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Arlene Raven

ARLENE RAVEN cut a complex swath through the world before she died this past summer on August 1. Indeed, she was an activist as “pluralistic” as the 1970s feminist art community from which she emerged—a quality perhaps most clearly recalled when one considers a 1983 landmark exhibition she curated at the Long Beach Museum of Art in California, titled “At Home,” which brought together many of the artists and ideas she had championed for the previous decade. The show included Suzanne Lacy, who pioneered massive group performances on social themes; West Coast–based performance artists Rachel Rosenthal, Eleanor Antin, and Susan Mogul; ecovisionaries Helen and Newton Harrison, whose Lagoon Cycle, 1974–84, was an early rumination on global warming; and Betye Saar, who skewered racism in works such as her 1972 assemblage The Liberation of Aunt Jemima, where the pancake-mix icon wielded a rifle.

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