Feminist Abstract Art - A Political Viewpoint Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Feminist Abstract Art–A Political Viewpoint</title> <author>Harmony Hammond</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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Redstockings\n\t\t\t\t\t\t\t\t(New York,\n\t\t\t\t\t\t\t1975)." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": 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"https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125", "type": "oa:Annotation", "dcterms:created": "2025-04-30T17:58:31.125Z", "dcterms:modified": "2025-04-30T17:58:31.125Z", "dcterms:creator": { "@id": "27", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Carrie Pirmann" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/div/quote[6]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Andrea Dworkin, Woman Hating (New York, 1974). " }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb n="66" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_068.jpg"/> <div> <head>Feminist Abstract Art—A Political Viewpoint</head> <byline><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> </byline> <div> <p>There are many articles written on feminist art which try to pinpoint and define a feminist sensibility. Few of these articles go beyond the recognition that feminist art is based on the personal experiences of women by beginning to question its larger political implications and the role it plays in feminist revolution. Most articles originating from the art world tend to be formal descriptive attempts at documenting what women are doing, and do not attempt a feminist analysis of function and meaning.</p> <p>In a reactionary escape from formalist criticism, most movement writing on feminist art deals with political issues, but lacks any real understanding of the creative process, how it functions for the artist and how it affects form and content. Without such an understanding it is impossible to evaluate the work as art. While feminist poets and writers comment on each other's work and write of their own processes, we visual artists tend to remain silent and let others do the writing for us. Our silence contributes to a lack of dialogue between artist and audience, to the lack of criticism from a feminist perspective, and ultimately to the misinterpretation of our work.</p> <p>In this article I wish to focus on abstract art and show that it can have a feminist basis and therefore be political. Feminists are not only people to attempt political or revolutionary art, but because certain ideas and issues occur over and over, they are of interest to us and worth exploring. I will focus on one area of abstract art by discussing concepts of marking and language in feminist drawing and painting—to show its origin, meaning, and political potential.</p> <p>In "Prime Time: Art and Politics"<note type="scholarNote">Alexa Freeman and Jackie MacMillan, "Prime Time: Art and Politics," <title key="Quest: A Feminist Quarterly" ref="http://www.wikidata.org/entity/Q105972288">Quest: A Feminist Quarterly</title> (Summer, 1975).</note> <persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName> look at how art is viewed in this capitalist, patriarchal society and criticize activists for reacting too quickly and overlooking the revolutionary potential of art. However, they in turn react to male estabishment myths about abstract (non-representational) art and exclude it from feminist and political potential. They view abstract art as private expression which is not understandable or analyzable to the audience, and therefore irrelevant to feminist political goals. Thus they incorrectly see elitism as a pre-condition of abstract art, rather than realizing that this is how abstract art has been used by men as a defense mechanism against the alienation of their own capitalist system; that as well as furthering the myth of artist as alienated and isolated genius, abstract art has offered an illusion of objectivity. Such notions suggest that the content of one's work can be separated from one's political beliefs. By sponsoring international exhibitions showing apolitical abstract paintings by former Communist Party members, the C.I.A. (via the Museum of Modern Art) has sought to impress other nations with the cultural freedom of the U.S.A. The way in which Abstract Expressionist art was defined and developed by the artists and then used by others to further cold war politics in the fifties is only one example of the manipulation of abstract art to create the illusory separation of art and politics.<note><persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>, "Abstract Expressionism, Weapon of the Cold War," <title key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</title> (June, 1974).</note> Thus when women continue to respond to abstract art as "apolitical," they are reinforcing and maintaining myths established by men.