Therese Lichtenstein

  • “Slouching Toward 2000: The Politics of Gender”

    Through the representation of bodies inscribed with or supplemented by texts, this traveling exhibition explores issues of gender, sexuality, race, and class. These visible, and for the most part legible, bodies speak critically about various kinds of stereotypes and social realities. Juried by Lucy Lippard. “Slouching Toward 2000: The Politics of Gender.” consists of work by Hispanic, African-American, Asian-American and white women artists from Texas.

    Many of the artists use personal and cultural narratives to show how gender and sexual stereotypes construct our identities as both subjects and


    It seems impossible, in fact, to judge the eye using any word other than seductive, since nothing is more attractive in the bodies of animals and men. But extreme seductiveness is probably at the boundary of horror.
    —Georges Bataille, Eye, 1929

    A DISEMBODIED EYE stares into yours. Reflected on its surface is a shadowy trace—an object, or more likely a person: the reflection of the observer who observes it. This is an eye or “I” that looks back at you as you look at it, its self-aware gaze mirroring your gazing. The eye, a cut-out photograph, is mounted within another image, a silver orb resting


    . . . In the so-called earliest childhood memories we possess not the genuine memory-trace but a later revision of it, a revision which may have been subjected to the influence of a variety of later psychological forces. Thus the “childhood memories” of individuals come in general to acquire the significance of “screen memories”and in doing so offer a remarkable analogy with the childhood memories that a nation preserves in its store of legends and myths.

    —Sigmund Freud, “Childhood Memories and Screen Memories,” 1901

    A POLYPHONY OF VOICES RISES up from every new history of the past. Who is


    The thought of all sorts
    of people from all sorts of
    backgrounds in all sorts of
    circumstances seeing the same
    thing at the same time
    I found thrilling.

    —Dennis Potter

    OEDIPALIZED SCENARIOS, TRAUMATIC PSYCHOSEXUAL DYNAMICS, and violence are the stuff that Dennis Potter’s television plays films are made of, moving across the taboo terrain of sexuality within the seemingly orderly nuclear family. The vehicle for these “perverse” scenarios is a dazzling montage of familiar dramatic genres, including the detective story, the musical, the psychological autobiography, and the bildungsroman, all intersecting