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Getsy, David J.

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Index

David J. Getsy

Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender

Index

Author

David J. Getsy

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00005.011

Stable URL: https://aaeportal.com/?id=-15564

Index

NOTE: Page numbers followed by n and a number refer to information in the Notes. Artists’ works appear at the end of their index entries.

abstract eroticism 5, 13–15

see also Eccentric Abstraction

Abstract Expressionism 24

and Chamberlain 138–9, 142

and Grossman 154, 162, 189–90

and O’Hara, 72

and Smith 3, 68

abstraction’s rejection of human form and invocation in sculpture xii–xiii, xvi, xvii, 1–2, 6–41, 278–9

anthropomorphism 9–13

and Minimalism 9–11, 12–13

Bourgeois’s work 17

Flavin’s dedications and personhood 249–53, 256, 257–65

Flavin’s icons and figurations of the homosexual 212–27, 233–5, 237, 241–3, 261

and genders xiv–xv, 1, 2, 13–19, 44, 279–80

complication and ambiguity of gender 19–26

Gonzalez-Torres’s dedications and personhood 254, 256, 265

and Smith’s non-figurative art 2–3, 44–5, 54–5, 57–9, 62–8, 70, 80, 81–95

transgender capacity 2, 4, 34, 38–9, 276–7, 278–80

and body in Cassils’s sculpture 269–74, 278

Burton’s sculpture as furniture 274–6, 278

Grossman’s work 160

openness of Chamberlain’s work 129–42, 145

Acconci, Vito 25

activism and transgender issues xii, 26–7, 28, 29, 30

Adrian, Dennis 326n.123

Aestheticism: artists and self-representation 20

Alloway, Lawrence 8

Altieri, Charles 71

ambiguity of gender in art 4, 5, 19

ambiguity and simplified morphologies in modern sculpture 19–26

and Brancusi’s sculpture 20–2

Chamberlain’s work 131–3, 135

Smith’s non-figurative works 83, 87–95

and Lippard’s discourse 14

sculpture of Bourgeois and Hesse 17

and Smith’s work 83

see also androgyny

American Psychiatric Association 30–1

Andre, Carl 247, 249, 259

“A Word for John Chamberlain” (poem) 305n.22

androgyny

in art 5, 14, 21

interpretations of Smith’s work 83

artists’ self-representation 20, 24

see also ambiguity of gender in art

anecdotal theory 44

Anger, Kenneth 142

Scorpio Rising (film) 139, 172

animalier sculpture 283–4nn.4

anthropocentrism critique 9

anthropomorphism 5

and sculpture 6, 9–13, 145

Smith’s non-figurative work 54–5, 57–9, 61, 62–8, 70, 80, 81–95

see also sculpture: relationship with human figure

Antin, Eleanor 269

Apollinaire, Guillaume 20

Arbus, Diane 25, 198

art history see transgender studies: and art history

Artforum: Flavin’s autobiography 217–18, 219

artists and self-representation:

nonconforming genders 20, 24, 25, 149, 205

assemblage: Grossman’s sculpture 4, 18–19, 147–8, 149–79, 203

Auder, Viva: The Secret Life of William Shakespeare (film with Chamberlain) 114, 116

Auping, Michael 100

Avedon, Richard: Grossman’s studio and work 182, 184, 189, 190, 191, 194

Ayden, Erje 61

Baden, Mowry 11

Baker, Elizabeth (Betsy) 97, 102, 117, 308n.77

Bannard, Darby 106

Bass, Math 327n.13

Battcock, Gregory 324n.93

Minimal Art (anthology) 13

Bell, Larry 119

Bellamy, Richard 220

Benglis, Lynda: The Amazing Bow Wow (video) 25

Benjamin, Harry xii, 20, 28, 29

Benning, Sadie 327n.13

Berkson, Bill 61–2, 150, 177

Bernstein, Nancy 27

Besember, Linda 327n.13

Bess, Forrest 24

binary approach to gender and human form xiv–xv, 21–2

fallacy and acknowledgement of multiple genders xv–xvi, 14, 23–4, 31–2, 33, 34, 280

limitations on human experience 129

and Grossman 176–7, 179

see also dimorphism

bi-sexed and inclusive genders in art 20–1, 24–5

Grossman on bi-sexed process of art 178–9, 205

black leather and Grossman’s work

association with S/M 172, 173, 180, 191–201, 204

connotations of black leather jacket 172–4, 176

Black Mountain College and Chamberlain 117, 143, 304n.6

Blake, Nayland 179, 189, 193, 194

Blow Job (Warhol film) 172, 201

“bodily”

and anthropomorphism in sculpture 9, 11, 13

and gender and sexuality 13

body

aesthetics of transgender body 4

in sculptural work of artists 2–3

Cassils’s use of body in making of work 267–74, 278

see also human figure and shift to abstraction; viewer’s bodily relation with art

