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LAST DAYS AT HOT SLIT: THE RADICAL FEMINISM OF ANDREA DWORKIN
Mar 10, 2019

*LAST DAYS AT HOT SLIT: The Radical Feminism of Andrea Dworkin*

LAST DAYS AT HOT SLIT: The Radical Feminism of Andrea Dworkin

Please join Johanna Fateman & Amy Scholder
at the launch party for
LAST DAYS AT HOT SLIT: The Radical Feminism of Andrea Dworkin

With readings from the book by:
Andrea Long Chu
CD Clifford
Karen Finley
Shiv Kotecha
Viva Ruiz

Books will be available

 

Selections from the work of radical feminist author Andrea Dworkin, famous for her antipornography stance and role in the feminist sex wars of the 1980s.

Radical feminist author Andrea Dworkin was a caricature of misandrist extremism in the popular imagination and a polarizing figure within the women's movement, infamous for her antipornography stance and her role in the feminist sex wars of the 1980s. She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery in a revolutionary analysis of male supremacy, Dworkin was a philosopher outside and against the academy who wrote with a singular, apocalyptic urgency.

Last Days at Hot Slit brings together selections from Dworkin's work, both fiction and nonfiction, with the aim of putting the contentious positions she's best known for in dialogue with her literary oeuvre. The collection charts her path from the militant primer Woman Hating (1974), to the formally complex polemics of Pornography (1979) and Intercourse (1987) and the raw experimentalism of her final novel Mercy (1990). It also includes “Goodbye to All This” (1983), a scathing chapter from an unpublished manuscript that calls out her feminist adversaries, and “My Suicide” (1999), a despairing long-form essay found on her hard drive after her death in 2005.

More from Season 17

Karin Schneider, *Sabotage*, 2017. CCA Wattis Institute, San Francisco. Courtesy of Karin Schneider
A NEW JOB TO UNWORK AT
Sep 9–Oct 14, 2018
Julia Scher, *I'll Be Gentle*, 1991. Installation view at Pat Hearn Gallery, New York
THE CONDITIONS OF BEING ART: PAT HEARN GALLERY AND AMERICAN FINE ARTS, CO. (1983-2004)
Oct 20 & 21, 2018
Ellen Cantor, *Pinochet Porn*, 2008-16. Super-8 film transferred to video (black and white and color, sound), 123 min.
Ellen Cantor
A HISTORY OF THE WORLD AS IT HAS BECOME KNOWN TO ME
Oct 28, 2018
Cy Gavin, *Breaking Wave*, 2018. Acrylic on denim
BREAKING WAVE
Nov 4–18, 2018
Kathe Burkhart
S.O.S. (SAVE OUR SPACES)
Nov 11, 2018
Diana Hamilton and Shiv Kotecha
GOD WAS RIGHT AND THE SWITCH
Nov 14, 2018
Tiona Nekkia McClodden, Virginia de Medeiros
JOURNEYS WITH THE INITIATED
Dec 2, 2018–Jan 13, 2019
Viva Ruiz, A Joyful Noise: Thank God For Abortion Pride Parade Float. Photo: Elliot Luscombe
Viva Ruiz
PROABORTION SHAKIRA: A THANK GOD FOR ABORTION INTROSPECTIVE
Feb 3–Mar 10, 2019
LAST DAYS AT HOT SLIT: THE RADICAL FEMINISM OF ANDREA DWORKIN
Mar 10, 2019
JD Hollingsworth
THE WORK
Mar 14, 2019
Dash Snow, *Newspapers 1*. C-Print. 34 5/16 x 51 3/8 inches. © Dash Snow, Courtesy of the Dash Snow Archive, New York City
Dash Snow
THE DROWNED WORLD: SELECTIONS FROM THE DASH SNOW ARCHIVE
Mar 31–May 12, 2019
Nash Glynn, *Lover Earth (YOU USED ME)*, 2018. Video performance
Nash Glynn
THE FUTURE IS FICTION
May 19 – Jun 30, 2019
*Altered After* catalog cover (detail), designed by Jean Foos. Image: Leslie Kaliades, still from *Altered After*, 1997. Video, black and white, sound, 15:07 min
ALTERED AFTER
Jul 10–Aug 18, 2019
M. Lamar
NEGROGOTHIC GARDEN PARTY
Sunday, June 2, 2019

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