all of us, or on me anyway. <\/p>\n

Q.- What were you looking for back then? <\/p>\n

A.- I was twenty-one, very starry-eyed and dazzled by the art world. I wanted to write fiction, novels, but decided I would write about art for a little bit. In those days you got four, or even five, dollars for writing a review, so I thought it as a way to pass the time until I wrote the great American novel. I got drawn into the art world through living with painters. I thought that if you were an artist, or you were in the art world, you could be totally free, but it turns out you can’t be totally free in a social system that isn’t free. <\/p>\n

Q.- Was criticism satisfying enough to give up fiction? <\/p>\n

A.- No, although my fiction is not very good\u2026 It took me twelve years to write the novel and I came to Spain [Carboneras, Almer\u00eda, 1970] to do it. It’s called I See\/You mean <\/em>, instead of \u201cI see what you mean,\u201d it’s \u201cI see and you put the meaning into what I’m seeing.\u201d Very abstract, very influenced by conceptual art. I realised that it wasn’t a terrible novel, but it is very difficult to read, very experimental. I like to read novels with stories, and I couldn’t seem to write those. By that time I was just immersed in the art world, it was a very exciting time. <\/p>\n

Q.- Nevertheless, on several occasions, you have explained that you conceive criticism as a form of fiction. In fact, to a certain extent, you extended the traditional role of the critic. You organised your first exhibition, Eccentric Abstraction <\/em>, in 1966 (at the Fischbach gallery, displaying works by Eva Hesse, Alice Adams, Bruce Nauman, Louise Bourgeois, Gary Kuehn, Keith Sonnier, Don Pots, Frank Viner), when it was not the norm for critics to organise exhibitions, and considered it back then \u201canother form of art criticism.\u201d You also experimented with the narrative, applying conceptual freedom to your texts, with strategies like fragmentation, series of data or quotes presented almost devoid of comments, imitation… What were you aiming to renovate? <\/p>\n

A.- Actually I didn’t want to renovate anything. I never thought of myself as a \u201ccritic,\u201d because everything I know I have learnt from artists. I was never their adversary. I didn’t want to be an artist but I felt I was trying to do some of the same things. We were collaborating more than me just standing aside and writing reviews. The artists I was hanging out with were saying \u201canything we do is art,\u201d so I thought if anything an artist does is art, anything a critic does is criticism. I could curate a show, collaborate with artists, write weird things, and it was all criticism because I was a critic. That makes it easier. Later I did comic strips, performances, street theatre, political art, etc., but I am not an artist. <\/p>\n

Q.- What strategies do you use when approaching an artist or an oeuvre? <\/p>\n

A.- I don’t have a specific way of carrying out my work. I have no idea of what you have to do to be a critic, because I didn’t study anything, I just hung out with people. I like contemporary art. I liked seeing what was going on in the studios to then write about it. I was just in the right place at the right time. When I first started writing, art critics used a very poetic, literary style. My generation, the \u201cminimalist conceptualists,\u201d didn’t like that and we were very straightforward, without so many descriptions. We wrote very clearly. The next trend, was very into theory, using an incomprehensible language. Also, I enjoyed trying to adapt my writing to the artist. If I was writing about Donald Judd, I would try to write like his art, and if I was writing about somebody else, then I would change my style to adapt to the artist. I tried to make the text follow the guidelines set by art (Sol LeWitt always said that imitation is the greatest homage). I have never seen criticism as standing by itself, I have always considered it a collaboration with the art, with the artist. Another thing I like to do, even if it annoys people a lot, is changing my mind. I wrote an essay called Consistency in Small Minds <\/em>[in Changing. Essays in art criticism <\/em>, <\/em>1971], because someone, Bertrand Russell I think, said \u201cconsistency is the mark of a small mind\u201d. So I decided I would be inconsistent. I also found it challenging to write about visual \u201cthings,\u201d because it’s almost impossible to write about visual art. There is a gap between words and images that can never be closed. It was an interesting challenge. <\/p>\n

Q.- You now prefer to be called a cultural critic <\/em>. How would you describe that term? <\/p>\n

A.- I started using that about fifteen or twenty years ago because it was broader and I like crossing disciplines. I never was an artist. I have a masters degree in art history, but I didn’t want to get stuck in that world. That term appeared as I began to write more about cultural geography and anthropological issues. I decided to stop calling myself an \u201cart critic\u201d to call myself a \u201ccultural critic,\u201d because that gave me more room to move around. <\/p>\n