bondage see S/M community

Bontecou, Lee 142

Bosworth, Patricia 198

Bourgeois, Louise 17–18, 19, 25, 160, 301n.93

Brainard, Joe 48

Brancusi, Constantin 6, 20–2

Flavin’s dedication of work to 210

Adam and Eve 20, 21

Golden Bird 23

The Kiss 135, 140

Leda 20

Princess X 20, 22

Torso of a Young Girl [II] 20, 22

Torso of a Young Man [I] 20, 21, 22

Broadway in Flavin’s icon V (Coran’s Broadway Flesh) 212–13, 215, 222–4

Burgher, Elijah 327n.13

Burden, Chris 316n.126

Burnham, Jack 11–12, 244, 325n.96

Burr, Tom 327n. 13

Burton, Scott 274–6, 278

Five Themes of Solitary Behavior 198

Two-part Chair 276

Butler, Judith xiv, 31, 94, 127, 278, 307n.59

on acknowledgement of gender complexity xvi, 36, 41, 89–91, 267

Butt, Gavin 47

Calder, Alexander (“Sandy”) 259

Calley, Lieutenant William 185, 187–8

capacity see transgender capacity

Carney, William: The Real Thing 173, 315n.116

Caro, Anthony 11–12

Carroll, Paul 71

Cassils

Becoming an Image performance work 268–71, 268, 271–2, 273, 278

Cuts: A Traditional Sculpture 269

The Resilience of the 20% 266, 267–9, 273–4

Chadwick, Whitney 316n. 134

Chamberlain, John xii, xiii, xvi, 2–4, 39, 97–145, 121, 274, 276, 279

Black Mountain College 143, 304n.6

and poet’s approach to work 117, 143

bodies in non-figurative art 2–3, 114

challenges of describing work 100–2, 138–9, 142

interviews and evasive attitude to work 117–18, 122–3, 130, 279

Judd’s writing and interpretation 110, 118–19

and “successive states” 110–11, 114, 130

color and work 105–8, 305n.26

“fitting” process and coupling in words and work 97–8

conflicted readings of concrete and abstract 97, 108, 110–12, 143

coupling and tactics of 100, 102–16, 143

masculine and feminine in work 137

sculpture and painting 104–5, 116

and sexual in work 98, 100, 120–5, 127, 130–1

volume and mass 103–4, 112, 116

and gender multiplicity and indetermination 1, 122–42

Guggenheim retrospective (2012) 305n.27

John Chamberlain / F____g Couches exhibition 120–1

paper sculptures no, 117

sexuality

and personal interactions and interviews 119–20

and work 38, 98, 100, 120–5, 127, 129–31, 143, 145

titles and meaning of work 110, 114, 117, 249

and gender assignment 113–4, 131, 132

transformative nature of art 112–13, 114, 122, 125, 127, 145

recycling aesthetic 127

and transgender perspective 18, 26, 129–42

open-endedness and transgender capacity 129–42, 145

Bouquet 99

Chili Terlingua 124

Crowded Hearts 132

Dolores James 112

Endless Gossip 110

Endzoneboogie 110, 111

Essex 123–4

F*****g Asterisks 129

Fantail 103

Flavin Flats 3

Folded Nude 96, 133–4, 134

Four Polished Nails 126

Huzzy 113–14, 115, 131

Kiss series 135

Kiss #11 138–9

Kiss #12 140, 141

Kiss #26 141

Kiss #28 136

M. Junior Love 101

Miss Lucy Pink 108, 131

Mustang Sally McBright 107

One Twin 133–4

Panna-Normanna 123, 142

Penthouse series 110

Penthouse #46 118

The Secret Life of William Shakespeare (film with Auder) 114, 116

Socket series 98, 114, 132

Son of Dudes 109, 131, 132

Three Cornered Desire 132, 133

Tongue Pictures 113

Toy 104

Ultrafull Private 144

Chave, Anna 20–1

Chicago, Judy: Dinner Party 163

Clum, John M. 320n.46

Cohen, Mark Daniel 175–6

color and sculpture

Chamberlain 105–8, 305n.26

critical reservations 105–6

Smith 48, 54, 105

Colpitt, Frances 6, 10, 284n.14

Cone, Jane Harrison 299n.58

Conner, Bruce 9

Coran, Stanley 215, 218–19, 220, 222–5, 234, 237, 242, 247

Creeley, Robert 110

Crow, Thomas 129

Curtis, Jackie 25, 30

Dalí, Salvador 20

Darling, Candy 30

Davis, Whitney 327–8n. 16

Dawson, Fielding 305n.22

de Henriquez, Fiore 24, 28

de Kooning, Willem 46, 48

de Villiers, Nicholas 219

dedications see Flavin: titles of works and dedications

Dehner, Dorothy 79

Dienes, Sari 142

difference and Flavin’s work

naming of homosexuals and visible difference 210–12, 218–19, 220–7, 233–5, 237, 239, 241–3, 259, 261

systematic interchangeability and difference and sameness 243–53, 257, 261, 264–5

