#Suzanne Lacy

[oedicomplex]

Anatomy Lessons #4: After Mantegna, 1977

by Suzanne Lacy

[petrichara]

1+2- Guts by Leith Ross. 3+4- Promising Young Woman by Emerald Fennell. 5- Complex by Katie Gregson-MacLeod. 6- Your Power by Billie Eilish. 7+8 Guts by Leith Ross. 9- Three Weeks in May by Suzanne Lacy. 10- If Walls Could Hear by Olga Prudnikoda

[stromuprisahat]

Never in his life, not even in the worst years, had he left home without a clean handkerchief in his pocket. The Grandma’am insisted on certain civilities that held chaos at bay. There were great drawers of them going back generations, plain to lacy to embroidered with flowers.

The Ballad of Songbirds and Snakes (Suzanne Collins)

[critical-quoter]

July Books

I had a bit of out-of-town traveling and flying. I would like to attribute this to the amount of books finished, but frankly, my reading speed has no true rhyme or reason. **Also, I've far surpassed my reading goal for the year!**

Throne of Power - Rina Kent ⭐️⭐️⭐️⭐️⭐️ Throne of Vengeance - Rina Kent ⭐️⭐️⭐️⭐️⭐️ Come Back for Me - Corinne Michaels ⭐️⭐️⭐️⭐️⭐️ Black Ties & White Lies - Kat Singleton ⭐️⭐️⭐️⭐️ Bromantic Puckboy - Eden Finley & Saxon James ⭐️⭐️⭐️⭐️ Freed - E. L. James ⭐️⭐️ Sing for Me - Brittany Ann ⭐️⭐️⭐️⭐️ Hollow Heathens - Nicole Fiorina⭐️ Bridesmaid for Hire - Meghan Quinn ⭐️⭐️⭐️ Queen of the Night - A. N. Stauber & Molly Briar ⭐️⭐️⭐️ Little Slice of Hell - Clio Evans ⭐️⭐️ What I Should Have Done - R. L. Atkinson ⭐️⭐️⭐️⭐️⭐️ Rivalry - Lisa Suzanne ⭐️⭐️⭐️ The Soulmate Equation - Christina Lauren ⭐️⭐️⭐️⭐️⭐️ The Broken Vows - Catharina Maura ⭐️⭐️⭐️⭐️⭐️ Home Game - Odette Stone ⭐️⭐️⭐️⭐️ Come Break My Heart Again - C. W. Farnsworth ⭐️⭐️⭐️⭐️⭐️ Accidentally Ours - Erin Hawkins ⭐️⭐️⭐️⭐️ Key to the Dark - Alexa Michaels ⭐️⭐️⭐️ Her Soul to Take - Harley Laroux ⭐️⭐️⭐️⭐️⭐️ The Sight of You - Ashley Mack ⭐️⭐️⭐️⭐️ Things I Should Have Said - Kelsey Humphreys ⭐️⭐️⭐️ Her Soul for Revenge - Harley Laroux ⭐️⭐️⭐️⭐️⭐️ Faked - Karla Sorensen ⭐️⭐️⭐️ The Mindf*ck Series - S. T. Abby (Audiobook) ⭐️⭐️⭐️⭐️⭐️ One Pucking Love - Ellie Wade ⭐️⭐️⭐️⭐️ Keeping Her - Angela Snyder ⭐️⭐️⭐️ Saving Him - Angela Snyder ⭐️⭐️⭐️ The Reason Why - Lacy Channell ⭐️⭐️⭐️⭐️ Not My Coach - Pru Schuyler ⭐️⭐️⭐️⭐️ Ready for You - Samantha Leigh ⭐️⭐️⭐️⭐️ Morally Corrupt - Veronica Lancet ⭐️ Forget Me Not - Karissa Kinword ⭐️⭐️ In the Light of Sin - Juniper Nye ⭐️⭐️⭐️⭐️ Scoring Chance - Teagan Hunter ⭐️⭐️⭐️⭐️ Lord of Bones - Aiden Pierce & R. K. Pierce ⭐️⭐️⭐️⭐️⭐️ Watching Ames - R. Handler ⭐️⭐️⭐️⭐️⭐️ Scandalous - L. J. Shen ⭐️⭐️⭐️⭐️⭐️ The Pucking Wrong Man - C. R. Jane ⭐️⭐️⭐️⭐️⭐️ Flawless - Elsie Silver (Audiobook) ⭐️⭐️⭐️⭐️⭐️ Stolen Heir - Sophie Lark ⭐️⭐️⭐️⭐️⭐️ Butcher & Blackbird - Brynne Weaver (Audiobook) ⭐️⭐️⭐️⭐️⭐️ Chalet Love in Alaska - Ellyne ⭐️⭐️ Skin of a Sinner - Avina St. Graves ⭐️⭐️⭐️⭐️ Heartless - Elsie Silver ⭐️⭐️⭐️⭐️⭐️ Tailgates and Twist of Fate - Haley Rhoades ⭐️⭐️ Irresistible - Willow Aster ⭐️⭐️⭐️⭐️ Dom - S. J. Tilly ⭐️⭐️⭐️⭐️⭐️ Shattered Veil - Deborah Garland ⭐️⭐️⭐️⭐️⭐️ King of Sloth - Ana Huang ⭐️⭐️⭐️⭐️⭐️ Fallen Star - Heather Ashley ⭐️ Mile High - Liz Tomforde ⭐️⭐️⭐️⭐️ Leather & Lark - Brynne Weaver (Audiobook) ⭐️⭐️⭐️⭐️⭐️ The Hit - Julie Weaver ⭐️⭐️⭐️⭐️ Holdout - Jacqueline Snowe ⭐️⭐️⭐️⭐️ The Comeback Pact - E. M. Moore ⭐️⭐️⭐️⭐️

