Philadelphia Convention Hall and Civic Center
The Philadelphia Convention Hall and Civic Center—more known as the Philadelphia Civic Center and the Philadelphia Convention Center, known as Municipal Auditorium and the Philadelphia Convention Hall—located in Philadelphia, in the U. S. state of Pennsylvania, was a complex of five or more buildings developed out of a series of buildings dedicated to expanding trade which began with the National Export Exhibition in 1899. There were two important buildings on the site; the Commercial Museum, built in 1899, was one of the original exposition buildings. The Municipal Auditorium was built in 1931; the site was host to national political conventions in 1900, 1936, 1940 and 1948. The Convention Hall arena was located at 3400 Civic Center Boulevard, on the edge of the campus of the University of Pennsylvania, just to the southwest of Franklin Field, it was built in 1930 and its highest capacity was 12,000. The building was notable for its many friezes and other decorative aspects. Known as the Municipal Auditorium, the Convention Hall hosted many events, including the 1936 and 1948 Democratic National Conventions, the 1940 and 1948 Republican National Conventions.
Thus the building became known as Convention Hall. Pope John Paul II, Martin Luther King and Nelson Mandela all spoke there, The Beatles and the Philadelphia Mummers both performed there; the Philadelphia Warriors and Philadelphia 76ers both played many of their games in the arena. President Lyndon B. Johnson spoke at a campaign appearance on August 1964 at Convention Hall, he appeared at the Hall alongside many notable Pennsylvania Democratic leaders. Four days The Beatles played the venue on September 2, 1964 during their first tour of the United States. Tickets sold out within 90 minutes; the Rolling Stones played Convention Hall on May 1965 during their third American tour. After the opening of the Spectrum in South Philadelphia in 1967, the building nearly became obsolete. On February 5, 1970, The Jackson 5 played their first official concert for Motown Records there; the building was used for Atlantic 10 Conference and Big Five basketball games. World Championship Wrestling staged professional wrestling there, which included three pay-per-view events: Halloween Havoc in 1989 and 1992 and the 1994 Slamboree event.
The Civic Center hosted the World Hockey Association's Philadelphia Blazers and the minor-league Philadelphia Firebirds hockey teams. The University of Pennsylvania used the building for commencements, as did Drexel University, Temple University, La Salle University. Convention Hall was torn down after more than a decade without a regular tenant; the 1996 Atlantic 10 Men's basketball tournament was the last event held there. Afterwards, it served as a soundstage for the TV series Hack starring David Morse; the Championship fight scene for Tommy'the machine' Gun played by real life boxer Tommy Morrison for the 1990 movie Rocky V was shot there. The Auditorium's M. P. Moller 86-rank pipe organ, built in 1931, was removed just prior to the building's demolition and placed in Pennsylvania Hall in temporary storage. In October 2006 the organ was donated to the University of Oklahoma's, American Organ Institute where it will be restored and become the centerpiece of their music programs; the last remnant of the Civic Center, Pennsylvania Hall, was imploded on March 4, 2007.
The University of Pennsylvania Health System's Perelman Center for Advanced Medicine opened on the site in October 2008. One limestone frieze that adorned the Civic Center, 5 feet tall and 48 feet long and depicting the history of labor from the days of the ancient Egyptians to the 20th century, was removed before the building was demolished, it was purchased by the Alessi Organization in 2005 and in 2017 was installed outside its new Crossing Shopping Center at East 22nd Street and Route 440 in Bayonne, New Jersey. Hunter, Ruth; the Trade and Convention Center of Philadelphia: Its Birth and Renascence. Philadelphia: The City of Philadelphia. Dedication booklet Information on Moller Opus 5819 now at the University of Oklahoma's School of Music, American Organ Institute. Photos of the Civic Center prior to destruction including details of the preservation efforts Article at KYW 1060 Philadelphia Boxing History at Convention Hall
Louise Nevelson was an American sculptor known for her monumental, wooden wall pieces and outdoor sculptures. Born in the Poltava Governorate of the Russian Empire, she emigrated with her family to the United States in the early 20th century. Nevelson learned English at school. By the early 1930s she was attending art classes at the Art Students League of New York, in 1941 she had her first solo exhibition. A student of Hans Hofmann and Chaim Gross, Nevelson experimented with early conceptual art using found objects, dabbled in painting and printing before dedicating her lifework to sculpture. Created out of wood, her sculptures appear puzzle-like, with multiple intricately cut pieces placed into wall sculptures or independently standing pieces 3-D. One unique feature of her work is that her figures are painted in monochromatic black or white. A figure in the international art scene, Nevelson was showcased at the 31st Venice Biennale, her work is seen in major collections in corporations. Nevelson remains one of the most important figures in 20th-century American sculpture.