dimorphism

fallacy of absolute dimorphism xiv–xvi, 129, 280

and feminist attitudes 204

gender assignment and human form in art xiv–xv

and Brancusi’s sculptures 20–2

and Chamberlain’s sculptures 131–2

and Smith’s non-figurative work 44–5, 62–4, 73–86, 89–91, 93

social insistence on assignment of gender 176–7

nomination of human gender xiv, 21–2

see also binary approach to gender and human form

Disney clay (WED clay) and Cassils’s work 273

drag/drag queens

academic study in 1960s 30

conflict with police 28, 29

Rosenblum’s drag queen names for friends 259, 262–3

visibility in Warhol’s films 25, 30

Duchamp, Marcel 6, 20

The Bride Stripped Bare by her Bachelors, Even 157

earthworks as art 7

Eccentric Abstraction exhibition (New York, 1966) 4, 13, 14, 16–17

Ellison, Ralph: Invisible Man (novel) 219–20

Erickson, Reed and Erickson

Educational Foundation 28–9

erotic in art

abstract eroticism 5, 13–15

see also sexuality

Factory (Warhol) films 25, 30

Fake, Edie 327n.13

Farren, Mick 172

fashion and black leather jacket 172–3, 176

Feinberg, Leslie 26, 282n.13, 289n.80

feminism

binary attitudes to gender 204

division over transgender participation 31, 291n.22

Grossman and conflicted relationship with 19, 149, 203–5

Grossman and use of vaginal imagery 162–3

Lippard on abstraction and sexual difference 15

and S/M community and practices 204

transfeminism and gender

nonconformism in art 25–6, 149, 205

Fer, Briony 12, 15

figuration see human figure and shift to abstraction

film and transsexuality 25, 27, 28, 30

Flavin, Dan xii, xiii, 2–4, 39–40, 209–65, 274, 276

bodies in non-figurative art 2–3, 213, 215

and categorization of work 209–10

as sculpture 2, 6, 210, 317–8n.5

change of direction and use of fluorescent tubes 230–43

systematic interchangeability and difference and sameness 243–53, 257, 261, 264–5

homosexuality and attitudes and work 38

and autobiography in Artforum 217–18, 219

“flesh tint” and carnal nature of icon V 213, 215, 225, 227, 234

homosexual mentors 232–43

icons and figurations of the homosexual 212–27, 228, 233–5, 237, 241–3, 261

public offensives and naming of homosexuals 216–17, 218–19, 220, 227, 233–4, 259, 261

invisibility and art of 228–9

fluorescent tubes and “approximate invisibility” 232–43, 261, 264

light and the visible in art 219–20, 239

titles of works and dedications 40, 209–10, 280

fluorescent tubes and performative dedications 247–53, 257, 261, 264

influence on Gonzalez-Torres’s naming of works 254–7, 265

naming of homosexuals and visible difference 210–12, 218–19, 220–7, 233–4, 239, 241–3, 259, 261

shifting dedication for diagonal of May 25, 1963 239, 243

transformable personhood and naming 254–65

and transgender perspective 18, 26, 257–65

alternate diagonals of March 2, 1964 (to Don Judd) 242

Dan Flavin: alternating pink and “gold” installation 248

Dan Flavin: fluorescent light installation 242–3, 242

Dan Flavin: some light installation 213, 229–30, 230

the diagonal of May 25, 1963 (to Constantin Brancusi / to Robert Rosenblum) 230–1, 231, 232, 239, 240, 241, 242, 243

East New York Shrines 220, 222, 259

European Couples installation 263

icon series 212–27, 228–30

icon IV (the pure land) (to David John Flavin [1933–1962]) 225, 226, 227, 228, 230, 241

icon V (Coran’s Broadway Flesh) 212–16, 214, 218–27, 221 228, 230, 233–5, 237, 239, 247, 261

final study 216

formation of title 250–1

plan for revised work 224–5, 224

icon VI (Ireland dying) (to Louis Sullivan) 228, 229

icon VII (via crucis) 228, 229

icon VIII (the dead nigger’s icon) (to Blind Lemon Jefferson) 228–9, 229

one of May 27th, 1963 (Construction with Red Fluorescent and Incandescent Bulbs) 237, 238

