Afterword: Painting and Language/
Painting Language
My early career ambitions did not include following in the tradition
of artists who write about art. In fact, my first important choice
after college was to pursue studio art and to not pursue art history,
my college major. Increasingly, I had found myself identifying with
the "wrong" side of the slide projector, questioning how my teachers
could possibly claim to know what the artists had intended. However,
my preliminary training in art history did convince me of the impor-
tance of all manner of documentation in the preservation and recep-
of art, and my student involvement at the inception of feminist
art history underlined the special importance of self-documentation
and commentary by women artists.
Although writing as a visual image was an important subject of
my artwork during the seventies, I came to critical writing more
slowly. I was led, like many of my illustrious artist/writer predeces-
sors, through a fairly typical sequence of circumstantial events: you
feel strongly about something happening in the world, no one is writ-
ing what you think, you find you are able to express your thoughts
in words, you write them down for your own gratification and clarifi-
cation, and then one thing leads to another. In my case, I founded a
journal and got my writing published and then wrote regularly about
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