WWW.HAUSSITE.NET
Laura Cottingham
19 / 11 / - 20/ 11 / 1999
Exhibition / Screening / Discussion
Love, Sex, Fame and the Life of the Image:
The Anita Pallenberg Story
Screening / Lecture
presentation of a 30 minute video from The Anita Pallenberg Story
Laura Cottingham (USA)
Screening / Discussion
Not For Sale: Feminism and Art in the USA during the 1970s, (1998)
Videoessay by Laura Cottingham
Laura Cottingham, The Anita Pallenberg Story (1999)
see also: "Not
For Sale: Feminism and Art in the USA during the 1970s" (english
/ german)
see also: "The
Masculine Imperative: High Modern, Postmodern", (english / german)
"How did bands such as the Rolling Stones begin with a position of
political resistance and end with a desire to play cricket? Like other white
male rockers in the late 1960s, the Stones--especially in the personae created
by Mick Jagger--played with the image of masculine privilege. The long hair,
lipstick and eye make-up, frilly clothes, hip swaggers, pseudo and actual
gay male sexuality (Jagger and Bowie), for a moment challenged the imagined
and real position of white maleness. But this androgynous promise, like
that of political revolution, was short-lived."
Laura Cottingham, LOVE, SEX, FAME and the LIFE OF THE IMAGE - The Anita
Pallenberg Story
haus.0 presents Laura Cottingham for two evenings at Künstlerhaus Stuttgart.
The first evening Laura will introduce her current production with Leslie
Singer, The Anita Pallenberg Story, with a 30 minute video selection
from the forthcoming film, and the second evening she will present her 90
minute videoessay Not For Sale: Feminism and Art in the USA during the
1970s and hold a discussion afer the screening.
In this series perspective, the feminist critic / curator Laura Cottingham
discusses her notion of critical engagement specifically informed from her
lesbian politics, that appears in her role-playing, gender-shifting collaborative
film project with Leslie Singer. haus.0 commissioned from Cottingham a series
of writings which would be the nucleus for the new website project LOVE,
SEX, FAME and the LIFE OF THE IMAGE . The resulting haus.0 project
is not a 'making-of', but a specific project underway as is the film The
Anita Pallenberg Story, through Cottingham's updates, unpacking the
dynamics of dealing with representation and identity politics in such a
form today.
Laura Cottingham is an art critic who lives in New York where, since 1992,
she has taught contemporary art issues in the College of Art at the Cooper
Union for the Advancement of Science and Art. Her criticism is featured
in many recent anthologies and museum catalogues from Europe and the United
States, including Hannah Wilke (Copenhagen, 1998); Isn't It too
early for the Eighties yet? (Malmoe, 1998); Claude Cahun(Munich,
1997); Sunshine & Noir(Copenhagen, 1997); Inside the Visible (Boston,
1996); L'art au corps (Marseilles,1996); Sexual Politics(Los
Angeles, 1996); The Power of Feminist Art(New York, 1994); Bad
Girls(London, 1994); and New Feminist Criticisms(New York, 1993).
She has curated two museum surveys in Europe devoted to feminist issues
and history: Incandescentfor NowHereat the Louisiana Museum
of Modern Art, Denmark, 1996; and Vraiment feminisme et art at Le
Magasin Centre National d'Art Contemporain de Grenoble, France, 1997. A
selection of her essays on art, Seeing Through the Seventies, is
forthcoming from G & B Arts International (Amsterdam, 1999). A French edition
of her 1994 pamphlet How many 'bad' feminists does it take to change
a lightbulb?is also forthcoming, from Publications, Lyon in 1999. She
is also author of lesbians are so chic...(London, 1996).
In addition to writing, Cottingham has been making videos since the early
'90s. Her Not For Sale: Feminism and Art in the USA during the 1970s,1998,
a 90-minute art historical survey, premiered at the Museum of Modern Art
in May 1998 and has subsequently been shown at museums and galleries in
Europe, Great Britain, and the USA. She is currently working, with Leslie
Singer, on The Anita Pallenberg Story, a satire on the contemporary
international art scene as told through backstage with the Rolling Stones
in 1968.