pink out of a corner (to Jasper Johns) 232, 234, 236, 237, 239, 242–3, 242

red and green alternatives (to Sonja) 211

red out of a corner (to Annina) 237, 238, 257

untitled (for you, Leo, in long respect and affection) 208, 257

untitled (in memory of “Sandy” Calder) V 257, 260

untitled (to Ellen Johnson, fondly) 252

untitled (to Janie Lee) one 246

untitled (to the real Dan Hill) 244

Flavin, David John 217, 225, 227, 242

Flesh (Warhol film) 30

Foucault, Michel 283n.19

Frankenthaler, Helen 62

Freas, Jean 48

Fried, Michael 12–13

“Art and Objecthood” essay 9–10, 278

on Caro 11–12

Fritscher, Jack 196–7

furniture as art in Burton’s work 274–6

Gallop, Jane 44

Gaudier-Brzeska, Henri 6

gay liberation movement xii

distancing from transgender community and issues 31

see also homosexuality

Geldzahler, Henry 137, 279, 284n.8

gender

as “expanded field” 40–1

fallacy of absolute dimorphism xiv–xvi, 129, 280

feminist attitudes to gender roles 204

and Flavin’s naming of works 257–65

gender identity

ascription at birth xiv

invention of term 28, 30

shift in understanding in 1960s xi–xii

historical attitudes and understandings 26–34

and human figure in art xvi, xvii

abstraction and genders xiv–xv, 1, 2, 13–19, 279–80

ambiguity of gender 4, 5, 14, 17, 19–26, 83, 94–5

assignment of gender xiv–xv, 20–3, 44, 131–2

assignment of gender and Smith’s work 44–5, 62–4, 73–86, 89–91, 93

Chamberlain’s work 114, 122–42

Grossman’s open and disruptive approach to gender 147–8, 149–50, 160–79

inclusive genders 20–1, 24–5

nonconforming genders 20, 23–6, 38, 149, 205

and literature on artists 17–18

masculine in Grossman’s work 150, 188

connotations of black leather jacket 172–4, 176

multiplicity xv–xvi, 1, 2, 14, 23–4, 33, 40–1, 279–80

Chamberlain’s work and unspecified gender 1, 122–42

historical context 31–2

see also transgender capacity

mutability xvi, 2, 19, 20, 23–4, 40–1, 127

and Chamberlain’s works 131–3, 135

and Grossman’s work 1, 147–8, 149–50, 160–79, 201–7

historical context 31–2

temporal nature of gender 127, 129

see also transgender capacity

and sexuality 36–9

complexity of Grossman’s explicit sculptures 160–76, 179, 203

see also ambiguity of gender in art; binary approach to gender and human form; dimorphism; nonconforming genders; transformation: and gender; transgender

gender research clinics xi–xii, 28–9, 30

Genette, Gérard 251–3

Gernreich, Rudi 217

Gibson, John: Tinted Venus 105, 106

Goldsmith, Bill 194–5

Glass, Charles 327n.2

Gonzalez-Torres, Felix 254–7, 265

“Untitled” (Perfect Lovers) 256

“Untitled” (Petit Palais) 254,255

“Untitled” (Portrait of Ross in L.A.) 254, 255

Goosen, E. C. 105

Govan, Michael 225

Graham, Dan 225, 245

Gray, Cleve 82, 86, 301n.94

Green, Richard 30

Greenberg, Clement 10, 54, 55, 311n.28

Greenson, Ralph 28

Groeneboer, Jonah 327n. 13

Grossman, Nancy xii, xiii, 2–4, 31, 39, 147–207, 274, 276, 279

bodies in non-figurative art 2–3

abstract assemblages 4, 18–19, 147–8, 149–79, 203

Civil Rights and anti-racism sympathies 199, 313n.69

critical reception and reputation 148–9, 163

misrepresentations of work 149, 205, 206

popularity and misreading of “heads” 192–201

drawings

commercial illustration work 167–8

and sculpture 151, 152, 155, 156–7, 181

and feminism

gender nonconformity and uneasy relationship with 19, 149, 203–5

transgender affinities 19, 26

and use of vaginal imagery 162–3

figurative art and heads 19, 148, 172, 178–207, 180, 183–4, 186–7, 189, 194–6, 200, 202, 207

bodilessness and transgender capacity 201–7

containment and disclosure theme 181–2, 184, 187–8, 191, 201

earlier abstract assemblages as precursor to 149–50, 167–8

labor and craft of making 181–3, 182

redirection of heads in 1980s 199–201

S/M association 180, 191–201, 204, 205

as self-portraits 147, 150, 179–81, 184–91, 202–3, 206

sources of inspiration and research for 189, 191

friendship with Smith and influence on work 151–60

and gender multiplicity and mutability 1

bi-sexed process of art 178–9, 205

bodilessness of heads and trans gender perspective 201–7

disruptive and open approach to gender 147–8, 149–50, 160–79

German shepherd dog 175

leather in work

black leather and cultural connotations 172–4, 176, 180, 191–201

as repurposed material 151, 152–4, 158, 165, 171–2, 177

“machine-animal hybrids” series 159, 177–8

sexuality and complexity of explicit sculptures 38, 148, 151, 160–76, 179, 203

studio and work in progress 182, 184, 189, 190, 191, 194

and transgender perspective 19, 159–60

A.F.F. 146

Ali of Nostrand 158, 175

Ali Stoker 38, 150–1, 162, 167, 169–76, 170–1, 173, 175

Andro sculptures 194–5

Arbus 198

Black Landscape 151, 132, 161, 166

Blunt 183

Bride 150–1, 154, 160–7, 161, 164, 176

Brown and Black 158

B.Y.K. 202

Car Horn 158

Caracas 193

Chiron 166–7, 166

Cob II 199

Eden 151

The Edge of Always 151, 152, 161

For David Smith 150– 1, 151–60, 153, 155

Hitchcock 158

Mary 185, 186–7, 187–8

M.L. Sweeney 181, 196

M.U.S. 189

No Name 180, 207

Potawatami 162, 167, 168–9

Slaves series 167, 169, 172

Totem series 311n.29

Walrus 166

Guggenheim, Peggy 241

Gypsy (Broadway musical) 222–3, 223, 258–9

Halberstam, Jack 4, 17, 18, 26, 33, 159–60, 177

Hall, Gordon 327n.13

Hammond, Harmony 327n.13

Hampson, Joan and John 28

Harwood, Michael 324n.92, 326n.124

Henriquez, Fiore de see de Henriquez, Fiore

Hepworth, Barbara 23

hermaphrodite statues and ambiguous figures 20

Hess, Thomas 79, 80

Hesse, Eva 17–18, 19, 160, 177

Ringaround Arosie 24

Höch, Hannah 160

homosexuality

black leather and clothing 172–3, 176, 195–6

Flavin’s attitudes and work

homosexual mentors 232–43

icons and figurations of the homosexual 212–27, 233–5, 237, 241–3, 261

naming of homosexuals and visible difference 210–12, 215–16, 218–19, 220–7, 233–5, 237, 239, 241–3, 259, 261

