Writing the drives in Nancy Spero’s Codex Artaud
in Addressing the other woman
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Upon first looking at Codex Artaud, it is likely viewers' eyes are drawn to the small figures dispersed throughout the vast empty spaces of the artwork. Nancy Spero painted these figures in gouaches of copper, brown, grey, and gold. This chapter analyses a letter Spero wrote to Lippard that attests to the galvanising power of this recognition and then returns to Codex Artaud, Codex Artaud VIII and IX specifically, which re-present Artaud's aggressive and desperate correspondence with his editor. The tongue is a primary visual refrain in Codex Artaud. Codex Artaud I explores the themes encapsulated by the tongue. Spero's thematisation of protest is clear in Codex Artaud III. An image in Codex Artaud III dramaticises the poles of strength and victimisation that Artaud lived out in his writing. Spero's sculpture Mummified is a portrait of a woman without the language to identify repressive feminine ideals.

Addressing the other woman

Textual correspondences in feminist art and writing

Metrics

All Time Past Year Past 30 Days
Abstract Views 124 20 0
Full Text Views 22 6 0
PDF Downloads 17 7 0