Q.- You have said feminism changed your life in many aspects, also in terms of the way you approach criticism. What did that encounter involve? <\/p>\n

A.- It was a big break. The kind of criticism I was doing was based on minimalism and conceptualism, with a very clear and direct style, even very \u201cmasculine\u201d in a way. When I started writing about women’s work, I wanted to be more accessible and more emotional, like Eva Hesse’s work. You could be emotional in a frame that was more minimal or more formal, but have the emotions come out. Feminism gave me permission to just do what I wanted to do in a different way than conceptualism did. It gave me a fabric to write in, before I was always all alone out there writing these things. I was often the only political person, the only woman writing in a very male field, although there were several women, good women critics. Also feminism was more about lived experiences. Feminists were more autobiographical. Most critics don’t write about themselves, but I do. I try not to write just about myself but I use my own experiences in my writing. <\/p>\n

Q.- Are you planning an autobiography of any kind, as a memoir or in a similar format? <\/p>\n

A.- Not an autobiography as such, but something similar… When I left New York, I had collected a lot of art, people have given me a lot of things and I had stored them under my bed, behind things; it was all dusty and dirty. When I pulled everything out from under the bed I had five great big rooms full of art and decided to donate the works to the Museum of Santa Fe [New Mexico], with a great big exhibition. I called it Sniper’s Nest: Art that has lived with Lucy Lippard <\/em>. The title may not be too appropriate at present. It sounds too military, but I thought of it as a metaphor, as I see myself as someone shooting into the art world from the outside. That show could be considered a memoir, because it was all of my life. It was very special to see it all on display. A friend of mine was in tears when he saw it, saying \u201cThese objects are part of your life.\u201d My son thought the same. The exhibition went from Robert Ryman to native American art. If I ever wrote a memoir, I would do it describing the objects, just describing the place they had in my life, from rocks to paintings by unknown people, objects from other cultures. <\/p>\n

Q.- Do you still store art under your bed? <\/p>\n

A.- Well, I try not to, but I live in a tiny house, with no wall space, so it’s back under the bed. Although most all of it I gave away… but there is an Eva Hesse under the bed now! <\/p>\n

Q.- To illustrate your book From the Center: Feminist Essays on Women’s Art <\/em> (1976), you chose Femme maison <\/em> (1947) by Louise Bourgeois, an artist you have dedicated a good part of your work to. What did that image mean to you at the time? <\/p>\n

A.- Louise has done some wonderful things. I admired her very much, and she was much older than the rest of us, so I liked using her on the cover as a tribute. We all knew we were trapped by the house, so it was a common theme in women’s art, and there was quite a lot of women’s art that showed women trying to get out of houses, women as couches, etc. It was a nice homage to Louise, since she was a very important figure, who did not always acknowledge that feminism had done anything for her. <\/p>\n

Q.- Was conceptual art the easiest way into the art world for women artists? <\/p>\n

A.- Not always. It was for me, because that was what I was involved in; but there were a great many other women who weren’t interested in it. Conceptual art offered a lot of ways to make art that hadn’t been thought of before and women could get into the art world through them. Some did get in and others didn’t. Adrian Piper, for example. Yet, there were other platforms also, like performance and autobiography, which also opened the way. It was harder for women painters and sculptors at the beginning, because that was considered the male high art. Now there are a lot of well-known woman painters and a lot of them came in through feminism. Elizabeth Murray, Joan Snyder or Susan Rothenberg… To some extent, they have all been feminists. Susan doesn’t like to be called a feminist, but she gained a lot from feminism, like many others who gained a lot from the movement, but did not want to call themselves \u201cfeminists.\u201d <\/p>\n

Q.- A line can also be drawn in the opposite direction: feminism embraces certain figures, it adopts them, to aid the cause, even when these women deny belonging to the feminist movement… <\/p>\n

A.- Sometimes, but mostly it works the other way. I have been accused of not being a feminist anymore, because I don’t write about feminism anymore. Yet I consider that everything I do is affected by feminism. As I am not a theorist, I have not gone deeper and deeper into feminism; I have gone on to other things. <\/p>\n

Q.- What would you say to those women artists who reject the term \u201cfeminist\u201d? <\/p>\n