public offensives against homosexuals 216–17, 227

gay collectors

Flavin’s work 323n.82

Grossman’s work 194–5

and Gypsy musical and New York 222–3

and New York art world 46–8, 241

see also gay liberation movement; S/M community

Horosko, Marian 79–80

Howard, Richard 73

human figure and shift to abstraction xii–xiii, xvi, xvii, 277

and genders xiv–xv, 1, 2, 13–19, 279–80

abstraction and nonconforming genders 20, 23–6, 38, 149, 205

assignment of gender xiv–xv, 20–3, 44

assignment of gender and Smith’s non-figurative work 44–5, 62–4, 73–86, 89–91, 93

Brancusi’s assigned and inclusive genders 20–2

Chamberlain’s sculptures 131–2

see also abstraction’s rejection of human form and invocation in sculpture; ambiguity of gender in art; body; sculpture: relationship with human figure

Hunter, Sam 49–50

Indiana, Gary 102, 123–4, 125

International Olympic Committee (IOC) 29

intersex

artists’ self–representation 24, 25

development of history and politics of xv, 26–7, 33–4, 282n.10

Jefferson, Blind Lemon 229

Johns, Jasper 48, 72, 142, 228, 232–5, 237, 249, 259

and Flavin’s pink out of a corner (to Jasper Johns) 232, 234, 236, 237, 239, 242–3, 242

