America is Hard to See
Whitney Museum of American Art, New York, 2015
Featuring Learn Where the Meat Comes From
Building upon the ethos of experimentation of the previous decade, many artists in the 1970s shifted away from making objects and began to embrace performative storytelling and body-oriented actions. Video technology—which was still in its infancy at the start of the decade—provided a groundbreaking new tool for personal expression, often giving voice to the disenfranchisement of women and people of color. While some of these artists were drawn to video’s formal and technical properties, others were among the generation of feminist artists who recognized the medium’s radical potential to appropriate the power structures of mass media. Suzanne Lacy’s Learn Where the Meat Comes From, for example, begins with the artist in a tastefully outfitted kitchen in a gentle parody of instructional cooking shows, such as the one popularized by Julia Child—and devolves into an absurdist, biting commentary on domestic work and the objectification of the female body. Lacy’s behavior alternately mimics that of both predator and prey, and by the end of the video the division between human and animal has all but dissolved; the hostess sits down to a properly set table complete with wine and salad and then proceeds to devour the cooked roast like a snarling, ravenous beast.
Other works in this chapter take up related concerns. Artists such as Eleanor Antin, Lynda Benglis, Joan Jonas, Cindy Sherman, and Hannah Wilke use their cameras—whether video or still—to confront themselves, exploring the boundaries of subjectivity. Others, including the Los Angeles−based collective Asco, Ulysses Jenkins, Howardena Pindell, and Martha Rosler work, like Lacy, to draw attention to the ways media shapes our perception of identity and to the inherent gender and racial biases that often accompany those depictions.