Examine individual changes

'{{Infobox artist | name = Suzanne Lacy | image = | image_size = 350px | alt = | caption = | birth_name = | birth_date = 1945 | birth_place = [[Wasco, California]], U.S. | death_date = | death_place = | nationality = American | spouse = | field = {{hlist|Performance art| installation|video|public art| artist books}} | training = | movement = | works = * ''Prostitution Notes'' (1974) * ''Inevitable Associations'' (1976) * ''[[Three Weeks in May]]'' (1977) * ''In Mourning and Rage'' (1977) * ''Whisper, the Waves, the Wind'' (1984) * ''The Crystal Quilt'' (1987) * ''The Oakland Projects'' (1991-2001) * ''Full Circle'' (1993) * ''Auto: On the Edge of Time'' (1994) * ''Storying Rape'' (2012) * ''Between the Door and Street'' (2013) | patrons = | influenced by = | influenced = | awards = * Guggenheim Fellow (1993) * Public Art Dialogue Annual Award (2009) * College Art Association Distinguished Artist Award for Lifetime Achievement (2010) * [[Women's Caucus for Art]] Lifetime Achievement Award (2012) | elected = | website = [http://www.suzannelacy.com/index.htm www.suzannelacy.com] }} '''Suzanne Lacy''' (born 1945) is an American artist, educator, writer, and professor at the USC Roski School of Art and Design. She has worked in a variety of media, including [[installation art|installation]], [[video art|video]], [[performance art|performance]], [[public art]], photography, and [[Artist's book|art books]], in which she focuses on "social themes and urban issues."<ref name="homepage">{{cite web |url=http://suzannelacy.com/ |title=Home |author=Suzanne Lacy |work=Artist Resource Center |publisher=Suzanne Lacy |access-date=2009-10-22 }}</ref> She served in the education cabinet of [[Jerry Brown]], then mayor of [[Oakland, California]], and as arts commissioner for the city.<ref name="homepage"/><ref name="virginia">{{cite web |url=http://www.virginia.edu/uvatoday/newsRelease.php?id=4901 |title=Noted Artist, Author Suzanne Lacy to Give Talk at University of Virginia April 23 |date=2008-04-14 |work=UVA Today |publisher=University of Virginia |access-date=2009-10-22 |url-status=dead |archive-url=https://archive.is/20121215152026/http://www.virginia.edu/uvatoday/newsRelease.php?id=4901 |archive-date=2012-12-15 }}</ref> She designed multiple educational programs beginning with her role as performance faculty at the Feminist Studio Workshop at the [[Woman's Building]] in Los Angeles. ==Early life and education== Having been involved with [[feminism]] since the late 1960s, Lacy attended [[California State University]] located in [[Fresno]] in 1969, taking up graduate studies in [[psychology]]. There, Lacy and fellow graduate student [[Faith Wilding]] established the first feminist [[consciousness-raising group]] on campus. This led to her attendance in [[Judy Chicago]]'s Feminist Art Program during the fall of 1970. The 1970s became a period where Lacy continued to explore identities, women's bodies, and social conditions. == Performance art == '''''Ablutions''''' In 1972 Lacy collaborated with three women; [[Judy Chicago]], Sandra Orgel and [[Aviva Rahmani]] creating a piece of performance art called ''Ablutions''. This performance was inspired by the women's earlier exploration of [[rape]] within their different practices. The performance itself included explicit audio recorded experiences of female rape victims, which continuously played on a loop. As well as this there was also the visual aspects of the performance, which included women bathing in body-sized metal tubs of eggs, blood and clay. Additionally eggshells, ropes, chains and animal kidneys were scattered across the floor. This performance was self produced in a studio in California and has been categorised as a revolutionary art performance in regards to feminism. <ref>{{cite web|last1=Lacy|first1=Suzanne|title=Ablutions (1972) Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani|url=https://www.suzannelacy.com/ablutions/|website=Suzanne Lacy|access-date=12 September 2021}}</ref> '''''Inevitable Associations''''' The 1976 renovation of the [[Biltmore Hotel]] in [[Los Angeles]] sparked