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Mierle Laderman Ukeles

Mierle Laderman Ukeles
Born 1939
Denver, Colorado
Nationality American
Alma mater Barnard College, Pratt Institute
Notable work
  • Maintenance Art Manifesto 1969! Proposal for an Exhibition "CARE" (1969)
  • Maintenance Art Tasks (1973)
  • Hartford Wash: Washing/Tracks/Maintenance: Outside (1973)
  • Hartford Wash: Washing/Tracks/Maintenance: Inside (1973)
  • Touch Sanitation (1978-80)
Movement Feminist art movement Conceptual Art

Mierle Laderman Ukeles (born 1939, Denver, Colorado) is a New York City-based artist known for her feminist and service-oriented artwork, which relates the idea of process in conceptual art to domestic and civic "maintenance".

As an undergraduate, Ukeles studied history and international studies at Barnard College and later began her artistic training at the Pratt Institute in New York.

In 1969 she wrote a manifesto entitled Maintenance Art Manifesto 1969! Proposal for an exhibition "CARE", challenging the domestic role of women and proclaiming herself a "maintenance artist". Aside from "personal" or household maintenance, the manifesto also addressed "general" or public maintenance and earth maintenance, such as addressing polluted waters. Her exhibitions were intended to bring awareness to the low cultural status of maintenance work, generally paying either minimum wage or no payments for housewives. Maintenance, for Ukeles, includes the household activities that keep things going, such as cooking, cleaning and child-rearing - and during her exhibitions, she performed the same tasks that she would perform in her daily life, including entertaining guests.

Several of her performances in the 1970s involved the maintenance of art spaces, including the Wadsworth Atheneum. Since 1977 she has been the Artist in Residence (unsalaried) of the New York City Department of Sanitation.

The role of the artist for Ukeles is that of an activist: empowering people to act and change societal values and norms. This agenda stems from a feminist concern with challenging the privileged and gendered notion of the independent artist. For Ukeles, art is not fixed and complete but an ongoing process that is connected to everyday life and her Manifesto for Maintenance Art proclaims the infection of art by everyday mundane activities. The gargantuan domestic actions that she performed primarily became inaugurated out of her role as artist and mother in the 70s. After the birth of her first child in 1968, Ukeles believes that her public identity as an artist slipped into second place, because of the public perception of the role of a mother.


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Wikipedia

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