Tennyson 215, 233–5, 235, 237, 239

Johns Hopkins University xi, 29, 30

Johnson, Marsha P. 30

Johnson, Philip 323n.82

Johnston, Jill 213, 234–5

Jones, Caroline 215, 323n.78

Jorgensen, Christine xi, 27, 28, 29–30, 31, 259

Judd, Donald xvi, 9, 12–13, 142, 216, 219, 285n.16

Joyce, James 217

on Chamberlain 101, 105, 107–8, 110–11, 118–19, 120, 130

and Flavin 210, 212, 220, 228

titles of works 249, 250

Kaplowitz, Jane 324

Katz, Jonathan D. 47

Kauffman, Craig 244–5, 324n.94

Kertess, Klaus 102, 105, 120, 307n.51

Kienholz, Edward 9

Kobro, Katarzyna 6

Kosofsky Sedgwick, Eve 4–5, 201, 307n.59

Krauss, Rosalind xi, 13, 16

on attempts to overcome figuration in sculpture 6–7

on body in abstract sculpture 7

“expanded field” term 40–1

on Smith and work 72, 80, 83–4, 88

dissertation and catalogue raisonné 299n.58

Kusama, Yayoi 13, 19

language

nomination of gender at birth xiv

words and artists’ work 279

leather see Grossman: leather in work

Leider, Philip 319n.29

Leigh, Michael: Velvet Underground 192, 193

lesbian community and feminism 204

Leslie, Alfred: The Last Clean Shirt (film with O’Hara) 52

LeWitt, Sol 210, 228

Licht, Fred 241

Linder, Jean 13

Lippard, Lucy

“Eccentric Abstraction” (essay) 13, 14–15, 16, 17

Eccentric Abstraction exhibition (New York, 1966) 4, 13, 14, 16–17

“Eros Presumptive” (essay) 13–15, 16, 17, 38

on Flavin’s icon V g213

on reality of sculpture 7

literalism

and Flavin’s work 209–10

icons and figurations of the homosexual 212–27, 233–5, 237, 241–3, 261

turn to fluorescent tubes 230–2, 241–3, 261, 264

and human form xii, 2, 9, 10, 11, 38

and Burton’s sculpture as furniture 274–5, 278

Flavin’s dedications and personhood 249–53, 257–65

Lonesome Cowboys (Warhol film) 138–9

Lord, Catherine 176

Lowndes, Joan 251

Ludlam, Charles: Ridiculous Theater Company 25

McGinnes, Mac 324n.92, 326n.123

“Meet Ms. Western Artiste!” (with Rosenblum) 262–3

Malevich, Kasimir 323n.78

Mapplethorpe, Robert 195, 197–8

Untitled (Nancy Grossman sculptures) 200

Marisol 25

masculine in Grossman’s work 150, 188

associations of black leather 172–4, 176

Masheck, Joe 216

Massumi, Brian 75–6

Matisse, Henri 210

media

and misrepresentation of Grossman’s “heads” 193–5, 198, 199–201

visibility and understanding of transsexuality xi, xii, 24, 25, 27, 28, 29–30

medicine

gender reassignment surgery 29

medical discourse of sex and gender 24

see also gender research clinics

McCracken, John 324n.94

Medina, Ernest 185, 187

Meltzer, Eve 40

Mendieta, Ana: Untitled (Facial Hair Transplants) 25

Merman, Ethel 222, 223

Meyer, James 9, 10–11, 17, 212, 220

Meyer, Richard 47

Meyerowitz, Joanne 26, 27

Mies van der Rohe, Ludwig 247

Miller, D. A. 222

Minimalism 8, 16

abstraction and human figure 7, 9–13

anthropomorphism critiques 9–11, 12–13

and body in Cassils’s work 273

Burton’s sculpture as furniture 274–6, 278

and Flavin 4, 209–10

and Gonzalez-Torres 254, 256

see also Postminimalism

Money, John 24, 28, 30

“monokini” and Flavin on Barbara Rose 217

Moore, Henry 23

Morris, Robert 7, 12–13, 16, 25

Motherwell, Robert 301n.93

Moyer, Carrie 327n.13

Müller, Grégoire 256

Müller, Ulrike 327n.13

Museum of Modern Art (MoMA), New York

Flavin on Wilfred’s work at 217

O’Hara and Smith’s work 45–6, 48–50, 59, 61, 62

My Lai Massacre and Grossman’s work 185, 187–8

Namaste, Viviane K. xv, 292–3n.120

names

Rosenblum’s drag queen names for friends 259, 262–3

and self-determination 258–9

see also titles

Nashat, Shahryar 327n.13

Nelson, Maggie 47

Nemser, Cindy 149, 155–6, 157, 160, 162, 163, 169, 171, 311–2n.40

Neuner, Stefan 217

New York art world and homosexual networks 46–8, 241

New York School of poets 46, 47

Newman, Barnett 228, 245

Newton, Esther 30

Nine at Leo Castelli warehouse show 216–17, 218

nonconforming genders xvi, xvii and abstraction 20, 23–6, 38

Grossmans work 149–50, 205

actors and artists 20, 24, 25

see also transgender; transsexuality

Northwestern University xi–xii, 29

Nosei, Annina 237

Ockham, William of 210

O’Doherty, Brian 149

O’Hara, Frank 47

homosexuality and New York art world 46–8

as poet 70–3

“Having a Coke with You” 70

“Hermaphrodite” 25

“In Memory of My Feelings” 72

Love Poems (Tentative Title) 47

Lunch Poems 46

Smith’s appearance in “Mozart Chemisier” 50–2

and social and sexual relationships 46–7, 62