Louise Nevelson was born Leah Berliawsky in 1899 in Perislav, Poltava Governorate, Russian Empire, to Minna Sadie and Isaac Berliawsky, a contractor and lumber merchant. Though the family lived comfortably, Nevelson's relatives had begun to leave the Russian Empire for America in the 1880s; the Berliawskys had to stay behind, as the youngest brother, had to care for his parents. While still in Europe, Minna gave birth to two of Nevelson's siblings: Anita. On his mother's death, Isaac moved to the United States in 1902. After he left and the children moved to the Kiev area. According to family lore, young Nevelson was so forlorn about her father's departure that she became mute for six months. In 1905, Minna and the children emigrated to the United States, where they joined Isaac in Rockland, Maine. Isaac struggled to establish himself there, suffering from depression while the family settled into their new home, he worked as a woodcutter before opening a junkyard. His work as a lumberjack made wood a consistent presence in the family household, a material that would figure prominently in Nevelson's work.
He became a successful lumberyard owner and realtor. The family had another child, Lillian, in 1906. Nevelson was close to her mother, who suffered from depression, a condition believed to be brought on by the family's migration from Russia and their minority status as a Jewish family living in Maine. Minna overly compensated for this, dressing herself and the children up in clothing "regarded as sophisticated in the Old Country", her mother wore flamboyant outfits with heavy make-up. Nevelson's first experience of art was at the age of nine at the Rockland Public Library, where she saw a plaster cast of Joan of Arc. Shortly thereafter she decided to study art, taking drawing in high school, where she served as basketball captain, she painted watercolor interiors, in which furniture appeared molecular in structure, rather like her professional work. Female figures made frequent appearances. In school, she practiced her second language, as Yiddish was spoken at home. Unhappy with her family's economic status, language differences, the religious discrimination of the community, her school, Nevelson set her sights on moving to high school in New York.
She graduated from high school in 1918, began working as a stenographer at a local law office. There she met Bernard Nevelson, co-owner with his brother Charles of the Nevelson Brothers Company, a shipping business. Bernard introduced her to his brother, Charles and Louise Nevelson were married in June 1920 in a Jewish wedding at the Copley Plaza Hotel in Boston. Having satisfied her parent's hope that she would marry into a wealthy family and her new husband moved to New York City, where she began to study painting, singing and dancing, she became pregnant, in 1922 she gave birth to her son Myron, who grew up to be a sculptor. Nevelson studied art, despite the disapproval of her parents-in-law, she commented: "My husband's family was refined. Within that circle you could know Beethoven, but God forbid if you were Beethoven."In 1924 the family moved to Mount Vernon, New York, a popular Jewish area of Westchester County. Nevelson was upset with the move, which removed her from her artistic environment.
During the winter of 1932–1933 she separated from Charles, unwilling to becoming the socialite wife he expected her to be. She never sought financial support from Charles, in 1941 the couple divorced. Starting in 1929, Nevelson studied art full-time under Kenneth Hayes Miller and Kimon Nicolaides at the Art Students League. Nevelson credited an exhibition of Noh kimonos at the Metropolitan Museum of Art as a catalyst for her to study art further. In 1931 she sent her son Mike to live with family and went to Europe, paying for the trip by selling a diamond bracelet that her now ex-husband had given her on the occasion of Mike's birth. In Munich she studied with Hans Hofmann before visiting France. Returning to New York in 1932 she once again studied under Hofmann, serving as a guest instructor at the Art Students League, she met Diego Rivera in 1933 and worked as his assistant on his mural Man at the Crossroads at Rockefeller Plaza. The two had an affair which caused a rift between Nevelson and Rivera's wife, Frida Kahlo, an artist Nevelson admired.
