Writing the drives in Nancy Spero’s <i>Codex Artaud</i>
in Addressing the other woman
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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

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