and visual art and artists 46

and Smith

Art New York interview 1, 39, 43–4, 61–8, 63–4, 66, 72, 80, 81–2, 93–5, 279

ARTnews article 53–4, 57–8, 59

as curator and role in Smith’s career 43, 44–61, 72–3

response to Smith’s sculptures 57–9, 61, 64–8, 70, 72–3, 73–86

and sexuality 75–7

visits to Bolton Landing 48–9, 50–3, 57–9, 62, 64–5

Oldenburg, Claes 9, 13

Drum Set 24–5

Olson, James 185, 187

Olympic Games in Mexico City (1968) xii, 27, 29

ONE National Gay & Lesbian Archives, Los Angeles: “Trans Activation” series 270

Paar, Jack 24, 28

paratextuality see peritextuality

Parsons, Betty and gallery 24

part-objects and gender 15, 17, 19, 177

Paterson, Jennifer 24

performativity

Flavin’s titles and dedications 209, 220

and fluorescent tube works 247–53, 257, 261, 264

Grossman’s heads as self-portraits 203, 206

nomination of gender at birth xiv

Pepe, Sheila 327n.13

peritextuality and Flavin’s dedications 251–3

Perreault, John

and Flavin’s titles and dedications 209, 210

on Grossman 192, 194

personhood in sculpture 3, 276

and “expanded field” 41

and Flavin’s naming system

performative naming of works 249–53, 257

transformable personhood 254–65

“successive states” of personhood and gender xvi, xvii, 34, 279–80

and Chamberlain’s work 110–11, 114, 130

Picabia, Francis 20

Picasso, Pablo 105

Pincus-Witten, Robert 16

Piper, Adrian: Mythic Being 25

Plunkett, Edward M. 220, 259, 320n.41

Poetter, Jochen 125–7

Pollock, Jackson 46, 48

Pop Art 3–4, 9

Postminimalism 4

and Eccentric Abstraction exhibition 16–17

Potts, Alex 44, 215, 309n.2

Preciado, Paul B. xv, 26

public art: Burton’s furniture 274–6

queer studies and queer theory 27, 37

Rasmussen, Waldo 59, 61

Rauschenberg, Robert 48, 142

Bed 235

Raven, Arlene 147, 150, 151, 156, 158, 166, 185, 187

Rechy, John 28

City of Night 48

Reis, Elizabeth 26, 27

relief assemblages of Grossman 18–19, 147–8, 149–79, 203

relief sculpture 283–4nn.3&4

reparative readings 4–5

Richardson, Brenda 249

Ridiculous Theater Company 25

Ritchie, Andrew 49–50

Rivera, Sylvia 30

Rivers, Larry 47, 48, 139

Roberts, Randy 185, 187

Rodin, Auguste 135, 273, 289n.66

Rondeau, James 235

Rose, Barbara 101–2, 105, 213, 217

Rosen, Andrea 254, 256

Rosenblum, Robert 220, 232–3, 239, 241, 243

drag queen names for friends 259

“Meet Ms. Western Artiste!” (with McGinnes) 262–3

sexual identity 241, 324n.93

Rubin, Gayle 204

S/M community

association with Grossman’s work 172, 173, 205

and head figures 180, 191–201, 204

Sahib, Prem 327n.13

Salamon, Gayle 33, 37, 165, 206

Samaras, Lucas 13

Schapiro, Meyer 24

Schapiro, Miriam 163

Schiff, Gert 193

Schor, Mira 205

Scull, Robert and Ethel 220

sculpture

and color 48, 54, 105–8

physical relationship with viewer 5–6, 7, 9, 11–12, 14–15, 277–8

O’Hara’s response to Smith’s work 57–9, 61, 64–8, 70, 72–3, 73–86

relationship with human figure 1–41

abstract sculpture and genders xv, 1, 2, 9–13

ambiguity and simplified forms 19–26, 83, 87–95, 133–4

anthropomorphism critiques 6, 9–13

and distinction as art not object 8

Smith’s non-figurative art 2–3, 44–5, 54–5, 57–9, 62–8, 70, 80, 81–95

“successive states” of personhood and gender xvi, xvii, 34, 279–80

and Chamberlain’s work 110–11, 114, 130

transformation in 1960s xi, 2, 6

see also abstraction’s rejection of human form and invocation in sculpture; human figure and shift to abstraction

Sedgwick, Eve Kosofsky see Kosofsky Sedgwick

Segal, George 9

Selby, Hubert, Jr.: Last Exit to Brooklyn (novel) 27, 28

sex change see transsexuality

sexuality

and Chamberlain’s personal

interactions and interviews 119–20

and gender 36–9

and O’Hara 46–8, 75–7

in sculpture 3, 37

abstract eroticism 5, 13–15

and Chamberlain’s work 98, 100, 120–5, 127, 129–31, 143, 145

complexity of Grossman’s explicit art 38, 148, 151, 160–76, 179, 203

Grossman’s association with S/M community 180, 191–201, 204, 205

and Smith’s work 38, 75–7

see also erotic in art; homosexuality; transsexuality

Shaw, Lytle 72–3

Siegel, Anita 198

Sillman, Amy 327n.13

Sims, Lowery Stokes 174, 176

Smith, David xii, xiii, 2–4, 7, 16, 43–95, 74–5, 89, 274, 280

bodies in non-figurative art 2–3, 54–5, 57–9, 62–8, 70, 80, 81–95

and assignment of gender 44–5, 62–4, 73–86, 89–91, 93

Bolton Landing and sculptures in situ 42, 45, 48–9, 49–53, 50–3, 55–8, 57–9, 61, 62, 64–5, 67, 71, 74–8, 85–6, 88–92, 95

