Viewing page 4 of 5
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
nowhere, as far as I can tell. How about Art in America? Or wherever you want, I don't care - but I do care that you'll write - it's important to me as your judgement I know I can trust. As the opening approaches, I become more & more scared. Working is the only thing that helps - working & staying close to home, deep in the structure I've built. As to Peter Kennedy - I shouldn't put him down, I suppose. He sent some Australians here who [[strikethrough]] handling [[/strikethrough]] handle travelling shows to Australia & they [[underlined]] loved [[/underlined]] the piece & want to try & bring it. As to a tour, it looks like the piece will go, from SF to Seattle to Rochester NY - then we're trying to get it to Washington, D.C., Chicago & Denver but the second half of the tour is not yet firm. At the moment, I just want to [[underlined]] open [[/underlined]] the piece & if it's okay, I believe the force of the work will carry it. If it's not okay, I'll just quietly disappear for 10 years or so - or perhaps give it up altogether. It is not just the idea of personally failing with the piece that terrifies me, but the idea that if I fail, I will set the course of women's art back & - moreover, someone else will have to do this all over again. I comfort myself, however, with the idea that at least I'm trying - & if I don't make it to the moon, someone else will. BUT YOU KNOW I WANT IT TO BE ME. As to Ken, everything's fine - We're still trying to make a long-term relationship & we're hanging in there. We'll know more where we are after the piece opens (if it opens - I always get a few
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact firstname.lastname@example.org.