Lacy's performance art piece, ''Inevitable Associations''. The marketing surrounding the old hotel's renovations compared the hotel to an old woman. Photographs showing the hotels' original structure stating "There May Be Life in the Old Girl Yet" forced the artist to question the ways in which our society views older women. Throughout her career one can see Lacy's awareness and desire to rebuttal the invisibility of aging women in performances such as ''Whisper, the Waves, the Wind'' (1984) and ''Crystal Quilt'' (1987). The performance of ''Inevitable Associations'' took place over a span of two days in the lobby of the Biltmore Hotel. The first day of the performance featured a public makeover of Lacy. It took nearly three hours for a makeup artist to publicly turn Lacy into an old woman. As the makeover was occurring, collaborators passed out flyers and literature on the hotel renovation as well as information about cosmetic surgery. Throughout the performance old women dressed in all black began to slowly enter the lobby and take seats on the opposite side of Lacy. This went nearly unnoticed until the number of elderly women had grown so large that their presence became undeniable to all of those in the lobby. Once Lacy's makeover was complete the mass of older women silently dressed Lacy in black clothes. The second day of the performance featured three elderly women participants who sat in red chairs in the lobby and told stories about their lives after the age of 60 and the effects of aging to passerby's and any audience that formed. Lacy's goal throughout the performance was to bring awareness to the invisibility women must struggle with as they age and no longer fit into society's standards of beauty. ''Inevitable Associations'' was a crucial point in Lacy's career as it was the first time in which Lacy took her performance to the public streets.<ref>{{cite book|last1=Felshin|first1=Nina|title=But is it Art? The Spirit of Art as Activism|date=1995|publisher=Bay Press|location=Seattle|page=Chapter 8: The Body Politics of Suzanne Lacy}}</ref><ref>{{cite web|last1=Lacy|first1=Suzanne|title=Inevitable Associations (1976)|url=http://www.suzannelacy.com/inevitable-associations-1976/|website=Suzanne Lacy|access-date=17 April 2016}}</ref> '''''Three Weeks in May''''' In 1977, Lacy and collaborator [[Leslie Labowitz-Starus|Leslie Labowitz]] combined performance art with activism in ''[[Three Weeks in May]]''.<ref name="nytimes">{{Cite news |title=Turning Stereotypes Into Artistic Strengths |author=Karen Rosenberg |newspaper=New York Times |date=March 28, 2008 |url=https://www.nytimes.com/2008/03/28/arts/design/28toge.html }}</ref> The event included a performance piece on the steps of [[Los Angeles City Hall]] and [[self-defense]] classes for women in an attempt to highlight and curb sexual violence against women.<ref name="nytimes" /> The artists updated a map with reports from the [[Los Angeles Police Department]], printing the word "rape" on spots on a map of the [[greater Los Angeles Area]].<ref name="latimes.com">David Ng (December 12, 2012), [http://www.latimes.com/entertainment/arts/culture/la-et-cm-hammer-museum-three-weeks-suzanne-lacy-rape-20121212,0,2850208.story Hammer Museum acquires ''Three Weeks in May'' by Suzanne Lacy] ''[[Los Angeles Times]]''.</ref> The goal, Lacy explained, "was not only to raise public awareness, but to empower women to fight back and to transcend the sense of secrecy and shame associated with rape."<ref>{{Cite book|last=Lampert, Nicolas, 1969-|title=A people's art history of the United States : 250 years of activist art and artists working in social justice movements|isbn=978-1-59558-324-6|location=New York|oclc=505420503}}</ref> '''''In Mourning and In Rage''''' Lacy and Labowitz teamed up with Bia Lowe, and other artists, in 1977 to create, ''[[In Mourning and in Rage|In Mourning and In Rage]],'' a large-scale public protest performance. It had been designed to challenge media coverage that sensationalized a rash of murders of women by the so-called [[Hillside Strangler]]; the tone of the press coverage