Shortly thereafter, Nevelso
Janet Fish is a contemporary American realist artist. She paints still life paintings, some of light bouncing off reflective surfaces, such as plastic wrap containing solid objects and empty or filled glassware. Janet Isobel Fish was born on May 18, 1938 in Boston and was raised in Bermuda, where her family moved when she was ten years old, she came from a artistic family. Her father was professor of art history Peter Stuyvesant Fish and her mother was sculptor and potter Florence Whistler Voorhees, her sister, Alida, is a photographer. Her grandfather, whose studio was in Bermuda, was American Impressionist painter Clark Voorhees. Another member of her family named Clark Voorhees was her uncle, a wood carver whose wife was a painter. Fish knew from a young age, she said, "I came from a family of artists, I always made art and knew I wanted to be an artist." Fish was talented in ceramics, had her mother's kiln available. She intended to be a sculptor; as a teenager, Fish had a job helping out in the studio of sculptor Byllee Lang.
She attended Smith College, in Northampton, concentrating on sculpture and printmaking. She studied under George Cohn, Leonard Baskin, Mervin Jules, she spent one of her summers studying at the Art Students League of New York, including a painting class led by Stephen Greene. Fish received a Bachelor of Arts from Smith in 1960; this was followed by a summer residency at The Skowhegan School of Art in Skowhegan, Maine in 1961. She enrolled at the Yale University School of Art and Architecture in New Haven, attending from 1960 to 1963. There she changed her focus from sculpture to painting, her instructor for an introductory painting class was Alex Katz, who encouraged students to explore the shows in New York galleries. Fish got a sense of the direction of that art world. During that period, art schools tended to favor the teaching of Abstract Expressionism, at first Fish followed along, painting in that style, she soon abandoned it. It was a set of rules."Her fellow Yale students included Chuck Close, Richard Serra, Brice Marden, Nancy Graves and Robert Mangold, Rackstraw Downes.
She was awarded her Bachelor of Fine Arts, in 1963 became one of the first women to earn a Master of Fine Arts from Yale's School of Art and Architecture. After graduating, Fish spent a year in Philadelphia she took up residence in SoHo, where she and Louise Nevelson became friends. Fish rejected the Abstract Expressionism endorsed by her Yale instructors, feeling "totally disconnected" from it and desiring instead the "physical presence of objects", her work, although Realist, may include abstract forms. In 1967 she enjoyed her first solo show, at New Jersey's Fairleigh Dickinson University; the exhibit included detailed paintings of fruits. Her first New York exhibition followed two years after. Fish is known for her large, bold Realist still lifes the way she paints everyday items such as clear glassware filled with water, concentrating on the shapes of the objects and the play of light off of their surfaces, she is interested in painting light and a concept she has on occasion called "packaging."
For instance, if she paints a jar of pickles, the jar becomes "packaging," and this can translate into a searching for the light that describes the jar, a subsequent translation into color. She created still life paintings of grocery store products packaged in cellophane, she said that the "plastic wrap catches the light and creates fascinating reflections". Among her other favorite subjects are everyday objects various kinds of clear glassware, either empty or filled with liquids such as water, liquor, or vinegar. Examples range from glasses, bottles and jars to a fishbowl filled with water and a goldfish. Other subjects include teacups, flower bouquets, textiles with interesting patterns, goldfish and mirrored surfaces. Though she was painting still lifes, she sometimes included human figures, such as a girl performing cartwheels or a boy with his dog splashing in the water. Fish's work has been characterized as photorealist and has been associated with new realism, she does not consider herself a photorealist.
A writer for The New York Times said that Fish's "ambitious still life painting helped resuscitate realism in the 1970's" and that her work depicting everyday objects imbued them with a "bold optical and painterly energy". Critic Vincent Katz concurs, stating that Fish's career "can be summed up as the revitalization of the still-life genre, no mean feat when one considers that still life has been considered the lowest type of objective painting", she has been an art instructor at the School of Visual Arts and Parsons The New School for Design, Syracuse University, the University of Chicago. Fish had two short-lived marriages, which she claims were unsuccessful at least due to her high ambitions and her reluctance to be a "good conventional housewife", she resides, paints, in her SoHo, New York City loft and her Vermont farmhouse in Middletown Springs. In an interview, American painter Eric Fischl spoke of his admiration for Janet Fish: "She's one of the most interesting realists of her generation.
