COVERS 1: ANNOTATING THE ARCHIVE OF HERESIES
MELINDA GUILLÉN
︎︎︎
Updated version
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A feminist zine project, COVERS focuses on the recirculation of, and critical responses to, art-historical documents from a number of artist-founded publications.
The first one is HERESIES: A Feminist Publication on Art and Politics (1977-1993). The first issue, COVERS 1, is an index of reprinted covers and tables of contents from the HERESIES, a vast and complicated constellation of feminist critique in art. Additionally, when the HERESIES printed their last issue in 1993, it became increasingly difficult to access the rich archive of feminist voices in art outside of institutional spaces. While online copies of the HERESIES are freely available now, we are excited by the current generation’s renewed interest in material culture and see this issue as a way to spark interest, extend the life of the source material, and reach new audiences of artists, writers, researchers, activists, and independent collectors.
Melinda Guillén is a writer, researcher, arts organizer, and feminist activist. Her research specializes in contemporary art history, feminist theory, and social movements of the 1960’s through the 1980’s. She holds a PhD in Art History, Theory, and Criticism from the Department of Visual Arts at UC San Diego. Her dissertation, "Don't Need You: Conceptual Art, Feminism, and their Discontents" explores the concepts of individualism vs. collective identity; rebellion and refusal; rage; sexuality and self-pleasure; and subject and objecthood in the lives and practices of Adrian Piper, Lucy R. Lippard, and Lee Lozano.
She has also written about and presented on socially engaged art criticism, art and technology, public art, urban studies and spatial politics, punk and DIY culture, and humor as a critical device for Art 21, Museum of Contemporary Art, Los Angeles; College Art Association (CAA), Queens Museum, and Cambridge School of Art. She was a Visiting Scholar for the AIR program at the 18th Street Art Center, Santa Monica (2021) and as an arts advocate and feminist activist, she was part of the organizing team for Suzanne Lacy’s Three Weeks in January (2012) and served as a member of the City of San Diego’s Arts and Culture Commission’s Public Art Committee (2020-2024). She lives and works in San Diego and lectures at UCSD.
Golden spiral bound
56 pp
Risograph
8.5 x 11 inches
Printed in Taller California
︎︎︎
Updated version
︎︎︎$35
︎ Add to Cart
A feminist zine project, COVERS focuses on the recirculation of, and critical responses to, art-historical documents from a number of artist-founded publications.
The first one is HERESIES: A Feminist Publication on Art and Politics (1977-1993). The first issue, COVERS 1, is an index of reprinted covers and tables of contents from the HERESIES, a vast and complicated constellation of feminist critique in art. Additionally, when the HERESIES printed their last issue in 1993, it became increasingly difficult to access the rich archive of feminist voices in art outside of institutional spaces. While online copies of the HERESIES are freely available now, we are excited by the current generation’s renewed interest in material culture and see this issue as a way to spark interest, extend the life of the source material, and reach new audiences of artists, writers, researchers, activists, and independent collectors.
Melinda Guillén is a writer, researcher, arts organizer, and feminist activist. Her research specializes in contemporary art history, feminist theory, and social movements of the 1960’s through the 1980’s. She holds a PhD in Art History, Theory, and Criticism from the Department of Visual Arts at UC San Diego. Her dissertation, "Don't Need You: Conceptual Art, Feminism, and their Discontents" explores the concepts of individualism vs. collective identity; rebellion and refusal; rage; sexuality and self-pleasure; and subject and objecthood in the lives and practices of Adrian Piper, Lucy R. Lippard, and Lee Lozano.
She has also written about and presented on socially engaged art criticism, art and technology, public art, urban studies and spatial politics, punk and DIY culture, and humor as a critical device for Art 21, Museum of Contemporary Art, Los Angeles; College Art Association (CAA), Queens Museum, and Cambridge School of Art. She was a Visiting Scholar for the AIR program at the 18th Street Art Center, Santa Monica (2021) and as an arts advocate and feminist activist, she was part of the organizing team for Suzanne Lacy’s Three Weeks in January (2012) and served as a member of the City of San Diego’s Arts and Culture Commission’s Public Art Committee (2020-2024). She lives and works in San Diego and lectures at UCSD.
Golden spiral bound
56 pp
Risograph
8.5 x 11 inches
Printed in Taller California
. 
