A01=Elizabeth Cooperman
Art
Artist
Author_Elizabeth Cooperman
Category=DNB
Category=DNC
Category=JBSF1
Creative Nonfiction
Creative Writing
Creativity
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Essay
Experimental Memoir
Female Artist
feminist book
Hybrid Memoir
Lee Krasner
Motherhood
Self Doubt
Twentieth Century Artist
Woman Artist
Womanhood
Product details
- ISBN 9781496231444
- Dimensions: 152 x 229mm
- Publication Date: 01 Sep 2022
- Publisher: University of Nebraska Press
- Publication City/Country: US
- Product Form: Paperback
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When we think of prototypical artists, we think of, say, Picasso, who made work quickly, easily, effervescently. On the contrary, in Woman Pissing, a literary collage that takes its title from a raunchy Picasso painting, Elizabeth Cooperman celebrates artists-particularly twentieth-century women artists-who have struggled with debilitating self-doubt and uncertainty. At the same time, Cooperman grapples with her own questions of creativity, womanhood, and motherhood, considering her decade-long struggle to finish writing her own book and realizing that she has failed to perform one of the most fundamental creative acts-bearing a child.
Woman Pissing is composed of roughly one hundred short prose “paintings” that converge around questions of creativity and fecundity. As the book unfolds it builds a larger metaphor about creativity, and the concerns of artistry and motherhood begin to entwine. The author comes to terms with self-doubt, inefficiency, frustration, and a nonlinear, circuitous process and proposes that these methods might be antidotes to the aggressive bravura and Picassian overconfidence of ego-driven art.
Woman Pissing is composed of roughly one hundred short prose “paintings” that converge around questions of creativity and fecundity. As the book unfolds it builds a larger metaphor about creativity, and the concerns of artistry and motherhood begin to entwine. The author comes to terms with self-doubt, inefficiency, frustration, and a nonlinear, circuitous process and proposes that these methods might be antidotes to the aggressive bravura and Picassian overconfidence of ego-driven art.
Elizabeth Cooperman is coeditor (with David Shields) of the anthology Life Is Short-Art Is Shorter and coauthor (with Thomas Walton) of The Last Mosaic. Her work has appeared in Writer’s Chronicle, Seattle Review, 1913: A Journal of Forms, and other journals. She is the art director of PageBoy Magazine.