61 books total books read for July 2024

[gregorsamsa-ra]

patti smith, matthias grunewald, sylvia plath, john singer, toni morrison, frida kahlo, gina pane,, oscar wilde, el greco, george struikelblok, tracey emin, mark rothko, julia margaret cameron, jung boc su, ron athey, andrea mantegna, seamus heaney, nico, gustav mahler, paula rego, diane arbus, arvo part, bob flanagan, leonard cohen, ahn chang hong, francisco goya, nina simone, ulay, susan sontag, marina abramovic, edith piaf, edvard munch, louise bourgeois, beth gibbons, ian curtis, raimund hoghe, antony hegarty, maria callas, samuel barber, gunter bruce, francis bacon, arthur rimbaud, kae tempest, mike parr, david nebreda, pier paolo pasolini, sam fender, nick cave, ana mendieta, christian boltanski, leon golub, fabio mauri, david olusoga, kiki smith, maya angelou, hieronymus bosch, bobby baker, janis joplin, nan goldin, andrei tarkovsky, bob dylan, abel ascona, nancy spero, billie holiday, robert capa, sarah lucas, friedrich nietzsche, sonia boyce, steve mcqueen, fabrizio de andre', alda merini, letizia battaglia, nick drake, charles bukowski, iannis xenakis, rogier vander weyden, janine antonii, arvo parks, tracy chapman, jean genet, valie export, linda mary montano, william blake, john cooper clarke, hannah wilke, lou reed, tracey moffat, doris salcedo, rebecca horn, giacomo leopardi, santiago sierra, teresa margolles, regina jose' galindo, suzanne lacy

[k00293410]

More of Suzanne Lacys work, "Crystal Quilt"

Leslie Labowitz had similar themes of harassment, violence, rape and women's role in society.

Labowitz's piece (contributed also by fellow artist Suzanne Lacy); "In Mourning and In Rage, 1977" was a highly controversial and influential performative art piece meant to draw attention to the unspeakable violence that was happening to women at the time that was going unnoticed. During the act, 60 women followed a hearse to the City Hall. 10 tall robed women dressed as 19th-century mourners each announced different forms of violence against women that had gone unnoticed.

