Marsie Scharlatt worked as a book editor, and as a licensed psychotherapist in private practice and clinical settings for thirty-five years. In 1999, she became Director of the Hannah Wilke Collection and Archive, Los Angeles, where she works with art historians and curators on exhibitions and books. Scharlatt’s published writing includes “To a Songbird,” in Hannah Wilke: Intra-Venus (Ronald Feldman, 1994); “Hannah in California,” in Hannah Wilke: Selected Work, 1960–1992 (SolwayJones, 2004); “Return to Philadelphia,” in Hannah Wilke: Sculpture in the Landscape (Temple Contemporary, Tyler School of Art, Philadelphia, 2018); and “Healing Their Wounds,” in BOOBS in the Arts: Female Bodies in Pictorial History (DISTANZ Verlag, 2023). A Breathed Yes: Poems by Marsie Scharlatt, Art by Hannah Wilke was published by The March Press in 2017.
First edition 2026 380 pages
with 103 color and b&w ills.
Hardcover, $54
ISBN: 978-0-88214-903-5
Paperback, $32
ISBN: 978-0-88214-248-7
In this deeply personal memoir, Marsie Scharlatt, sister of the feminist artist Hannah Wilke, reflects on memory, loss, and the artistic legacy she has inherited and oversees. It traces their childhood, parents, and extended family life in New York and Los Angeles, and the sisters’ close but different lives, as they support one another through crises and develop in their chosen fields—Hannah as a consummate artist and Marsie as a parent, psychotherapist, and writer. Touching on intimate relationships, the social changes of the 1960s and ’70s, and the feminist consciousness they each develop, the book is a moving tribute to sisterhood and the ongoing struggles of women within the patriarchy.
Throughout, Scharlatt frames their story through the lenses of their relationship, feminism, and the politics of memory, asking who gets to tell an artist’s story, how institutions treat the vulnerable and define mental health, and how the attempted erasure of women’s contributions and authorship occurred across both their lives. The memoir closes with reflections on synchronicity, loss, endurance and Wilke’s lasting significance as a foundational feminist pioneer whose art still influences the canon and artists everywhere.
Enriching any study of Hannah Wilke’s life and work, this book is itself a literary monument to the feminist struggle whose example and complexity is still deeply relevant today.
——GRISELDA POLLOCK, Professor emerita of Social and
Critical Histories of Art, University of Leeds