From self-portrait to self-consciousness: Carla Lonzi's writing of recognition

Abstract

This article aims to analyse some significant moments of Carla Lonzi's theoretical path, leading her from art criticism to feminism. Through the analysis of Autoritratto (1969) and of some of her feminist writings, I highlight that art criticism and feminism can be read as two complementary and interconnected practices in Lonzi’s life. Her experience in the world of art during the 1960s lead her to discover feminism and to refuse the cultural system, considered as the full expression of male domination. In fact, I will argue that some of her reflections in the field of art, such as her opposition to the traditional idea of criticism, her objection to the lack of mutual recognition between artist and spectator and the analogy in the relationship between artist/spectator and man/woman, anticipates some important elements of her feminism.