Video can be viewed on www.suzannelacy.com

[jfks-phat-cheeks]

hii!! for the name playlist, i know my user is long lol so itty works just fine! :D

I did ittybitty because i have enough songs for it :]

i - i love you so by the walters

t - tom’s diner by suzanne vega

t - this time tomorrow by the kinks

y - you get me so high by the neighborhood

b - bad habit by steve lacy

i - i know the end by pheobe bridgers

t - the night we met by lord huron

t - telescope by cage the elephant

y - ykwim? by yot club

[performanceperform]

performance art that involve audience participation

Here are some additional examples of performance art that involve audience participation, with a focus on the therapeutic effects and activation of space:

Tim Etchells' " Certain Fragments" (1998-ongoing) - This is a series of text-based performance works that invite members of the audience to participate in a series of prompts and exercises designed to challenge their assumptions and expand their sense of self. The work has been described as having therapeutic and empowering effects for participants.

Joan Jonas' "Mirror Pieces" (1969-70) - In these performances, Jonas invited members of the audience to use handheld mirrors to reflect and refract light and images, creating a collective and immersive experience that challenged conventional perceptions of space and time.

Randall Packer and Ken Jordan's "Zoned landscapes" (1998-ongoing) - This is an ongoing series of multimedia performances that invite participants to explore virtual and physical landscapes, using various media to activate their senses and challenge their perceptions of reality.

Suzanne Lacy's "The Crystal Quilt" (1987) - This performance involved hundreds of elderly women gathering in public spaces to share their stories and experiences, creating a collective and empowering narrative that challenged societal assumptions and stereotypes.

Tehching Hsieh's "One Year Performances" (1978-1986) - This series of performances involved Hsieh undertaking a series of extreme actions, such as punching a time clock every hour for a year, and inviting the public to witness and participate in the creation of the artwork.

performance art that involve participation:

Yoko Ono's "Cut Piece" (1964) - In this seminal work, Ono invited members of the audience to come on stage and cut off a piece of her clothing until she was left in her underwear. The piece addressed issues of power, vulnerability, and audience agency.

Marina Abramović's "Rhythm 0" (1974) - This performance involved Abramović placing 72 objects, including a knife, a gun, and a whip, on a table and inviting the audience to use them on her in any way they chose for 6 hours. The work explored themes of trust, control, and the relationship between performer and audience.

Santiago Sierra's "240 cm Line Tattooed on 6 Paid People" (2000) - In this piece, Sierra hired people to have a straight line tattooed on their back, creating a series of human canvas that comment on the commodification of the body and the exploitation of labor.

Guillermo Gómez-Peña's "Border Brujo" (1989-90) - In this performance, Gómez-Peña dressed in "tribal" attire and invited members of the audience to participate in a series of rituals that critiqued Western stereotypes and cultural imperialism.

Tania Bruguera's "Tatlin's Whisper #6" (2008) - In this performance, Bruguera invited members of the audience to take the stage and speak freely for one minute each, creating a collective, democratic space that challenged the dominant narratives and censorship in Cuba.

[rob-art]

Between the Door and the Street: A Performance Initiated by Suzanne Lacy

[utterly-disappointed]

ty for the tag 🫶🫶

Open tags 🫶

Challenging you all!

Put your music library on shuffle, then list the first five songs that come up in a poll to let people vote for which one they like the most!

Then tag Tumblr friends to keep the game going!

[ulkaralakbarova]

