Natalie Dunn writes in ENTROPY: “To fully realize its idiosyncrasies and moving portrayals of the quotidian, Iannone asks us to read and consider, to break into laughter, and to give in to moments of surprise.”
David L. Ulin writes in THE LOS ANGELES TIMES: “The point is voyeurism…but it is also, and most essentially, an inquiry into the unbridgeable distances between us, the layers, the nuances, everything we cannot know.”
Megan Burbank writes in THE PORTLAND MERCURY: “it’s an immersive piece that, at the intersections of performance, photography, and surveillance, remains hugely influential 35 years later.”
As a part of our commitment to publishing and advocating for women whose work—boundary-defiant and subversive—may be at the margins of mainstream arts and literary culture, Siglio has created this page devoted to the work of female artists and writers that we publish.
Since the 1960s Dorothy Iannone has been seen as a pioneering spirit against censorship and for free love and autonomous female sexuality. She continues to go her own way without compromise, artistically and conceptually.
Melinda Wilson interviews Lisa Pearson at VIDA: “The Count is a tonic to complacency, dispelling the notion that we will make progress without unambiguous action. It is a critical, multi-use tool: a disquisition with concrete impact. It’s about awareness and outrage, leverage and accountability, as well as about inspiration and activism.”