seemed geared to heighten the climate of fear which reinforced the image of women as [[Victimisation|victims]]. The performance began when a group of exceptionally tall women, made taller by towering black headpieces, arrived at City Hall in a hearse, followed by a caravan of cars filled with women in black. The Performers debarked and formed a circle in front of the steps of City Hall, beneath a banner that read, ”''In memory of our sisters, women fight back''.” The artist's designed the performance, action and imagery, specifically to captivate the interest of television news; and, in successfully achieving this network coverage, used the media to critique itself—which extended the impact of the art performance far beyond the usual feminist and/or art audience.<ref name="Wolverton">{{cite book|last1=Wolverton|first1=Terry|title=Insurgent Muse: Life and Art at The Woman's Building|url=https://archive.org/details/insurgentmuselif0000wolv|url-access=registration|date=2002|publisher=City Lights|location=San Francisco|page=[https://archive.org/details/insurgentmuselif0000wolv/page/100 100]|edition=First}}</ref> Participants from the Woman's Building, the Rape Hotline Alliance, and City Council joined with the [[feminist]] community and families of the victims in creating a public ritual of rage as well as grief.<ref name="homepage" /> Lacy and Labowitz founded [https://www.againstviolence.art ARIADNE: A Social Art Network], a collaborative group to create community-based artwork and educational opportunities.<ref>{{cite web|last1=Lacy|first1=Suzanne|title=In Mourning and In Rage (1977) Suzanne Lacy and Leslie Labowitz|url=http://www.suzannelacy.com/early-works/#/in-mourning-and-in-rage-1977/|website=suzannelacy.com|access-date=5 February 2015}}</ref> In the mid-seventies, Lacy curated the first exhibition of women's performance art at Womanspace Gallery at The Woman's Building. In 1981, she collaborated with [[Susan Hiller]] to curate the exhibition ''We'll Think of a Title When We Meet: Women Performance Artists from London and Los Angeles'' at [[Franklin Furnace Archive|Franklin Furnace]], a well-known alternative arts venue founded in 1976 by [[Martha Wilson]].<ref>{{cite book|last=Gaulke, Cheri and Laurel Klick|first=eds|title=Feminist Art Workers: A History|year=2012|publisher=OTIS College of Art and Design|location=Los Angeles|isbn=978-1468050646}}</ref> '''Reworked Performances''' Lacy produced many performances in various sites around the world, mostly focusing on race, class and gender equity. During the first two decades of the 2000s, she reworked earlier performances, including ''[[WACK! Art and the Feminist Revolution]]'', based upon the venues and objectives. In 2012, she re-created the 1977 performance for the Getty Pacific Standard Time Performance Festival. ''Three Weeks in January'', was an anti-rape performance based on her landmark 1977 project; this time the map was installed prominently on the Los Angeles Police Department's main campus.<ref>Finkel, Jori. "[http://articles.latimes.com/2012/jan/14/entertainment/la-et-suzanne-lacy-20120114 Three Weeks of Rapes, 35 Years Later]," January 14, 2012.</ref> '''''Whisper, the Waves, the Wind''''' [[File:Los Angeles rape map from Three Weeks in May.jpg|thumb|Suzanne Lacy, 3 Weeks in May (1977) – Feminist Art/Performance Art]] ''Whisper, the Waves, the Wind'', created with Sharon Allen in 1984, was the culmination of the ''Whisper Project'', a yearlong series of events that highlighted the special needs of older women. "I'm interested in the mythology surrounding older women," Lacy responded when being interviewed about her work,"in how they are denuded of their power in our culture. I want to help them overcome the barriers set up by prejudice, by the accumulation of wealth and power. I want to reinfuse them with their power and realized how right and evocative the sea was as a setting. With all its cycles, I think people will get the feeling whether they understand it or not, that sense of continuity in [[matriarchal]] [[consciousness]]."<ref>{{cite news|last1=Welsh|first1=Anne Marie|title=Arts Writer|publisher=Union-Tribune Publishing Co.