</p> <p>The Freeman/MacMillan article is typical in its analysis of art and politics. Abstract art has become taboo for most artists who consider themselves political feminists. Because of the history outlined above, it is difficult to determine abstract painting's relationship to feminist ideology. There are radical feminists who are making abstract art. Radical feminism operates from the belief that women as a class are oppressed, and that a mass political women's movement is necessary to overthrow male supremacy.<note><persName>Brooke</persName>, "The Retreat to Cultural Feminism," in <title>Feminist Revolution</title>, ed. Redstockings (New York, 1975).</note> Therefore, we might ask, how are the visions of radical feminists analyzed and portrayed in this art?</p> <p>It is necessary to break down the myths and fears surrounding abstract art and make it understandable. Women—artists and non-artists—need to talk about art, and talking about abstract art need not be more difficult than discussing portraits, nudes, vaginas, or whatever. Every work of art is understandable on many different levels. It is by talking about our work and work processes that we will not only begin to develop a new language for interpreting abstract art, but also to integrate this work with society. This language, which I see evolving from consciousness-raising techniques, will be able to be shared with any woman, regardless of class background. For artists, such a dialogue with the audience is essential, as it offers valuable feedback for the development of our art.</p> <p>I want to reclaim abstract art for women and transforrn it on our own terms. It is interesting to note that much of women's past creativity,<pb n="67" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_069.jpg"/> well as the art by women of non-western cultures, has been abstract. I'm thinking of the incredible baskets, pottery, quilts, afghans, lace and needlework women have created. Many of the motifs used were based on "the stitch" itself. The repetition and continuity of the stitch or weaver formed the individual shape and also the pattern resulting from its repetition. Usually these motifs and patterns were abstract and geometric. <persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName> points out that they had specific meaning for the women who made them, and in a sense formed a visual language in themselves:</p> <quote>In designing their quilts, women not only made beautiful and functional objects, but expressed their own convictions on a wide variety of subjects in a language for the most part comprehensible only to other women. In a sense, this was a secret language among women, for as the story goes, there was more than one man of Tory political persuasion who slept unknowingly under his wife's 'Whig Rose' quilt. Women named quilts for their religious beliefs...or their politics—at a time when women were not allowed to vote. The 'Radical Rose' design, which women made during the Civil War, had a black center for each rose and was an expression of sympathy with the slaves.<note>Patricia Mainardi, "Quilts: The Great American Art," <title key="Feminist Art Journal" ref="http://www.wikidata.org/entity/Q18207079">The Feminist Art Journal</title> (Winter, 1973).</note></quote> <p>As we examine some contemporary abstract art by women, it is important to develop a sense of identity and connection with our own past creativity rather than that of the oppressor who has claimed "fine art" and "abstract art" for himself. In fact, the patriarchal putdown of "decorative" traditional art and "craft" has outright racist, classist, and sexist overtones. <persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName> states:</p> <quote>Art history assigns creative products to two categories—fine arts and crafts—and then certifies as legitimate only the fine arts, thereby excluding those creative traditions of primitive people, peasants, women, and many other groups outside the mainstream of Western history.<note>Elizabeth Weatherford, "Craft for Art's Sake," <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351">Ms. Magazine</title> (May, 1973).</note></quote> <p>Until recently, decorative art, or craft techniques and materials, have been valid only as sources for contemporary male artists. While women working with these ideas, techniques, and materials have been ignored (<persName key="Ann Wilson" ref="http://www.wikidata.org/entity/Q64532860">Ann Wilson</persName> first painted on quilts in 1958) or put down for doing "womens work," men like <persName key="Alan Shields" ref="http://www.wikidata.org/entity/Q2636828">Shields</persName>, <persName key="Claes Oldenburg" ref="http://www.wikidata.org/entity/Q156731">Oldenburg</persName>, <persName key="Frank Stella" ref="http://www.wikidata.org/entity/Q375268">Stella</persName>, and <persName key="Kenneth Noland" ref="http://www.wikidata.org/entity/Q527001">Noland</persName> are hailed as innovative. But times have changed. Today many female artists are connecting to a long line of creativity by proudly referring to women's traditional arts in their own work. They are recording the ritual of women's artmaking both in the past and the present, thereby reflecting a feminist concern not only with the end