Beverly is the perfect happy homemaker, along with her doting husband and two children, but this nuclear family just might explode when her fascination with serial killers collides with her ever-so-proper code of ethics. Credits: TheMovieDb. Film Cast: Beverly Sutphin: Kathleen Turner Eugene Sutphin: Sam Waterston Misty Sutphin: Ricki Lake Chip Sutphin: Matthew Lillard Detective Pike: Scott Morgan Detective Gracey: Walt MacPherson Scotty: Justin Whalin Birdie: Patricia Dunnock Carl: Lonnie Horsey Dottie Hinkle: Mink Stole Rosemary Ackerman: Mary Jo Catlett Mr. Stubbins: John Badila Betty Sterner: Kathy Fannon Ralph Sterner: Doug Roberts Carl’s Date: Traci Lords Marvin Pickles: Tim Caggiano Howell Hawkins: Jeff Mandon Father Boyce: Colgate Salsbury Mrs. Jenson: Patsy Grady Abrams Herbie Hebden: Richard Pilcher Timothy Nazlerod: Beau James Judge: Stan Brandorff Luann Hodges: Kim Swann Suzanne Somers: Suzanne Somers Gus: Bus Howard Sloppy: Alan J. Wendl Juror #8: Patricia Hearst Jury Forewoman: Nancy Robinette Rookie Cop: Peter Bucossi Policewoman: Loretto McNally Press A: Wilfred E. Williams Court TV Reporter: Joshua L. Shoemaker Court Groupie A: Rosemary Knower Court Groupie B: Susan Lowe Carl’s Brother: John Calvin Doyle Book Buyer: Mary Vivian Pearce Mean Lady: Brigid Berlin Police Officer: Jordan Brown Vendor: Anthony ‘Chip’ Brienza Flea Market Boy: Jeffrey Pratt Gordon Flea Market Girl: Shelbi Clarke Macho Man: Nat Benchley Dealer: Kyf Brewer Baby’s Mother: Teresa R. Pete Church Baby: Zachary S. Pete Doorman: Richard Pelzman Kid A: Chad Bankerd Kid B: Johnny Alonso Kid C: Robert Roser Joe Flowers: Mike Offenheiser Girl: Lee Hunsaker Burglar A: Michael S. Walter Burglar B: Mojo Gentry Mrs. Taplotter: Gwendolyn Briley-Strand Reporter: Jennifer Mendenhall Joan Rivers: Joan Rivers TV Serial Hag: Catherine Anne Hayes Lady C: Susan Duvall Press: Valerie Yarborough Kid: Jordan Young Camel Lips: Jennifer Finch Camel Lips: Suzi Gardner Camel Lips: Demetra Plakas Camel Lips: Donita Sparks Husband A: John A. Schneider Court Clerk: Lyrica Montague Eugene Sutphin’s Nurse (uncredited): Bess Armstrong Birdie’s Father (uncredited): Greg Coale Video Store Customer (uncredited): David L. Marston Stage Diver (uncredited): Kim McGuire Cop (uncredited): John Poague Club Kid (uncredited): Al Sotto Ted Bundy (voice) (uncredited): John Waters Film Crew: Art Direction: David J. Bomba Sound Re-Recording Mixer: Mark Berger Executive Producer: Joseph M. Caracciolo Jr. Thanks: Paul Reubens Original Music Composer: Basil Poledouris Writer: John Waters Production Design: Vincent Peranio Editor: Janice Hampton Producer: Mark Tarlov Supervising Sound Editor: John Nutt Thanks: Don Knotts Editor: Erica Huggins Director of Photography: Robert M. Stevens Associate Producer: Pat Moran Costume Design: Van Smith First Assistant Director: Robert Rooy Property Master: Brook Yeaton Art Department Production Assistant: Jeffrey Pratt Gordon Carpenter: Thomas Turnbull Thanks: Harry H. Novak Set Decoration: Susan Kessel On Set Dresser: Lianne Williamson Sound Editor: Ernie Fosselius Thanks: Arthur Machen Utility Stunts: G. A. Aguilar Sound Mixer: Rick Angelella First Assistant Director: Mary Ellen Woods Sound Editor: Frank E. Eulner Casting: Paula Herold Set Dresser: Michael Sabo Second Unit Director: Steve M. Davison Sound Editor: Robert Shoup Hairstylist: Kathryn Blondell Sound Re-Recording Mixer: David Parker Stunt Double: Cheryl Wheeler Duncan Assistant Makeup Artist: Janice Kinigopoulos Makeup Artist: Debi Young Makeup Artist: E. Thomas Case Post Production Supervisor: John Currin Assistant Property Master: R. Vincent Smith Music Supervisor: Bones Howe Draughtsman: Rob Simons Additional Hairstylist: Howard ‘Hep’ Preston Assistant Makeup Artist: Barbara Lacy Art Department Coordinator: Sarah Stollman Utility Stunts: Michael Runyard Unit Production Manager: Margaret Hilliard Hairstylist: Ardis Cohen Assistant Production Design: John Lindsey McCormick Makeup Artist: Betty Beebe Sound Recordist: Philip Rogers Producer: John Fiedler Secon...