|date=March 25, 1984}}</ref> On the morning of the performance a procession of 154 ethnically-diverse older women (between the ages of 65 to 99) all dressed in white, moving slowly down a staircase to the vast beach below. They sat in groups of four, at white cloth-covered tables on two adjacent beaches at Children's Pool in [[La Jolla]]. Their animated conversations focused on pre-selected topics—their thoughts about the physical process of aging; preparing for death; loss; the women's movement; what advice they would give to younger women." The audience watched and listened from the cliffs high above the beach where they could hear a collage of the women’s voices piped through speakers, managed by sound composer [[Susan Stone]].<ref name="Performance Art">{{cite book|last1=Lacy|first1=Suzanne|title=Leaving Art|date=2010|publisher=Duke University Press|location=Durham and London 2010|page=xxviii|edition=first}}</ref> "From the whisper of women's voices on a beach to a shout of rage on the steps of City Hall, Suzanne Lacy's art is one of alchemy and exorcism, celebration and condemnation" wrote Margot Mifflin in her interview with Lacy about the performance.<ref>{{cite journal|last1=Mifflin|first1=Margot|title=From A Whisper To A Shout, Suzanne Lacy Talks About Art As A Network for Women's Voices|journal=High Performance|volume=7|issue=26|pages=38–41}}</ref> '''''Crystal Quilt''''' On [[Mother's Day]], May 10, 1987, Lacy directed the hour-long ''Crystal Quilt'', a sequel to ''Whisper, the Waves, the Wind''. This time, however, the performance was staged indoors, in what is known as the "Crystal Court" (a space normally occupied by kiosks and a café) in the [[IDS Center]], a downtown [[Minneapolis]] skyscraper designed by Philip Johnson and John Burgee. ''The Crystal Quilt'' was the most ambitions and most complex of all of Lacy's 1980's vivant, as she often describes these grand, large-scale productions.<ref name="leaving art">{{cite book|last1=Lacy|first1=Suzanne|title=Leaving Art|date=2010|publisher=Duke University Press|location=Durham and London|pages=xxviiii - xxx|edition=first}}</ref> The ''Crystal Quilt'', which featured 430 older women.<ref name="radical">{{cite book |title=Radical street performance: an international anthology |last=Cohen-Cruz |first=Jan |year=1998 |publisher=Routledge |location=New York, NY |isbn=0-415-15231-3 |page=xx |url= https://books.google.com/books?id=pQAVRntIUJsC&dq=%22suzanne+lacy%22+crystal+quilt|access-date= 2009-10-22}}</ref> Filmed and broadcast live on [[PBS]], the performance involved "women talking about their lives as their gathering created an eighty-two foot square tableau in the shape of a quilt."<ref name="video">{{cite web |url=http://www.vdb.org/smackn.acgi$tapedetail?MAKINGTHEC |title=Making the Crystal Quilt |work=vdb.org |publisher=Video Data Bank |access-date=2009-10-22 }}</ref> The performance was attended by over 3,000 people.<ref>{{Cite web|last=Tate|title=Suzanne Lacy: The Crystal Quilt|url=https://www.tate.org.uk/whats-on/tate-modern-tanks/display/suzanne-lacy-crystal-quilt|access-date=2020-06-07|website=Tate|language=en-GB}}</ref> Lacy believes that her work cannot be re-enacted literally based on its immediate response to specific times and places. However, as many issues remain current it is possible to "re-think" works in new contexts.<ref name=":0">{{Cite web|title=A Conversation with Suzanne Lacy and the Curators Behind Her Retrospective|url=https://www.sfmoma.org/read/a-conversation-with-suzanne-lacy-and-the-curators-behind-her-retrospective/|access-date=2020-06-07|website=SFMOMA|language=en-US}}</ref> In an interview for SFMOMA, for instance, Lacy noted, "When considering re-performing a work, I think about whether the issue still has meaning, and the new insights that inform this place and time. Is it worth making this work again and how would I change it?"