Suzanne Lacy

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Suzanne Lacy (born 1945) is an internationally known artist whose work includes installations, video, and large-scale performances on social themes and urban issues. One of her best-known works to date is The Crystal Quilt (Minneapolis, 1987) a performance with 430 older women, broadcast live on Public Television.

During the nineties she worked with teams of artists and youth to create an ambitious series of performances, workshops, and installations on youth and ublic policy, documented by videos, local and national news broadcasts, and an NBC program. Her work has been funded through numerous local and national foundations, including the National Endowment for the Arts and The Guggenheim Museum, Rockefeller, Surdna, and Nathan Cummings Foundations.

Also known for her writing, Lacy edited the influential Mapping the Terrain: New Genre Public Art, published in 1995 by Bay Press, a book that prefigures current writing on politically relevant performance art. She has published over 60 articles on public art.

Lacy is the Chair of Fine Arts at Otis College of Art and Design in Los Angeles. In 2007 she will launch a new MFA in Public Practice graduate program for a small but select group of entering studdents.

From 1987-97 she was Dean of the School of Fine Arts at the California College of Arts, and in 1998 she became Founding Director of the Center for Art and Public Life. In 1996-7 she co-founded the Visual and Public Art Institute at California State University at Monterey Bay with artist Judith Baca. In the late 1970s, Lacy started the performance program at the Woman's Building in Los Angeles.

Active in Oakland cultural politics, Lacy was a member of Mayor Jerry Brown’s education cabinet and an Arts Commissioner for the City of Oakland.

[edit] Bibliography

Smith, S. "Suzanne Lacy and Susan Leibovitz Steinman--The Confluence of Conservation Ecology and Community Economics." Art Journal v. 65 no. 1 (Spring 2006) p. 58-60

Glowen, R. "Suzanne Lacy's @Under Construction' performance at The Residences on Georgia. Artweek v. 28 (September 1997) p. 29

Fisher, J. "Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramovic." Art Journal v. 56 (Winter 1997) p. 28-33

Lacy, S. "Love, Memory, Cancer: A Few Stories" [accounts of the conception and reception of public art memorials in the United States]. Public Art Review v. 7 (Spring/Summer 1996) p. 5-13

Tromble, M. "A Conversation with Suzanne Lacy, Artist." Artweek v. 26 (August 1995) p. 15

Hankwitz, M. "Suzanne Lacy, Annice Jacoby, & Chris Johnson: The Roof is on Fire" (performance review). Art Papers v. 19 (January/February 1995) p. 39-40

Gamble, A. "Reframing a Movement." New Art Examiner v. 21 (January 1994) p. 18-23

Lacy, S., et. al., "Saving the World [a dialogue between Suzanne Lacy and Rachel Rosenthal]." Artweek v. 22 (September 12 1991) p. 1+

"The Function of Art in Culture Today [90 artists, who have appeared in High Performance, offer short statements]." [[High Performance]] v. 11 (Spring/Summer 1988) p. 26-75

Roth, M. (IDS Building, Minneapolis; Exhibition Review." Art in America v. 76 (March 1988) p. 162

Roth, M. "The Crystal Quilt." High Performance v. 10 no. 3 (1987) p. 72-3

Burnham, L. F. "Running Commentary: What Price Social Art?" High Performance v. 9 no. 3 (1986) p. 8-9

Life Like Art." Artforum International v. 44 no. 10 (Summer 2006) p. 318-25, 376

"Reality Art." Public Art Review v. 16 no. 1 (Fall/Winter 2004) p. 60-1

"Performance Art: (Some) Theory and (Selected) Practice at the End of This Century" (19 article special section). Art Journal v. 56 (Winter 1997) p. 2-83