[distinktionsfetzen]

Check out Suzanne Lacy, The Crystal Quilt Portfolio (1987/2023), From Galleria Enrico Astuni

[janedyson4thyear]

Millner, Jacqueline, and Catriona Moore. Contemporary Art and Feminism. Google Books, Routledge, 5 July 2021,

books.google.co.nz/books?hl=en&lr=&id=_h0vEAAAQBAJ&oi=fnd&pg=PT6&dq=feminism+abstract+painting&ots=4uLU1ewri9&sig=-GlB0vni50kWscSKQx2DWZe1bik&redir_esc=y#v=onepage&q&f=false . Accessed 16 Mar. 2024.

A rounded history of the deep connections between female/femme abstract and contemporary art, and feminism. It has a lot of good references relevant to the topic of BLAH BLAH

Pg 85 -88

The opaqueness of modern or postmodern art, intended to confound the intellectual and aesthetic capacities of the viewer,  - how is it that contemporary art, at least in certain incarnations,

overtly positions itself as didactic

feminist theory and feminist art allows us both to trace the

development of this trend and to understand its currency.

Feminist art is by definition activist and has

consequently sought to transform audiences beyond art world initiates

Feminism’s early discovery of the relationship between ones very (private, individual) subjectivity

and the public sphere shaped its political strategy and from the outset tied transfor-

mation to teaching. Feminist consciousness-raising was based around personal story

telling; it provided space for many perspectives and acknowledged the relative nature

of knowledge and its interconnection with power.

searching for ways to understand political action beyond thepredominant Marxist framework of‘revealing’the‘hidden truths’of exploitation.

Joseph Beuys’lectures as performance andradical pedagogical experiments are an important historical antecedent here, they‘simultaneously challenged and reinforced the patriarchal power structure of the acad-emy and the authority of the artist’,5

Suzanne Lacy’s early public projects (discussed in detail below), which createdworks through personal story and supportive listening environments and have beenretrospectively described as‘expanded public pedagogy’.

feminist work reinserted the body an

d the psyche into institutional critique

Feminism contributions to changing the teaching of art - a guide sharing knowledge instead of teaching from one side

Pg 101 -

Inspired by playground design, brightly coloured and beautifullyfinished, Mel-bourne-based Emily Floyd’s installations, often in public spaces, conflate play, peda-gogy and art to loosen up the viewer’s disposition to learn. The appealing materialpresence of these objects and the physical interaction they invite are key to this con-ceptual loosening, or‘active learning’to use radical educator Rudolf Steiner’sphrase.As Australian critic Wes Hill observes,‘Similar to the way in which children play withbuilding blocks, viewers are directed toward the process of engaging with the con-structed components of her work, where‘meaning’remains open-ended’.114According to Floyd,‘contemporary art itself is the most current form of alternativeeducation’, and exhibitions can function as‘a series of forms that might temporarilyfree us from the act of explaining’,

The fluorescent mixed messages and sentiments offer no answers or solutions. But this fits. Contemporary feminism by its very definition is confusing, unfinished, hard to define and temporal.

How much of pedagogy, even in creativefields, remains an exercise in killing imagination and creative thinking

https://www.crossart.com.au/future-feminist-archive/

Pg 129 craftivsm 

material ethics of careIntroductionIn response to US art historian Linda Nochlin’sfamousquestion,‘Why have therebeen no great women artists?’,1feminists have long argued that women have alwayscontributed to culture; however the fact is that they‘speak’from historically margin-alised positions within that culture—spaces that for too long have been‘hidden fromhistory’.