<ref name=":0" /> '''''Silver Action''''' Like ''Crystal Quilt,'' ''Silver Action'' concerns older women, a re-creation produced for the opening of The Tanks performance space at [[Tate Modern]]. ''Silver Action'' took place in February 2013 at the Tate Modern Gallery in London and featured 400 women over the age of 60 discussing activism regarding women's rights: their past participation, the future, and how their views have changed as they matured.<ref>{{cite web|author=Laura Barnett |url=https://www.theguardian.com/artanddesign/2013/jan/29/tate-modern-womens-liberation-army |title=Tate Modern's women's liberation army &#124; Art and design |publisher=The Guardian |access-date=2015-03-08}}</ref> '''''The Oakland Projects''''' Between 1991 and 2001, Lacy staged ''The Oakland Projects'', a community performance art project, with TEAM (Teens, Educators, Artists, Media Makers) members. ''The Oakland Projects'' aimed to engage local California youth in consciousness-raising discussions about police brutality, social injustice, education, and other social issues. Participants did not ‘perform’ in the traditional sense, but instead mirrored the social stereotypes that they see within in their community.<ref>{{cite web|last1=Gogarty|first1=Larne Abse|title=Performance as a Rehearsal for Revolution: Suzanne Lacy's Oakland Projects through the lens of the Paterson Strike Pageant|url=http://www.historicalmaterialism.org/conferences/8annual/submit/performance-as-a-rehearsal-for-revolution-suzanne-lacy2019s-oakland-projects-through-the-lens-of-the-paterson-strike-pageant|publisher=historicalmaterialism.org|access-date=5 February 2015}}</ref> ''The Roof is On Fire'' (1993–1994) was a two-year project in which Lacy and collaborators developed media literacy classes for Oakland youth, and conducted a one-night performance piece. More than 200 young people had conversations in cars about race, class, gender, inequality, and other issues. Observers were asked to listen in on the conversations. The students trained in independent media created a documentary of the performance, which was covered on mainstream news stations.<ref>{{cite web|url=http://www.suzannelacy.com/the-oakland-projects/ |title=The Oakland Projects (1991-2001) Б─■ SUZANNE LACY |publisher=Suzannelacy.com |access-date=2015-03-08}}</ref> '''''Three Weeks in January''''' [[File:Between the Door and the Street, Suzanne Lacy, Installation at the Brooklyn Museum.jpg|thumbnail|right|''Between the Door and the Street'', Suzanne Lacy, Installation at the Brooklyn Museum, 2013]] In 2012, Lacy modified her earlier work ''Three Weeks in May'' (1977) for a new project called ''Three Weeks in January'', which continued the dialogue about rape in Los Angeles. It included presentations, conversations, and a performance called ''Storying Rape''. ''Storying Rape: Shame Ends Here'' grew into another art project produced for the Liverpool Biennial in 2012, which promoted a public conversation in the English city about rape violence, education, and prevention.<ref>{{cite web|url=http://www.threeweeksinjanuary.org/ |title=Storying Rape |publisher=Threeweeksinjanuary.org |access-date=2015-03-08}}</ref> Like ''Three Weeks In May'', ''[https://www.suzannelacy.com/three-weeks-in-january/ Three Weeks In January]'' also addresses rape focuses on [[Los Angeles]]. The project was a platform for over 40 events gathering all types of people from different fields such as politicians, artists and educators to address rape cases happening anywhere in Los Angeles. Over a few decades of [[anti-rape movement]]s, organizing strategies are better developed now through outreach such as social media. A huge map of Los Angeles was placed at the entrance of a [http://www.safela.org/2012-january-three-weeks-in-january/ police department] for daily marking of rape reports. [https://www.oxy.edu/news/art-and-sound-unexpected Bruno Louchouarn] created a bench nearby was the source of a soundtrack of survivors. I Know Someone, Do You was the topic of the campaign on social media. '''''Between the Door and the Street''''' In October 2013, Lacy organized conversations among women on the stoops of Park Place houses in Brooklyn, New York, for her ''Between the Door and the Street'' Project. Sponsored by the [[Brooklyn Museum]]’s [[Elizabeth A. Sackler Center for Feminist Art]], 360 participants discussed gender issues while passersbys listened in.