Second Tuesdays, 12:00 p.m.
Meet at Malaprop’s Bookstore/Café (55 Haywood Street, Asheville 28801)
This monthly discussion is a place to exchange ideas about readings that relate to artworks and the art world, and to learn from and about each other. Pick up some tasty local fare at the Malaprop’s Café to make the most of your midday break! Books are available at Malaprop’s for a 10% discount.
If you would like to receive more information about Discussion Bound, please email Kristi McMillan, Adult Programs Manager, to add your name to our email list.
Summer 2017 Programs
“Why Have There Been No Great Women Artists?” by Linda Nochlin
First published in 1971, this essay is considered a pioneering piece of writing for both feminist art history and feminist art theory. Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts, the history of women’s art education, and the nature of art and artistic genius. The essay has also served as an important impetus for the rediscovery of women artists. Discussion of this short essay will include the recent article “An Illustrated Guide to Linda Nochlin’s ‘Why Have There Been No Great Women Artists?'” by Tiernan Morgan & Lauren Purje. Moderated by Tim Lewis.
Planned in conjunction with Hear Our Voice.
Download Linda Nochlin’s essay here, or pick up Women Artists: The Linda Reader at Malaprop’s.
My Favorite Thing Is Monsters by Emil Ferris
Set against the tumultuous political backdrop of late 1960s Chicago, My Favorite Thing Is Monsters is fictional 10-year-old Karen Reyes’s graphic diary, filled with B-movie horror and pulp-monster magazine iconography. Karen tries to solve the murder of her enigmatic upstairs neighbor, a Holocaust survivor, while the interconnected stories of those around her unfold. When Karen’s investigation takes us back to the neighbor’s life in Nazi Germany, we discover how the personal, political, past, and present converge. Rendered in a kaleidoscopically and breathtakingly virtuosic visual style that combines panel sequences and montage, Ferris’s draftsmanship echoes the drawing of Otto Dix, George Grosz, and R. Crumb. The screen rights for My Favorite Thing Is Monsters, a revelatory work of striking originality, were purchased by Sony Picture Studios within a month of its publication.