Her work is a touchstone, tremendously influential. Anyone who deals with domestic still li
The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
Museum of Modern Art
The Museum of Modern Art is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA plays a major role in developing and collecting modernist art, is identified as one of the largest and most influential museums of modern art in the world. MoMA's collection offers an overview of modern and contemporary art, including works of architecture and design, painting, photography, illustrated books and artist's books and electronic media; the MoMA Library includes 300,000 books and exhibition catalogs, over 1,000 periodical titles, over 40,000 files of ephemera about individual artists and groups. The archives holds primary source material related to the history of contemporary art; the idea for the Museum of Modern Art was developed in 1929 by Abby Aldrich Rockefeller and two of her friends, Lillie P. Bliss and Mary Quinn Sullivan, they became known variously as "the Ladies", "the daring ladies" and "the adamantine ladies". They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, it opened to the public on November 7, 1929, nine days after the Wall Street Crash.
Abby had invited A. Conger Goodyear, the former president of the board of trustees of the Albright Art Gallery in Buffalo, New York, to become president of the new museum. Abby became treasurer. At the time, it was America's premier museum devoted to modern art, the first of its kind in Manhattan to exhibit European modernism. One of Abby's early recruits for the museum staff was the noted Japanese-American photographer Soichi Sunami, who served the museum as its official documentary photographer from 1930 until 1968. Goodyear enlisted Paul J. Frank Crowninshield to join him as founding trustees. Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, Jr. a promising young protege. Under Barr's guidance, the museum's holdings expanded from an initial gift of eight prints and one drawing, its first successful loan exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne, Seurat.
First housed in six rooms of galleries and offices on the twelfth floor of Manhattan's Heckscher Building, on the corner of Fifth Avenue and 57th Street, the museum moved into three more temporary locations within the next ten years. Abby's husband was adamantly opposed to the museum and refused to release funds for the venture, which had to be obtained from other sources and resulted in the frequent shifts of location, he donated the land for the current site of the museum, plus other gifts over time, thus became in effect one of its greatest benefactors. During that time it initiated many more exhibitions of noted artists, such as the lone Vincent van Gogh exhibition on November 4, 1935. Containing an unprecedented sixty-six oils and fifty drawings from the Netherlands, as well as poignant excerpts from the artist's letters, it was a major public success due to Barr's arrangement of the exhibit, became "a precursor to the hold van Gogh has to this day on the contemporary imagination"; the museum gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago.
In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars and historians. This was wholly masterminded by Barr, a Picasso enthusiast, the exhibition lionized Picasso as the greatest artist of the time, setting the model for all the museum's retrospectives that were to follow. Boy Leading a Horse was contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the ground-breaking exhibition, Indian Art of the United States, that changed the way American Indian arts were viewed by the public and exhibited in art museums; when Abby Rockefeller's son Nelson was selected by the board of trustees to become its flamboyant president in 1939, at the age of thirty, he became the prime instigator and funder of its publicity and subsequent expansion into new headquarters on 53rd Street. His brother, David Rockefeller joined the museum's board of trustees in 1948 and took over the presidency when Nelson was elected Governor of New York in 1958.
David subsequently employed the noted architect Philip Johnson to redesign the museum garden and name it in honor of his mother, the Abby Aldrich Rockefeller Sculpture Garden. He and the Rockefeller family in general have retained a close association with the museum throughout its history, with the Rockefeller Brothers Fund funding the institution since 1947. Both David Rockefeller, Jr. and Sharon Percy Rockefeller sit on the board of trustees. In 1937, MoMA had shifted to offices and basement galleries in the Time-Life Building in Rockefeller Center, its permanent and current home, now renovated, designed in the International Style by the modernist architects Philip L. Goodwin and Edward Durell Stone, opened to the public on May 10, 1939, attended by an illustrious company of 6,000 people, with an opening address via radio from the White House by President Franklin D. Roosevelt. On April 15, 1958, a fire on the second floor destroyed an 18 foot long Monet Water Lilies painting (the current Mone
Marisol Escobar, otherwise known as Marisol, was a French sculptor of Venezuelan heritage who worked in New York City. Maria Sol Escobar was born on May 1930, to Venezuelan parents in Paris, France, she was preceded by Gustavo. Her father, Gustavo Hernandez Escobar, her mother, were from wealthy families and lived off assets from oil and real estate investments; this wealth led them to travel from Europe, the United States, Venezuela. At some point in time, Maria Sol began going by a common Spanish nickname. Josefina Escobar committed suicide in 1941; the tragedy, followed by her father shipping Marisol off to boarding school in Long Island, New York, for one year, affected her deeply. Marisol decided to not speak again after her mother's passing, although she made exceptions for answering questions in school or other requirements. Although Marisol was traumatized, this did not affect her artistic talents, she had begun drawing early in life, with her parents encouraging her talent by taking her to museums.