<ref>Carol Kino (October 10, 2013), [https://www.nytimes.com/2013/10/13/arts/design/suzanne-lacy-and-hundreds-of-women-take-to-the-stoops.html?_r=0 When Talking Makes the Art Happen: Suzanne Lacy and Hundreds of Women Take to the Stoops] ''[[The New York Times]]''.</ref> '''''Prostitution Notes''''' ''Prostitution Notes'' was a research-based piece created by Suzanne Lacy in 1974 that was made to explore the lives of sex workers and to relate those experiences to her own life, “looking for echoes of their lives in mine.”<ref name="theartstory.org">{{Cite web|title=Suzanne Lacy Artworks & Famous Paintings|url=https://www.theartstory.org/artist/lacy-suzanne/|access-date=2020-06-06|website=The Art Story}}</ref> Lacy spent four months in Los Angeles interviewing and speaking with a wide variety of people ranging from both male and female sex workers (one even including a sociology grad student), pimps, and sex worker advocates.<ref>{{Cite journal|last=Taft|first=Catherine|date=2019|title=Catherine Taft on the art of Suzanne Lacy|journal=Catherine Taft on the Art of Suzanne Lacy|via=ProQuest}}</ref> During Lacy's interviews she would record every single aspect of the encounter. This included what she ate, what her subjects ate, what she was told, the emotions she felt, and how she connected her life to theirs.<ref>{{Cite web|title=Prostitution Notes (1974)|url=https://www.suzannelacy.com/prostitution-notes|access-date=2020-06-06|website=SUZANNE LACY|language=en-US}}</ref> By the end of her research Lacy was left with ten large diagrams, which showed Lacy's experience and thought process throughout her four months. When asked about her work, Lacy stated that “Most of what we knew at that time came from literature and films that greatly glamorized the life. I didn't want to flirt with their reality as a performance, or to relate their stories as an anthropologist might. Rather, I would locate the work inside my own experiences and record the process of my research. 'The Life' as it was called wasn't far from mine."<ref name="theartstory.org"/> This type of allowed Lacy to capture a more raw reality that surrounds prostitution, thus giving many sex workers a voice and allowing their experiences to be heard. Because Lacy intentionally veered away from a documentary style piece she was able to better understand “[h]er own political and social biases towards prostitution.”<ref name="Taft 2019">{{Cite journal|last=Taft|first=Catherine|date=2019|title=Catherine Taft on the art of Suzanne Lacy|url=https://search.proquest.com/docview/2217424804|journal=Catherine Taft on the Art of Suzanne Lacy|via=ProQuest}}</ref> In 2010 Lacy re-presented ''Prostitution Notes'' at the Stephanie Gallery in London.<ref name="theartstory.org"/> She collaborated with Peter Kirby to perform a reading of her diagrams alongside a video, which Kirby worked on, showing 70's photos of LA streets, pictures of her original diagrams, and a video of a woman tracing over the lines of her diagrams.<ref name="Taft 2019"/> The presentation was meant to pay tribute to the ethics that constantly serve as a foundation for Lacy's work. In 2019 she explained, “I don't care as much about art as I care about human trafficking" summing up her beliefs and stance on the treatment of sex workers in America.<ref name="theartstory.org"/> == Writing and publishing== In 1977, Lacy became an associate of the [[Women's Institute for Freedom of the Press]] (WIFP).<ref>{{Cite web|url=http://www.wifp.org/who-we-are/associates/|title=Associates {{!}} The Women's Institute for Freedom of the Press|website=www.wifp.org|language=en-US|access-date=2017-06-21}}</ref> An American nonprofit publishing organization, it works to increase communication between women and connect the public with forms of women-based media. She is the editor of ''Mapping the Terrain: New Genre Public Art'', an anthology of essays about the impact of performance art in public spaces.