product but with the dally process and function of making art. Sewing techniques and materals as both process and content are used in a variety of ways in the abstract works of <persName key="Sarah Draney" ref="http://www.wikidata.org/entity/Q21289822">Sarah Draney</persName>, <persName key="Pat Lasch" ref="http://www.wikidata.org/entity/Q28553688">Pat Lasch</persName>, <persName key="Nina Yankowitz" ref="http://www.wikidata.org/entity/Q20642044">Nina Yankowitz</persName>, <persName key="Paula Tavins" ref="http://www.wikidata.org/entity/Q114223354">Paula Tavins</persName>, <persName key="Patsy Norvell" ref="http://www.wikidata.org/entity/Q28059096">Patsy Norvell</persName>, <persName key="Rosemary Mayer" ref="http://www.wikidata.org/entity/Q29024964">Rosemary Mayer</persName>, and many other women. <persName key="Barbara Kruger" ref="http://www.wikidata.org/entity/Q262284">Barbara Kruger</persName> says that she first learned to crochet and sew when she decided that these techniques could be used to make art.<note>Ibid.</note> For women, the meaning of sewing and knotting is "connecting"—connecting the parts of one's life, and connecting to other women—creating a sense of community and wholeness. Other women, drawing on women's traditional arts, make specific painterly reference to decoration and craft. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam Schapiro</persName> utilizes remnants of fabric, lace, and ribbon along with handkerchiefs and aprons in large collages, thus making the very material of women's lives the subject of her art. <persName key="Joyce Kozloff" ref="http://www.wikidata.org/entity/Q6297552">Joyce Kozloff</persName> and <persName key="Mary Grigoriadis" ref="http://www.wikidata.org/entity/Q21643944">Mary Gregoriadis</persName> explore decoration as fine art, basing their paintings on the abstract patterning of Islamic architecture and tiles, Tantric art, Caucasian rugs, and Navaho weaving.</p> <p>The way many women <emph>talk</emph> about their work is revealing, in that it often denies formal art rhetoric. Women tend to talk first about their personal associations with the piece, and then about how these are implemented through visual means; in other words, how successful the piece is in its <emph>own</emph> terms. This approach to art and to discussing art has developed from the consciousness-raising experience. It deals primarily with the work itself, what it says and how it says it—rather than with an imposed set of esthetic beliefs.</p> <p>In her excellent catalogue introduction to "Changes," an exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName key="Carole Fisher" ref="http://www.wikidata.org/entity/Q89643747">Carole Fisher</persName>, <persName key="Johnson, Kathryn C." ref="https://www.wikidata.org/wiki/Q125304964">Kathryn C. Johnson</persName> comments that "intent" is most important when defining feminist art. She states that it is "a powerful oneness of subject and content" that makes certain work feminist:</p> <quote>...Their work both <emph>is</emph> and tells <emph>about</emph> the pain of their life experiences. It is about pain and is painful, but does not present woman as passive victim. The pain is presented with deep understanding of its sources and effects, and the anger which follows confrontation with the hurt.<note>Kathryn C. Johnson, catalogue introduction to "Changes," exhibition by Betsy Damon and Carole Fisher at the College of St. Catherine (St. Paul, Minn., 1976).</note></quote> <p>Fisher writes:</p> <quote>Betsy looked at the work and recognized the fact that I worked to survive, to keep from growing crazy, and to keep the pain from becoming too great. She recognized the pain in my work instantly! This was something I had only come to recently recognize and acknowledge in my work. Like many women in our culture, I had become adept at hiding and covering my pain. I had gotten all the messages that to be vulnerable in our culture is to be weak and despised.<note type="scholarNote">Ibid</note>.</quote> <pb n="68" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_070.jpg"/> <p>It is this "oneness of subject and content" that carries their work through feminist consciousness beyond the personal to the political. It is also present in abstract paintings that seem superficially more related to the male modernist tradition than to women's creativity in that they involve the physically expressive manipulation of paint on a two-dimensional surface.</p> <p>In much of this work the reoccurring stitch of women's traditional artmaking becomes the repetitive mark, taking on a new form as a "visual diary." Such works are dally records of thoughts and are used as such by the artists. Just as the weaver continues from day to day, from one physical and psychic location to another, materials and dyes changing slighty, irregularities and tension showing, the painted marks also reveal daily emotional changes and tensions. They are a record of present feeling, a ritual giving in to the repetitive gesture, a language to reveal self—a woman's mantra.