By attending to these spaces and revaluing women's traditional arts,feminists challenged spurious delineations between what is private and public business, what is domestic and what is political

Craftivism is the practice of engaged creativity, especially regarding political orsocial causes. By using their creative energy to help make the world a betterplace, craftivists help bring about positive change via personalized activism.Craftivism allows practitioners to customize their particular skills to address particular causes

[rawiswhore]

Bret Hart, Sunny x Fem Reader- "Barbie Girl"

This fanfiction is rather weird, but it was based on a dream I had in my sleep.

Hopefully you readers won't be offended over it, but viewer discretion is advised...

_____________________________________________________________

On a "Monday Night Raw" episode that aired in the summer of 1997, there was a moment where Bret Hart was sitting backstage with Sunny sitting on top of one of his thighs and straddling it, where his leg was placed in between her legs.

During this moment, Bret had his long hair hanging down (although he usually does have his long hair hanging down) whereas Sunny showed no emotion in her face, she wasn't smiling as usual or anything.

Bret may have accused Shawn Michaels of having Sunny days (meaning Shawn had sex with her), but now Bret's having some Sunny days of his own by having her sit on his leg!

Speaking of sitting, you were sitting on the floor right next to Bret on the right side, where you were wearing a short white nighty with lavender colored spaghetti straps.

What you wore was similar to a negligee Suzanne Somers wore on "Three's Company", this one:

Laying around you on the floor were these various Caucasian Barbie dolls with blond hair.

You were holding a My First Barbie doll from 1996 in one hand that was dressed in a baby pink colored teddy romper from 1980 and a Loving You Barbie from 1983 wearing a towel from the Glamour Bath and Shower set that was wrapped around and covering her naked body.

Some of the Barbie dolls around you were the Sixties Fun Barbie, Walmart's 35th Anniversary Barbie, a Party Time Barbie dressed in a psychedelic mod teddy from 1980, Locket Surprise Barbie, Southern Belle Barbie, Sunflower Barbie, Blossom Beauty Barbie, Tropical Splash Barbie, Birthday Surprise Barbie, Sparkle Eyes Barbie, a Russell Stover Candies Barbie that was wearing just a white Fashion Fun tank top with matching short shorts from 1980, a Party Time Barbie dressed in a hot pink teddy from 1980 from the Beauty Secrets doll, and a City Style Barbie dressed in a white lacy Fashion Fun teddy.   

Another doll in that pile was a Barbie knockoff known as Rich and Famous from 1985 that was wearing just a blue towel that was cut shorter to reach her upper thighs.

While you love these Barbie dolls around you, you wish some of the Barbie dolls from your youth---such as Peaches & Cream Barbie and the 1988 Superstar Barbie as well as some current Barbie dolls in 1997 like those Marilyn Monroe Barbie dolls---could've been with you in this promo.

Many of those Barbie dolls laying around you are dressed beautifully and you hate that they're laying on the floor since their beautiful gowns will get dirty, but the floor isn't luckily covered in mud or anything.

Into the camera, Bret Hart stated that he put you in your place.

Because you were the valet for Hunter Hearst Helmsley---who was a rich, classy, aristocratic blueblood, sometimes you would escort him to the ring while you were dressed as Peaches N Cream Barbie, Perfume Pretty Barbie, Magic Moves Barbie, and Crystal Barbie---Barbie dolls from your childhood and youth.

Maybe this is why this moment of you sitting down with Barbie dolls around you exists.

Sable was a female wrestling valet/manager in the WWF in 1997 and she did look like Barbie, maybe she could've been in this promo sitting on the floor with those Barbie dolls instead of you.

Not to mention at the end of the year Sable had that storyline of Marc Mero controlling and abusing her.

At the end of 1997, Aqua released their massive smash hit "Barbie Girl".

[feministloveletters]

Letter to Suzanne Lacy from Susan Peace

[carmenvicinanza]

Mónica Mayer

Mónica Mayer, artista, curatrice, critica d’arte e attivista femminista, ha esposto e tenuto conferenze in diversi paesi del mondo. 