<ref name="mapping">{{cite book |title=Mapping the terrain: new genre public art |last=Lacy |first=Suzanne |author-link=Suzanne Lacy |year=1995 |publisher=Indiana University |isbn=0-941920-30-5 |url=https://books.google.com/books?id=vqDYAAAAMAAJ&q=%22Mapping+the+Terrain:+New+Genre+Public+Art%22+lacy&dq=%22Mapping+the+Terrain:+New+Genre+Public+Art%22+lacy |access-date=2009-10-22}}</ref><ref>Katy Deepwell 'Suzanne Lacy: New Genre Public Art' vol.4 July 1999 n.paradoxa: international feminist art journal pp.25-33</ref> She has also written articles on performance art.<ref name="bibliography">{{cite web |url=http://www.cla.purdue.edu/waaw/cohn/Artists/Lacybiblio.html |title=Suzanne Lacy - Bibliography |work=Nature, Culture, Public Space |publisher=Women Artists of the American West |access-date=2009-10-22 }}</ref> Lacy has consistently written about her work: planning, describing, and analyzing it; advocating socially engaged art practices; theorizing the relationship between art and social intervention; and questioning the boundaries separating high art from popular participation. By bringing together thirty texts that Lacy has written since 1974, Lacy's Book,<ref name="ReferenceA">Leaving Art: Writings on Performance, Politics, and Publics, 1974-2007</ref> offers an intimate look at the development of feminist, conceptual, and performance art since those movements’ formative years. In the introduction, the art historian Moira Roth provides a helpful overview of Lacy's art and writing, which in the afterword the cultural theorist [[Kerstin Mey]] situates in relation to contemporary public art practices.<ref name="ReferenceA"/> == Academia == Lacy has held several positions at academic institutions focusing on the arts. She was the Dean of Fine Arts at [[California College of the Arts]] (CCA) from 1987–1997.<ref name="homepage"/><ref name="otis">{{cite web |url=https://intranet.otis.edu/alumni/nl/2002-09.htm |title=Sept 2002 - Inter-networking |work=Otis Alumni Newsletter |access-date=2009-10-22 }}</ref> Lacy was a founding faculty member at [[California State University, Monterey Bay]]<ref name="otis"/> and founding director of the Center for Fine Art and Public Life.<ref name="otis"/> She served as the Chair of Fine Arts at [[Otis College of Art and Design]] from 2002–2006, before designing and launching a [[Master of Fine Arts]] program in [[Social practice (art)|Public Practice]] for the college in 2007.<ref>{{cite web |title=Graduate Public Practice |url=https://www.otis.edu/tags/suzanne-lacy#overlay=video/graduate-public-practice |website=Otis College of Art and Design |publisher=Otis College of Art and Design |access-date=3 December 2018}}</ref> As of 2018, she is a professor of art at the USC Roski School of Art and Design of the University of Southern California.<ref>{{Cite web|url=https://roski.usc.edu/community/faculty/suzanne-lacy|title=Suzanne Lacy {{!}} Roski School of Art and Design|website=roski.usc.edu|language=en|access-date=2018-03-15}}</ref> == Recognition == Lacy has won numerous fellowships, including several from the [[National Endowment for the Arts]], a [[Guggenheim Fellowship]], a [[Creative Capital]] Emerging Fields Award<ref>(http://creative-capital.org/projects/view/124)</ref> and the Lila Wallace Arts International Fellowship.<ref>{{cite web|title=Biography|url=http://www.cla.purdue.edu/WAAW/Cohn/Artists/Lacybio.html|work=Nature, Culture, Public Space|publisher=Women Artists of the American West|access-date=October 8, 2012}}</ref> She was the first recipient of the Public Art Dialogue Annual Award in 2009.<ref>{{cite web|title=Annual Award|url=http://publicartdialogue.org/award|work=Public Art Dialogue|access-date=October 8, 2012}}</ref> She received the Distinguished Artist Award for Lifetime Achievement from the [[College Art Association]] in 2010 and the Lifetime Achievement Award from the [[Women's Caucus for Art]] in 2012.<ref>{{cite web|title=CAA Announces 2010 Awards for Distinction|url=http://www.collegeart.org/news/2010/01/08/caa-announces-2010-awards-for-distinction/|work=CAA News|publisher=College Art Association|access-date=October 8, 2012}}</ref><ref>{{cite web|title=Press Release for the 2012 WCA Lifetime Achievement Awards|url=http://wcageorgia.blogspot.com/2012/01/press-release-for-2012-wca-lifetime.html|work=Women's Caucus for Art, Georgia blog|access-date=October 8, 2012}}</ref> She received A Blade of Grass fellowship in 2015.