A.- Well, I’d wait until their own experience led them to understanding more about feminism. That same thing used to happen in the early days of the movement. Young women would say, \u201cThis has nothing to do with me, I have none of those problems.\u201d Then they would go out into the world and find that they did, indeed, have those problems. Also I think younger women can reinvent feminism, it can always be reinvented and it should be, in fact. <\/p>\n

Q.- How has the art created by women with a feminist inclination changed as regards the explosion of the sixties and seventies, in terms of the issues and strategies used back then? <\/p>\n

A.- At the beginning there were so many things that had never been expressed by women, that everything was very raw. Now it might not look that obvious, but back then it had never been tackled before and it was very exciting to say these things. Now I think it’s far more subtle, more complicated. It’s a more \u201cthreatening\u201d time to be a feminist now. One reason people don’t want to be feminists now is because we are experiencing a very repressive time in the United States, and anybody speaking out is likely to get in trouble. <\/p>\n

Q.- Do you think feminist artists are still considered something exotic or anecdotal? <\/p>\n

A.- No, not really no, but that’s not all good. I think feminists have been women artists. There are two things, one thing is feminism and another are female artists. Women artists have made it into the art world and a few of them are feminists. The bad things is that once they get into the art world they’re absorbed into the environment. Nowadays nobody thinks of Barbara Kruger or Jenny Holzer as feminist artists. They are both strong women, and Jenny was pretty much of a feminist, although it didn’t turn up in her art much. After the seventies, women began to just take their place in the art world. <\/p>\n

Q.- Does that mean that the debate on such a controversial issue as feminine art has come to an end? Has it come to an end, has it been solved or does nobody enter that debate anymore? Is it still necessary? <\/p>\n

A.- Gender is still a major issue, but it has become much more complicated. It’s not just women now. The queer theory, the whole gay and lesbian issue, has provided a very positive transition between genders. I think people are less interested in what could be called \u201cfeminine art,\u201d because it is more layered and more complicated. That’s good. When we were first doing that art, it was because it was completely new. I think women understood a good part of what we did, and went on to do other things, to take it a step further. It’s not a matter of biology and ruffles and pink anymore. Nevertheless, whenever I hear someone talk about \u201cpost-feminism\u201d I get very angry, because some issues are still there, they haven’t been solved. <\/p>\n

Q.- In 1970, you took part in the action waged by the Ad Hoc Women Artists Committee (a branch of the Art Workers Coalition ( awc ), against the Whitney Museum. The Committee published a fake advert for the Whitney Museum in the press, stating that fifty percent of the works displayed at the venue’s annual exhibition (which led to the famous Whitney Biennial in 1973) would have been created by women. Fake invitations for the exhibition were also made and slides of women were shown on the walls of the museum. Every weekend, you repeated whistling and sit-down protests, leaving eggs and tampons in the corners. Thanks to the Committee’s actions, the Whitney Museum increased women’s participation in that event four-fold. Can you think of any spectacular actions that could be carried out nowadays? <\/p>\n

A.- The protests we did then would appear very old-fashioned now, but there must be new ways… Maybe everything has to be digital! In the early nineties, the Women’s Action Coalition organised drum calls and made a big stir when they went any place to demonstrate. A lot of noise and good rhythms! Everybody paid attention to them. Susan Lacy, in the performances she devised specifically for the media, [ In Mourning and in Rage <\/em>, <\/em>1977] created as chapters dedicated to feminist issues, used really tall women, wearing a mask and a stick covered with a black cloth. The image was not just a woman in black; it was a seven-foot woman in black. We used this image in several demonstrations in Colorado, and we had a terrible wail, an Irish keening, that made a terrible noise. We would turn up like that, seven feet tall, in black, with masks, and then we would do this awful wail… We were on the cover of the newspaper twice, two different years. <\/p>\n

Q.- Are peripheral cultures currently experiencing the same situation women went through in the sixties and seventies? <\/p>\n

A.- Definitely. In the past 20 years, global artists, from countries like Africa and China, have been taking their places in the western art world, even though the dominant cultures sift everything out before letting them in. The same occurred with feminism, since not all the feminist artists got in, just like not all the African artists get in. It’s the power that decides who gets in and who doesn’t, so it remains a colonial situation. <\/p>\n

Q.- In the preface you wrote to the book Contemporary Women Artists <\/em>(1999), a collection of over 350 female artists, you recall how, in the early stages of the feminist movement, many women thought that in a decade women artists would shed that denomination and would simply be considered \u201cartists\u201d… <\/p>\n

