Abstract

“Touchstones: Lucy Lippard’s Overlay and the Politics of Prehistory” examines the critical context around Lucy Lippard’s remarkable 1983 book about contemporary art and the art of prehistory. A unique piece of art history that shuttles between archaeology and contemporary practice, the book is one of the most important critical works to emerge from the cultural feminist movement of the 1970s. The essay explores its distinctive model of “collaged” history, competing approaches to time and history in contemporary land art, how these reoriented notions of Minimalism and technology, and why Lippard believed that prehistory could become a powerful cultural and political resource. The essay also investigates the preoccupation with prehistory, a pervasive accent in the art of the late 1960s and 1970s, and one which provides an important context that goes beyond the limits of cultural feminism. Finally, the essay examines the position Lippard adopted in relation to the gathering criticism of cultural feminism which came from voices on the poststructuralist left; it also explores Lippard’s understanding of pluralistic approaches to media at a time when Rosalind Krauss’ essay on “Expanded Sculpture” sought to bring order and logic to the period’s diversity.

摘要

“试金石：露西·利帕德的叠加《史前政治与史前政治》探讨了露西·利帕德 (Lucy Lippard) 1983 年出版的关于当代艺术和史前艺术的杰出著作的批判背景。这本书是一部穿梭于考古学和当代实践之间的独特艺术史作品，是 20 世纪 70 年代文化女权主义运动中出现的最重要的批评著作之一。本文探讨了其独特的“拼贴”历史模式、当代大地艺术中对时间和历史的竞争方法、这些极简主义和技术概念的重新定位，以及为什么利帕德相信史前史可以成为强大的文化和政治资源。这篇文章还探讨了对史前史的关注，这是 20 世纪 60 年代末和 1970 年代艺术中普遍存在的口音，它提供了超越文化女权主义限制的重要背景。最后，本文探讨了利帕德针对来自后结构主义左派的声音对文化女权主义的批评所采取的立场；它还探讨了利帕德对媒体多元化方法的理解，当时罗莎琳德·克劳斯（Rosalind Krauss）关于“扩展雕塑”的文章试图为该时期的多样性带来秩序和逻辑。