Critica il sistema sociale patriarcale attraverso l’arte con performance, grafica digitale, disegno e fotografia.

Si è sempre posta in una posizione di rottura rispetto alle definizioni tradizionali di arte. La sua opera è caratterizzata da spirito irrequieto, spiccato senso critico e grande umorismo.

Ha iniziato con dipinti e collage per poi dedicare grande attenzione alle performance e installazioni. Negli anni, il suo contributo artistico si è sviluppato anche attraverso la scrittura, l’insegnamento, l’archiviazione e la partecipazione attiva nella comunità.

La maggior parte delle sue performance consistono in interventi sociali interattivi progettati per contesti specifici.

È nata a Città del Messico nel 1954 e si è laureata in Belle Arti all’Università Autonoma del Messico nel 1976.

Il suo attivismo è iniziato quando, ben presto, ha realizzato quanto fosse discriminante essere una donna nel mondo dell’arte. Nel 1975, ha preso parte al Movimiento Feminista Mexicano e al Colectivo Cine Mujer.

La sua prima esposizione è stata Collage íntimo nel 1977. L’anno successivo ha partecipato alla Muestra colectiva feminista. 

Nel 1978 alla biennale Salón 77–78: Nuevas tendencias al Museo d’Arte Moderna di Città del Messico, ha presentato l’installazione interattiva El tendedero (La corda da bucato), che ha inaugurato il suo stile e la ricerca di nuovi mezzi per comunicare attraverso l’arte. 

Nello stesso anno si è trasferita negli Stati Uniti dove, nel 1980, ha conseguito un master in Sociologia dell’arte al Goddard College, con una tesi intitolata Feminist Art: An Effective Political Tool (Arte femminista: uno strumento politico efficace). In quel periodo ha frequentato il  Feminist Studio Workshop presso il Woman’s Building di Los Angeles con pioniere del movimento artistico femminista statunitense come Suzanne Lacy, Leslie Labowitz e Judy Chicago.

Al suo ritorno in Messico, nel 1983, ha fondato il collettivo artistico Polvo de Gallina Negra diminutivo di Polvere di gallina nera per proteggerci dalla magia patriarcale che fa scomparire le donne, che combinava critica sociale radicale e umorismo e che è stato attivo per una decade.

Nello stesso anno, ha tenuto un seminario su Donne e Arte presso la Escuela Nacional de Artes Plásticas, che ha poi portato alla creazione di un altro collettivo artistico femminista, Tlacuilas y Retrateras.

Nel 1989, col marito, Víctor Lerma, ha fondato Pinto mi Raya, spazio artistico indipendente e archivio online la cui funzione principale è stimolare il sistema dell’arte in Messico attraverso incontri, workshop e performance collettive di attivismo comunitario.

Un’esperienza che si è gradualmente trasformata in una piattaforma da cui lanciare progetti di arte concettuale applicata per cercare di trovare soluzioni. Per lubrificare il sistema dell’arte per farlo funzionare più agevolmente. 

Come estensione della sua pratica artistica, Mónica Mayer ha parlato e scritto ampiamente di arte, donne e femminismo.

Tra il 1988 e il 2008 è stata editorialista del quotidiano El Universal e ancora oggi scrive per diversi blog.

Ha pubblicato diversi libri, saggi e contribuito a creare riviste d’arte e dibattito femminista. 

Nel 2012 ha partecipato alla creazione del Sistema Nazionale di Artisti per il Finanziamento Nazionale per la Cultura e le Arti messicane.

Nel 2016 il Museo d’Arte Contemporanea dell’Università Nazionale Autonoma del Messico le ha dedicato la mostra “Si tiene dudas… pregunte: una exposición retrocolectiva de Mónica Mayer” (In caso di dubbio… chiedi: retrospettiva di Mónica Mayer).

Nello stesso anno, l’Istituto femminile di Città del Messico le ha conferito la Medaglia Omecíhuatl per la sua “eccezionale partecipazione all’istruzione, alle arti, alla cultura e allo sport, che hanno ispirato e influenzato lo sviluppo e l’empowerment femminile”.