<ref>{{Cite web|title = Our Fellows {{!}} a blade of grass|url = http://www.abladeofgrass.org/people/fellows/|website = www.abladeofgrass.org|access-date = 2016-01-30}}</ref> == Exhibitions == * Committed to Print, January 31 - April 19, 1988 *Video Art: A History, October 3, 1983 - January 3, 1984 == Books == * ''Mapping the Terrain: New Genre Public Art.'' Seattle, WA, Bay Press, 1996. * ''Suzanne Lacy: Gender Agendas.'' Milano, Italy, Mousse Publishing, 2015. * With Roth, Moira, and Mey, Kerstin. ''Leaving Art: Writings on Performance, Politics, and Publics 1974-2007.'' Durham, London, [[Duke University Press]], 2010. * ''Rape Is''. Los Angeles, CA, Women's Graphic Center, 1976. * With Irish, Sharon. ''Suzanne Lacy: Spaces Between.'' [[University of Minnesota Press]], 2010. == Video/ Film Projects == Lacy was interviewed for the film ''[[!Women Art Revolution]]''.<ref name=a8>{{harvnb|Anon|2018}}</ref> Lacy, Suzanne. Cotts, Virginia. Baughan, Michelle. Art Institute of Chicago, Video Data Bank; Bedford Hills Correctional Facility (N.Y). Auto Body. Publisher: Chicago III, Video Data Bank, 1998. Lacy, Suzanne. Baughan, Michelle. Art Institute of Chicago, Video Data Bank. ''Making the Crystal Quilt.'' Publisher: Chicago III, Video Data Bank, 1998. Lacy, Suzanne. Moragne, David. Morales, Julio Cesar. Holland, Unique. Baughan, Michelle. ''Code 33: Emergency: Clear the Air.'' Publisher: Chicago III, Video Data Bank, 2002. Lacy, Suzanne. ''Whisper, the waves, the wind: Celebrating Older Women.'' Publisher: Chicago III, Video Data Bank, 1986. ==Collections== Her work is owned by the Museum of Contemporary Art in Los Angeles (''Prostitution Notes'') and The Tate Modern (''The Crystal Quilt''). In 2012, the [[Hammer Museum]] acquired ''Three Weeks in May'' (1977).<ref name="latimes.com"/> ==References== {{Reflist|colwidth=30em}} * {{Cite web | author = Anon | year = 2018 | url = https://exhibits.stanford.edu/women-art-revolution/feature/artist-curator-critic-interviews | title = Artist, Curator & Critic Interviews | work = !Women Art Revolution - Spotlight at Stanford | access-date = Aug 23, 2018 | language = en | archive-url = https://www.webcitation.org/71t0h2ro1?url=https://exhibits.stanford.edu/women-art-revolution/feature/artist-curator-critic-interviews | archive-date = August 23, 2018 | url-status=live | df = mdy-all }} ==External links== * [http://www.suzannelacy.com Suzanne Lacy's website] * [http://www.eastofborneo.org/articles/suzanne-lacy-on-the-feminist-program-at-fresno-state-and-calarts Suzanne Lacy on the Feminist Program at Fresno State and CalArts, by Moira Roth] * [http://www.impactmania.com/article/suzanne-lacy/ [[impactmania]] "Suzanne Lacy: Four Decades of Exploring Gender, Class, and Race" by [[Paksy Plackis-Cheng]] ] * [https://www.againstviolence.art/ Official Website for Leslie Labowitz Starus] {{External media |float=left |width=600px |video1=[http://www.vdb.org/smackn.acgi$artistdetail?LACYS Suzanne Lacy] in the [[Video Data Bank]] |video2={{YouTube|stVbdXdDSlE|A Conversation with Judy Chicago and Suzanne Lacy}} |video3={{YouTube|U-11jjp1i7M|Woman's Building History: Suzanne Lacy (Otis College)}} |video4={{YouTube|767U43psfn4|''In Mourning and In Rage'' performance}} |video5={{YouTube|U-11jjp1i7M|''Three Weeks in May''}} }} {{Feminist art movement in the United States}} {{Performance art}} {{Authority control}} {{DEFAULTSORT:Lacy, Suzanne}} [[Category:1945 births]] [[Category:Living people]] [[Category:American contemporary artists]] [[Category:Feminist artists]] [[Category:Public art]] [[Category:Performance art in Los Angeles]] [[Category:American performance artists]] [[Category:American women performance artists]] [[Category:Otis College of Art and Design faculty]] [[Category:Artists from California]] [[Category:20th-century American women artists]] [[Category:American women academics]]'