</p> <p><persName key="Jenny Snider" ref="http://www.wikidata.org/entity/Q62057437">Jenny Snider</persName>'s nervous lines recall ancient Chinese calligraphy, which has both a letter/character reference and a body/figure reference. Her drawings are made with and are about her nervousness and vulnerability. She "is" the mark, the line. As the marks are repeated and contained in different spaces (usually grids or rectangles suggesting fabric, rooms and houses), the quality and feeling of the line changes and she becomes more comfortable in some spaces than in others. She explores her self-image and feelings about her body in relationship to other people and spaces. Snider describes these works as "figurative." To me, it is the mark and its repetition that is most important. Her works are figurative in the sense that Chinese calligraphy is figurative—in having a direct body reference. Works are sometimes combined or used interchangeably with the markings, reinforcing Snider's commitment to the diaristic mode. As she says, "The words and lines come from the same psychological place and gesture and are not intended to describe or explain what the drawings are in terms of images—but rather express the fact that they come from a nervous hand and a yakking heart." Phrases such as "little sounds arose (and it showed)"; "Well, for one thing, never step on broken glass"; and "Remember when we saw the ocean? It was just like this, wasn't it?" tell where the drawing is coming from and what the drawing is about.</p> <p><persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739">Louise Fishman</persName>'s paintings also function as a place for personal confrontation and as a statement directed towards other women. Earlier, Fishman ripped up her old paintings and reconnected them by sewing and knotting them together with fragile thread. Her past was used to make a statement about her present. The strips and connecting thread formed loose grids, transformed in later work to a series of strokes or marks repeated across the page of canvas or within the confines of a "particular felt shape" (a circle or a piece of irregularly cut masonite). The marks of paint, layered on top of each other, lead eventually to a rich sensuous surface. The top layer usually consists of strong marks holding the partially revealed undermarks to the painting surface—feelings revealed and hidden. Fishman has always talked about her work in terms of hiding, guilt, vulnerability, anger, and personal individuation.</p> <p>In a seven-panel reversible painting on unstretched canvas, Fishman deals with her feelings about her mother, also an artist. One side of each canvas is painted with calm strokes, while on the other side the marks explode into intensely scrawled letters reading "A letter to my mother about painting." Another canvas has the star of David and the words "I am a Jewish working-class dyke" scratched into the surface. Just as consciousness raising leads to political awareness; this work moves from the personal into the political. Titled <title><emph>Angry Jill</emph>, <emph>Angry Djuna</emph>, <emph>Angry Paula</emph>, <emph>Angry Sarah</emph></title>, and so on... they seem to be painted with the anger. When she made these "angry paintings" Fishman said that all she could feel was her rage. When she looked around at other women, she saw that they were crippled by their anger too. These paintings were made to force women to confront it rather than letting it turn inward and become self-destructive. Grouped together as a wall of women's anger, the paintings show a tremendous amount of energy that can now be redirected towards feminist creativity and revolution.</p> <p>These women as well as others (<persName key="Joan Snyder" ref="http://www.wikidata.org/entity/Q6205466">Joan Snyder</persName>, <persName key="Tardi, Carla" ref="https://viaf.org/en/viaf/96205548">Carla Tardi</persName>, and <persName key="Pat Steir" ref="http://www.wikidata.org/entity/Q7144042">Pat Steir</persName>, to name a few) have used words and marks fairly interchangeably as abstract gestures with concrete feminist meanings. Words are marks and marks are words; their repetition becomes not only an interior monologue but also a dialogue with other women. Like Damon and Fisher, these artists make individual feeling and experience the <emph>subject</emph> of their work, while the content deals with the difficulties and ambiguities of being a feminist artist in a patriarchal society.</p> <p>Their painting surfaces are often violated on mutilated; cut, gouged, ripped, scratched, or torn. The reversal of the usual additive process of painting refers to the violation of the traditional painting surface and also to the physical and psychic violation of women. The thick paint applied with a palette knife in Fishman's work, for instance, acts both as poultice for wounds and cement for holding self together. In Joan Snyder's recent work the marks, cuts and burning combine with words and color to make a passionate statement about sexuality.