munich

Lea Lublin, R.S.I.—Dürer, del Sarto, Parmigianino, 1983, acrylic, C-print, postcard, and ink on canvas and wood. Installation view, Le Quartier, Centre d’Art Contemporain de Quimper, France, 1995.

Lea Lublin

Städtische Galerie im Lenbachhaus

Lea Lublin, R.S.I.—Dürer, del Sarto, Parmigianino, 1983, acrylic, C-print, postcard, and ink on canvas and wood. Installation view, Le Quartier, Centre d’Art Contemporain de Quimper, France, 1995.

“IF WOMEN set themselves to transform history, it can safely be said that every aspect of history would be completely altered.” In 1990, art historian Griselda Pollock chose philosopher Hélène Cixous’s powerful statement to discuss the exemplary relevance of Baroque painter Artemisia Gentileschi within a feminist reformulation of art history. But this quotation might just as well characterize the driving force of Lea Lublin, an artist active some three centuries after Gentileschi who is only now receiving the international recognition she deserves, in a recent retrospective at the Lenbachhaus in Munich. Pollock argued that Gentileschi’s legendary painting of decapitation, Judith Slaying Holofernes, ca. 1620, demonstrated a “presence” that is “not expression, but a production against the semiotic grain of those structures that would ‘cut off her head.’” She followed Cixous’s

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