Still Dangerous!

Harmony Hammond, Professor Emerita of Art at the University of Arizona, is a visual artist, writer, educator, activist, and independent curator.

Tirza True Latimer is Professor Emerita of History of Art and Visual Culture at the California College of the Arts.

Julia Bryan-Wilson is Professor of Contemporary Art and LGBTQ+ Studies at Columbia University.

Captions to Color Plates  xi
Editor’s Note  xv
Foreword: Reading Harmony Hammond / Julia Bryan-Wilson  xvii
Introduction: Dangerous / Tirza True Latimer  1
Preamble: “Art History,” Art Journal (1996)  17
1. 1970s
Editor’s Introduction  21
Statement, A.I.R. Gallery, New York (1973)  30
“More on Women’s Art: An Exchange,” Art in America (1976)  32
“Feminist Abstract Art—a Political Viewpoint,” Heresies: A Feminist Publication on Art and Politics (1977)  37
“Class Notes,” Heresies (1977)  45
“Lesbian Artists,” Our Right to Love: A Lesbian Resource Book (1978)  52
Statement, Lerner-Heller Gallery, New York (1979)  55
“A Sense of Touch,” New Art Examiner (1979)  57
2. The 1980s
Editor’s Introduction  67
“Horseblinders,” Heresies (1980)  73
Curatorial Statement, “Home Work,” Women's Hall of Fame, Seneca Falls, New York (1981)  79
“Monstrous Beauty: The Woman Gone Wild,” in Beauty and Critique (1982)  83
“Affirming the Existence of the World of Images,” Wrappings: Essays on Feminism, Art, and the Martial Arts (1984)  90
Statement, Chicken Lady, A.I.R. Gallery, New York (1984)  94
Book Review, “Frida: A Biography of Frida Kahlo by Hayden Herrerra,” 13th Moon (1984)  96
Book Review, “The Arts of the North American Indian: Native Traditions in Evolution by Edwin L. Wade,” Artspace: Southwestern Contemporary Arts Quarterly (1987)  104
Interview with MaLin Wilson[-Powell], Jonson Gallery, University Art Museum, University of New Mexico, Alburquerque (1988)  114
Artist’s Statement (1989–1990)  123
3. 1990s
Editor’s Introduction  127
Interview with Neery Melkonian, THE Magazine (October 1992)  132
“Mechanisms of Exclusion,” THE Magazine (April 1993)  138
“Resistances: Cultural Tourism and Native Resistance Through Self-Representation,” THE Magazine (June 1993)  146
“A Space of Infinite Pleasurable Possibilities: Lesbian Self-Representation in Visual Art,” in New Feminist Criticism: Art/Identity/Action (1994)  152
“Against Cultural Amnesia,” Art Papers (1994)  182
“A Lesbian Show,” in In a Different Light: Visual Culture, Sexual Identity, Queer Practice (1995)  191
“Desperately Seeking Images: Pre-Stonewall and Pre-Feminist Art” (ca. 1996)  196
“Painting Allowed: Lesbians Trespass in the Modernist Painting Field,” SITE SANTA FE (1997)  222
“Meetings with Agnes Martin,” in Agnes Martin: Works on Paper (1998)  239
“Camping Out in the Southwest,” in Out West exhibition catalogue (1999)  247
4. 2000s
Editor’s Introduction  259
“Introduction,” Lesbian Art in American, A Contemporary History (2000)  265
“Harmony Hammond, a Narrative Chronology: Part I, the Years 1944 to 1980” (ca. 2000), Compiled from Interviews by Moira Roth  268
“Local Artist Makes Good,” El Puente de Galisteo (2002)  275
“Material Girls: Gender, Process, and Abstract Art Since 1970,” Santa Fe Art Institute (2003)  278
“The Front Line, the Big Picture, the Long Haul: An Essay in Two Parts: Theory and Practice,” in From Our Voices: Art Educators and Artists Speak Out About LGBT Issues (2003)  283
Letter to Christian Rattemeyer, Curator (2004)  293
Interview with Lester Strong, “Survivor Aesthetic,” A & U: America’s AIDS Magazine (2004)  296
Statement, Paint on Metal exhibition, Tucson Museum of Art (2005)  300
Statement, How American Women Artists Invented Post-Modernism exhibition, Mason Gross School of Art Galleries, Ruters University (2005–6)  304
Statement, in High Times, Hard Times: New York Painting exhibition catalogue (2006)  306
“In Her Own Words: The Meeting of Passion and Intellect,” for the National Museum of Women in the Arts (2007, 2023)  309
Curatorial Essay, ¿Y QUÉ? Queer Art Made in Texas (2007)  312
“Memories of the Feminist Art Institute” (2008)  317
Letters to Ferris Olin and Judith K. Brodsky Regarding “The Group” (2008)  320
Interview with Julia Bryan-Wilson, Archives of American Art, Smithsonian Oral History Program (September 14, 2008)  323
“Taking Space: A.I.R. Gallery: The Formative Years” (2008)  336
Interview with Courtney Dailey (2009)  345
5. 2010s
Editor’s Introduction  357
“A Manifesto (Personal) of Monochrome (Sort Of)” (2010)  363
“Censorship,” College Art Association (2011)  366
Interview with Carlos Motta, for We Who Feel Differently (2011)  370
“Inroads and Outposts: Curating Queer Exhibitions in the Southwest,” Pennsylvania State University (2011)  374
Wall Text, Erasing Censorship Exhibition, Left Coast Books, Goleta, California (2011)  383
“Sexuality and the Museum,” Brooklyn Museum (2012)  389
Artist’s Talk, Brooklyn Museum (2012)  392
“The Collective Archive as Feminist Art Narrative,” the Feminist Art Project Day of Panels, Brooklyn Museum (2013)  401
Curatorial Essay, Material Engagements, RedLine Contemporary Art Center, Denver (2013)  405
Letter to Carey Lovelance, “Random Thoughts in Response to Your Questions” (2014)  408
Letter to Sue Heinemann, “Some Thoughts on the Heresies Collective” (2014)  414
Conversation with Ulrike Müller, in Pink Labor on Golden Streets (2015)  418
Interview with Clarity Haynes, Hyperallergic (2016)  427
Interview with Phillip Griffith, Brooklyn Rail (2016)  431
“On Harmony’s Archive,” Western States Artis-Endowed Foundations (2019)  437
Statement, “Chicken Lady,” Material Witness, Aldrich Contemporary Art Museum (2019)  439
Studio Visit with Jean Shapland, THE Magazine (2019)  441
Interview with Tara Burk, in Art After Stonewall: 1969–1989 (2019)  448
Interview with Tyler Green, The Modern Art Notes Podcast (2019)  450
6. 2020–2023
Editor’s Introduction  461
Audio Tour, Crossings, Alexander Gray Associates Gallery, New York (2020)  463
Interview with Jarrett Earnest, National Academy of Design (2011)  467
Interview with Elvan Zabunyan, “Women in Abstraction: Another History of Abstraction in the 20th Century,” Centre Pompidou, Paris (2021)  477
“Agnes Martin. UNTITLED, 1960. Oil on linen. 12 x 12”,” in Woven Histories: Textiles and Modern Abstraction (2023)  483
Acknowledgments  485
Index
Credits