A.- I also thought that in ten years we would change the world… and that was thirty years ago! Nevertheless, we did change some things. <\/p>\n

Q.- What effects have your effort to make the dominant system aware of alternative art and your political commitment produced? <\/p>\n

A.- I think a lot of things have become far more acceptable within the system, so we succeeded. Artists succeeded in opening what the art world would accept; we have expanded the definition of \u201cart\u201d (\u201cwe\u201d being everybody who has done anything). At the same time, we have become aware that we live in a capitalist system, that the walls are there and that it is very difficult to get those walls down. Now there is more coming and going out of the walls, but the walls themselves are very strong. <\/p>\n

Q.- So you are an optimist then? <\/p>\n

A.- I’ll quote Antonio Gramsci, who says, \u201cPessimism of the intellect, optimism of the will\u201d. At the moment it’s hard to be an optimist in the United States. We are living alarming times; there is a serious wave of conservatism in the air, and a lot of censorship. September 11 th has been used by the conservative forces to create a kind of society of fear. <\/p>\n

Q.- In 1993, you decided to leave New York and set up in Galisteo, a little town with 265 inhabitants in New M\u00e9xico, leaving the art world behind. <\/p>\n

A.- I lived in New York for most of my life and I was ready to be outdoors more. My activist community in New York had fallen apart and I taught for half a year in the West and liked the area. My grand parents and great-grand parents were from the West, so I sort of felt at home there. I thought I would live there the rest of my life. It was not a decision though, I never make decisions. It’s just another chapter in my life. <\/p>\n

Q.- You spent the first two years there without electricity, using a kerosene lamp to read… Did you think of it like returning to nature, to the wild, like in <\/em>Henry D. Thoreau’s Walden <\/em>or Life in the Woods <\/em>? <\/p>\n

A.- It was in a way, although it was certainly more civilised than Walden <\/em>. I had the money to build my house, but not to get electricity! They call it \u201coff the grid\u201d… When you live in the city you don’t even know what the \u201cgrid\u201d is. For a while I plugged my house into my car! There was a cord that came out of the house and into the boot of the car! The problem was I had to drive the car everyday to charge up the battery. One day somebody said, \u201cYou’ve always been off the grid <\/em>!\u201d Meaning that I have always been outside the system. I do have electricity now, but it’s solar electricity. <\/p>\n

Q.- Based at your new home, you have considered aspects that are closer to the landscape, environment, tourism, architecture, geography, anthropology, the culture of native American Indians… <\/p>\n

A.- For ten years I have been writing a book about the place where I live. It has nothing to do with the art world. Now I’m more into the field of architecture, the use of land. I have branched out into new areas. I don’t miss being \u201con the grid.\u201d I haven’t separated from the art world completely, though. My friends are artists, I still see art and I still have to make a living. <\/p>\n

Q.- In your latest book, On the Beaten Track: Tourism, Art and Place <\/em>(1999), you explore these concerns about space and culture, and you refer to the \u201ccannibalism\u201d that appears both in art and tourism. What do you think of art as a major tourist attraction? <\/p>\n

A.- It’s about consumption. Tourism is just a voracious appetite for everything outside our own experience. Western society wants to swallow everything up. As regards cultural tourism, it is not only about visiting large exhibitions at museums, that can be considered an imposition, the taste of a very powerful class that has decided that is great art (the work of dead artists!). Cultural tourism is also about palaces and spectacular locations. We get a very distorted vision of the places we visit… And we swallow it all up. <\/p>\n","protected":false},"excerpt":{"rendered":"

Autor: Bego\u00f1a Rodr\u00edguez Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 214 Lucy R. Lippard (Nueva York, 1937) ha vivido y narrado la segunda mitad del siglo xx desde su posici\u00f3n de feminista de izquierdas. Ha sido testigo y parte activa de una \u00e9poca fren\u00e9tica en Nueva York, con el despunte del arte minimal y conceptual, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10],"tags":[444,351,400],"class_list":["post-46191","post","type-post","status-publish","format-standard","hentry","category-articulos","tag-arte","tag-articulo-html","tag-lapiz-revista-internacional-de-arte"],"acf":[],"_links":{"self":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46191","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/comments?post=46191"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46191\/revisions"}],"predecessor-version":[{"id":48416,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46191\/revisions\/48416"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46191"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46191"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46191"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}