Her talents in drawing earned her artistic prizes at the various schools she attended before settling in Los Angeles in 1946. Marisol additionally displayed talent in embroidery, spending at least three years embroidering the corner of a tablecloth. Marisol was religious. During her teen years, she coped with the trauma of her mother's death, by walking on her knees until they bled, keeping silent for long periods, tying ropes around her waist. After Josefina's death and Marisol's exit from the Long Island boarding school, the family traveled between New York and Caracas, Venezuela. In 1946, when Marisol was 16, the family relocated permanently to Los Angeles, she disliked this institution, transferred to the Westlake School for Girls in 1948. Marisol Escobar began her formal arts education in 1946 with night classes at the Otis Art Institute and the Jepson Art Institute in Los Angeles, where she studied under Howard Warshaw and Rico Lebrun. Marisol studied art at the Paris École des Beaux-Arts in 1949.
She returned to begin studies at the Art Students League of New York, at the New School for Social Research, she was a student of artist Hans Hofmann. The pop art culture in the 1960s embraced Marisol as one of its members, enhancing her recognition and popularity, she concentrated her work on three-dimensional portraits, using inspiration "found in photographs or gleaned from personal memories". During the Postwar period, there was a return of traditional values that reinstated social roles, conforming race and gender within the public sphere. Marisol's sculptural works toyed with the prescribed social roles and restraints faced by women during this period through her depiction of the complexities of femininity as a perceived truth. Marisol's practice demonstrated a dynamic combination of folk art and surrealism – illustrating a keen psychological insight on contemporary life. By displaying the essential aspects of femininity within an assemblage of makeshift construction, Marisol was able to comment on the social construct of'woman' as an unstable entity.
Using an assemblage of plaster casts, wooden blocks, drawings, photography and pieces of contemporary clothing, Marisol recognized their physical discontinuities. Through a crude combination of materials, Marisol symbolized the artist's denial of any consistent existence of'essential' femininity.'Femininity' being defined as a fabricated identity made through representational parts. An identity, most determined by the male onlooker, as either mother, seductress, or partner. Using a feminist technique, Marisol disrupted the patriarchal values of society through forms of mimicry, she exaggerated the behaviors of the popular public. Through a parody of women and television, she attempted to ignite social change. Marisol mimicked the role of femininity in her sculptural grouping Women and Dog, which she produced between 1963 and 1964; this work, among others, represented a satiric critical response on the guises of fabricated femininity by deliberately assuming the role of'femininity' in order to change its oppressive nature.
Three women, a little girl, a dog are presented as objects on display, relishing their social status with confidence under the gaze of the public. The women are sculpted as calculated and'civilized' in their manner, monitoring both themselves and those around them. Two of women have several cast faces, surveying the scene and following the subject's trajectory in full motion, their stiff persona is embodied from within the wooden construction. The sculptural practice of Marisol distanced herself from her subject, while reintroducing the artist's presence through a range of self-portraiture found in every sculpture. Unlike the majority of Pop artists, Marisol included her own presence within the critique she produced, she used her body as a reference for a range of drawings, paintings and casts. This strategy was employed as a self-critique, but identified herself as a woman who faced prejudices within the current circumstances; as Luce Irigaray noted in her book This Sex Which is Not One, "to play with mimesis is thus, for a woman, to try to recover the place of her exploitation by discourse, without allowing herself to be reduced to it.
It means to resubmit herself … to ideas about herself, that are elaborated in/by amasculine logic, but so as to make visible, by an effect of playful repetition what was supposed to remai