Season II: Collaboration and Feminism

Season II: Collaboration and Feminism

Lecturer: Susan Bee
Time: Mondays at 9 PM-10 PM GMT from January 18-February 15, 2021


Collaboration has always been an important aspect of feminist work. A.I.R. Gallery presents an important example of the cooperative structure as a women’s space that allows experimentation and also shows women’s artwork in a nurturing and supportive setting. In this series of seminars, we will examine the role of collaboration in the work of various artists, poets, critics, and writers, who have been engaged with collaborative practices for many years.

Session 2-1: Susan Bee on Collaboration and Feminism (1/18/2021)

Bee will discuss her collaborations with various artists and poets including Johanna Drucker, Susan Howe, and others. She will present some recent paintings, which were shown at A.I.R. Gallery and which address feminist themes. Also emphasized will be the importance of A.I.R. Gallery as a space for maintaining and supporting the work of women and non-binary artists.


Susan Bee, A.I.R. Gallery
Siri Hustvedt and Susan Bee in Conversation, video, A.I.R. Gallery (Sept, 16, 2020)
Susan Bee: Creativity in Isolation, Beinecke Library, Yale University (July 7, 2020)
Off-World Fairy Tales, Susan Bee and Johanna Drucker, (Litmus Press, Nov. 2020)
Fabulas Feminae with design and text by Johanna Drucker (Litmus Press, 2015)
A Girl’s Life, with writing by Johanna Drucker (Granary Books, 2002)
Bed Hangings, with poems by Susan Howe (Granary Books, 2001): image 1, image 2

Session 2-2: Johanna Drucker: Visual Poetics—A Feminist Approach (1/25/2021)

Johanna Drucker has been making artist’s books for more than four decades. Many of them address feminist themes about language through the use of visual typography. This talk focuses on a number of those books: From A to Z (1977), History of the/my Wor(l)d (1990), Simulant Portrait (1990), Testament of Women (2006), Damaged Spring (2003) and several collaborations with Susan Bee, A Girl’s Life (2002) and Fabulas Feminae (2015). The talk also addresses ways in which the use of visual typography was gendered within the poetry community and where and how visual poetics as a feminist practice have increased in visibility in recent scholarship, as in the work of Amanda Earl in her anthology project, Judith: 25 Women Making Visual Poetry, and her database of over 500 women writers.


Drucker, From A to Z : Forty Years Later, Jacket2,
Drucker, “Letterpress Language,” Leonardo, Vol. 17, No.1
Drucker, “Diagrammatic Writing and Stochastic Poetics,” Iowa Review (PDF)
Drucker, “InVisible Women or Gender in Concrete,” for Amanda Earl, ed., Judith: 25 Women making Visual Poetry, (forthcoming). (PDF)
Drucker, “Graphic-Poetics and other Hybridities,” (forthcoming). (PDF)

Session 2-3: Charles Bernstein on Collaborations between Poets and Artists (2/1/2021)

Charles Bernstein will show and discuss his collaborations with four visual artists.

Susan Bee: Occurrence of Tune, Little Orphan Anagram, and Log Rhythms

Amy Silliman: Duplexities and Pinky’s’ Rule

Mimi Gross: Some of These Days

Richard Tuttle, With Strings, Reading Red

Session 2-4: Yvette Drury Dubinsky and Vicky Tomayko present their Visual Art Collaborations and their work with A.I.R. Gallery (2/8/2021)

Yvette Drury Dubinsky and Vicky Tomayko have been working together (as well as separately) since 2018, when they jointly participated in a community event and made large-scale prints using ink, old paper, and a steamroller. They produced an exhibition with two U.S. venues and a catalog and taught a class together in collaborating and printmaking. They will discuss their working relationship and compare it to other types of collaborations. This will be accompanied by images of the work they have done together.

About the Artists

Yvette Drury Dubinsky:
Vicky Tomayko:

Season 2-5: Mira Schor on Feminism and Collaboration including M/E/A/N/I/N/G magazine (1986-2016)

Artist, writer, and educator Mira Schor will talk about her experience as a participant on Womanhouse (1972), a historic feminist art installation project created by students and faculty of The CalArts Feminist Art Program at the California Institute of the Arts and about her thirty-year collaboration with fellow painter Susan Bee on the artist’s journal M/E/A/N/I/N/G.

Suggested Reading:

Mira Schor, “Wheels and Waves,” 2019 (PDF)
Mira Schor, “Patrilineage,” 1991-1994 (from Mira Schor, Wet: On Painting, Feminism, and Art Culture, Duke University Press, 1997). (PDF)



On Womanhouse:

Mira Schor: