“How did bands such as the Rolling Stones begin with a position of political resistance and end with a desire to play cricket? Like other white male rockers in the late 1960s, the Stones–especially in the personae created by Mick Jagger–played with the image of masculine privilege. The long hair, lipstick and eye make-up, frilly clothes, hip swaggers, pseudo and actual gay male sexuality (Jagger and Bowie), for a moment challenged the imagined and real position of white maleness. But this androgynous promise, like that of political revolution, was short-lived.”
Laura Cottingham, LOVE, SEX, FAME and the LIFE OF THE IMAGE – The Anita Pallenberg Story
haus.0 presents Laura Cottingham for two evenings at Künstlerhaus Stuttgart. The first evening Laura will introduce her current production with Leslie Singer, The Anita Pallenberg Story,with a 30 minute video selection from the forthcoming film, and the second evening she will present her 90 minute videoessay Not For Sale: Feminism and Art in the USA during the 1970sand hold a discussion afer the screening.
In this series perspective, the feminist critic / curator Laura Cottingham discusses her notion of critical engagement specifically informed from her lesbian politics, that appears in her role-playing, gender-shifting collaborative film project with Leslie Singer. haus.0 commissioned from Cottingham a series of writings which would be the nucleus for the new website project LOVE, SEX, FAME and the LIFE OF THE IMAGE. The resulting haus.0 project is not a ‘making-of’, but a specific project underway as is the film The Anita Pallenberg Story,through Cottingham’s updates, unpacking the dynamics of dealing with representation and identity politics in such a form today.
Laura Cottingham is an art critic who lives in New York where, since 1992, she has taught contemporary art issues in the College of Art at the Cooper Union for the Advancement of Science and Art. Her criticism is featured in many recent anthologies and museum catalogues from Europe and the United States, including Hannah Wilke(Copenhagen, 1998); Isn’t It too early for the Eighties yet?(Malmoe, 1998); Claude Cahun(Munich, 1997); Sunshine & Noir(Copenhagen, 1997);Inside the Visible (Boston, 1996); L’art au corps (Marseilles,1996); Sexual Politics(Los Angeles, 1996); The Power of Feminist Art(New York, 1994); Bad Girls(London, 1994); and New Feminist Criticisms(New York, 1993).
She has curated two museum surveys in Europe devoted to feminist issues and history: Incandescentfor NowHereat the Louisiana Museum of Modern Art, Denmark, 1996; and Vraiment feminisme et artat Le Magasin Centre National d’Art Contemporain de Grenoble, France, 1997. A selection of her essays on art, Seeing Through the Seventies,is forthcoming from G & B Arts International (Amsterdam, 1999). A French edition of her 1994 pamphlet How many ‘bad’ feminists does it take to change a lightbulb?is also forthcoming, from Publications, Lyon in 1999. She is also author of lesbians are so chic…(London, 1996).
In addition to writing, Cottingham has been making videos since the early ’90s. Her Not For Sale: Feminism and Art in the USA during the 1970s,1998, a 90-minute art historical survey, premiered at the Museum of Modern Art in May 1998 and has subsequently been show
haus.0 archive www.haussite.net