catalogue raisonné 299n.58

color and work 48, 54, 105

composition of work and “drawing in space” 68, 157–8

daughters and home life and work 48, 51–2, 78–9, 298n.54

death 59, 61

friendship with Grossman and For David Smith 150–1, 151–60, 153, 155

and O’Hara

Art New York interview 1, 39, 43–4, 61–8, 63–4, 66, 72, 80, 81–2, 93–5, 279

connotations of “I don’t make boy sculptures” comment 43–4, 64, 73–84, 86

and European retrospective (1966) 59, 61

misrepresentation of Smith’s comments and works 81–6, 93

“Mozart’s Chemisier” poem 50–2

O’Hara at Bolton Landing 48–9, 50–3, 57–9, 62, 64–5

O’Hara’s ARTnews article 53–4, 57–8, 59

O’Hara’s response to Smith’s sculptures 57–9, 61, 64–8, 70, 72–3, 73–86

O’Hara’s support as curator and role in career 43, 44–61, 72–3

response to O’Hara’s sexuality 75–7

rejection of words to interpret art 81

sexuality and work 38, 75–7

attitudes to women and use of term “girls” 78–80

female nudes 79

Tate Modern retrospective 1

and transgender perspective 18, 26, 87–95

Agricola I 51

Black White Forward 77

Circle and Box (Circle and Ray) 65

Cube Totem 7 and 6 51, 84, 85

Cubi series 53, 55, 68, 95, 158, 159

Cubi VI 65

Cubi VII xviii

Cubi VIII 67

Cubi XI 71

XI Books III Apples 78

Fifteen Planes 69–70

The Five Spring 57

The Hero (Eyehead of a Hero) 83, 84, 86–7

Lectern Sentinel 67

Lonesome Man 76, 78

March Sentinel (Stainless Steel Planes) 53, 53

Ninety Father 42, 53, 60, 77, 78

Ninety Son 42, 53, 60, 77, 78, 91

Noland’s Blues 60

Personage of August 57, 58

Pilgrim 57

Rebecca Circle 60

Running Daughter 57

Sentinel series 68, 83

Sentinel I 56, 57

Sentinel II 57, 58

Tahstvaat 51

Tanktotem series 68, 83

Tanktotem I 83, 84

Tanktotem IV 83, 88

Tanktotem VI 57

Tanktotem VIII 60

Tanktotem IX 83, 90

Two Box Structure 50, 53

Two Circle Sentinel 50, 53, 53

Zig series 53, 68

Zig II 49, 50, 53, 55

Zig III 49, 50, 53, 77

Smith, Jack 195

Smith, Tony: Die 9–10, 10, 278

Smithson, Robert 139, 234

speech act theory see performativity

Stanford University xii, 30

Star, Hedy Jo 27, 28

statue

assignment of gender in Smith’s

non-figurative work 44–5, 62–4, 73–86, 89–91, 93

hermaphrodite statues and ambiguous figures 20

rejection and transformation in art of 1960s xi, xii, xiii, xvii, 2, 6–7, 8, 10–11, 40

Stella, Frank 142, 220, 228, 259

titles of “Black Paintings” 249–50

Stoller, Robert 24, 28, 30

Stonewall Riots (New York, 1969) xii, 30

Street Transvestite Action

Revolutionaries (STAR) 30

Stryker, Susan xv, 26–7, 32, 36, 127, 282n.10, 292n.120

on gender and sexuality 37

on inevitability of gender attribution 176–7

on “transgender liberation” in 1960s xvi, 30–1

on use of “transgender” as term 32

“successive states” of personhood and gender in sculpture xvi, xvii, 34, 279–80

and Chamberlains work 110–11, 114, 130

Sullivan, Louis 228

Sylvester, Julie 117–18

Symbolism: artists and self-representation 20

Tatlin, Vladimir 6, 210, 323n.78

Tennyson, Alfred, Lord: “In Memoriam A.H.H.” (poem) 235, 237

theater and illusionism and Flavin’s work 222

Thek, Paul 9

Tillim, Sidney 212

titles see Chamberlain: titles and meaning of work; Flavin: titles of works and dedications

Tonight Show (US TV show) 24, 28

transfeminism and gender

nonconformism in art 25–6, 149, 205

transformation

and Chamberlain’s work 112–13, 114, 122, 125, 127, 145

and gender 279–80

and body in Cassils’s work 269–74, 278

and Flavin’s naming practices 257–65

transformed gender categories xvi, xvii

transgender experience xv, 35, 273–4

see also gender: mutability

sculpture and rejection of statue in 1960s xi, xii, xiii, xvii, 2, 6, 6–7, 8, 10, 40

transgender

activism and issues xii, 26–7, 28, 29, 30

aesthetics of transgender body 4

artists and self-representation 20, 24, 25

bi-sexed and inclusive genders in art 20–1, 24–5, 178–9, 205

Cassils’s performance and work 269–74, 278

and Grossman’s work 19

historical understanding and

acknowledgement xv–xvi, 25, 26–34

chronology of 28–30

in context of gay and lesbian culture 31, 270

naming and personhood 258, 259, 264

and temporal nature of gender 127, 129

use of term 32–3

as inclusive category xv

see also transgender capacity; transgender studies; transsexuality

transgender capacity xvi, 5, 34–6

and abstract sculpture 2, 4, 34–6, 38–9, 276–7, 278–80

and body in Cassils’s work 269–74, 278

Grossman’s work 160

openness of Chamberlain’s work 129–42, 145

usefulness as critical tool 34–6

transgender studies

and art history xiii-xv, xvi, xvii, 33

application to unexpected artists 18

and Lippard’s “Eros Presumptive” views 14

development as discipline 27, 33

and temporal construction of gender 129

Transsexual Action Organization (TAO) 30

transsexuality

historical understanding and acknowledgement xi–xii, xv–xvi, 25, 27, 28, 29–30

transgender as umbrella term xv

Tucker, Paul 79

Tucker, William 54, 84

Twombly, Cy 142

Ultra Violet (Warhol actress) 116, 121

universities: gender research clinics xi–xii, 28, 29, 30

University of California Los Angeles xi, 28

Valentine, David 32, 36

van der Marck, Jan 220

Vidal, Gore: Myra Breckinridge (novel) xii, 27, 30, 31

Vietnam War: Grossmans response 185, 187–8

viewer’s bodily relation with art 2

abstraction and bodily scale 9–10, 277–8

sculpture 5–6, 7, 11–12, 278

Lippard on “Eccentric Abstraction” 14–15

O’Hara’s response to Smith’s work 57–9, 61, 64–8, 70, 72–3, 73–86

Postminimalism and sculpture “beyond objects” 16–17

Wagner, Anne 13

Warhol, Andy 25, 27, 30, 142, 195

Blow Job (film) 172, 201

Lonesome Cowboys (film) 138–9

Warren, Vincent 47, 59

Welchman, John 249

Wilfred, Thomas 217

Wilke, Hannah 13, 14

Wilkin, Karen 83

Williams, Cristan 292n.106

Wilson, Phyllis Avon 29

Wood, Ed 28

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