</p> <p>This work is certainly political. Yet Freeman and MacMillan, in their attempt to distinguish protest from political art, to show that specific forms are more conducive to one or another, <pb n="69" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_071.jpg"/> <pb n="70" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_072.jpg"/>still ignore the political potential of abstraction.<note type="scholarNote">Freeman and MacMillan, op. cit.</note> They accept male definitions of what art is, and do not deal with the evolution of a feminist creative process or feminist art forms. Theirs is a reformist approach to a revolutionary endeavor.</p> <p>I am reminded of <persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>'s "afterword"—"The Great Punctuation Typography Struggle"—in her book <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692"><emph>Woman Hating</emph></title>, where she explains how the text was altered against her will by the publisher's insistence on uppercase letters and standard punctuation. She had wanted the book to be as empty of convention as possible, to create a new form that would merge with the content.</p> <quote>reading a text which violates standard form forces one to change mental sets in order to read. there is no distance. the new form, which is in some ways unfamiliar, forces one to read differently—not to read about different things, but to read in different ways.</quote> <quote>to permit writers to use forms which violate convention just might permit writers to develop forms which would teach people to think differently: not to think about different things, but to think in different ways. that work is not permitted.<note type="scholarNote">Andrea Dworkin, Woman Hating (New York, 1974). </note> </quote><p>The fact that innovative form is so feared by the male establishment shows that like content it has a power of its own. If our lives and our art are connected, and if "the personal is political" in the radical sense, then we cannot separate the content of our work from the form it takes.</p> <p>As abstract artists, we need to develop new abstract forms for revolutionary art.</p> <p>The women's work I've discussed here, and I include my own, is moving in this direction. We are not yet there. Hopefully, as we create art within the context of other women's art, and within the context of evolving feminist theory, we will develop a new visual language. Art in transition is political, for it both <emph>is </emph>our development and <emph>describes</emph> our development. In a sense we are coming out through our art, and the work itself is a record of the ongoing process of developing a feminist esthetic ideology. </p> </div> </div> </body> <back> <div> <p>Harmony Hammond is an artist living in New York who teaches, gives workshops, and has shown her work here and elsewhere. She has also studied martial arts, Tai Chi Ch'uan and Aikido.</p> </div> </back> </text> </TEI>
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"http://www.wikidata.org/entity/Q5085869", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_004.jpg"/> <head>From the First-Issue Collective</head> <epigraph> <p>The editorial collective of this first issue of <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> shares not a political line but a commitment to the development of coherent feminist theory in the context of practical work. The time for reformulating old positions or merely attacking sexism is past. Now we must take on the most problematic aspects of feminist theory, esthetic theory and political theory. We are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.</p> <p>The role of the arts and the artist in the political process is our specific arena. By confronting the very real differences in our own attitudes towards art and politics, which reflect those in the wider, feminist community, we have uncovered networks connecting a broad range of forms and ideologies. As material for the first issue came in to us, we found that no hard line could be drawn between texts and visual material. There are, therefore, few "illustrations" here, but independent statements expressed visually, verbally, or in combination, sharing the same power and the same intent, and indicating that word and image can be equal ingredients in politically effective art.</p> <p>We found no solutions to the issues raised, but we are finding approaches that feel fresher and more satisfying. Working together toward collective decisions was entirely different from working alone or as part of conventional hierarchies. Each of us worked on every page of this magazine, a slow and frustrating process, but one from which we learned a great deal about each other, about editorial and mechanical skills, about the collective process itself, about our subject—feminism, art and politics— and about what it means to be political in a real, active, living situation. We mean to go on from these beginnings and we look to the larger feminist community for participation, response and criticism. Together we can work toward some answers. We have nothing to lose but our illusions.</p> </epigraph> <byline><persName key="Joan Braderman" ref="http://www.wikidata.org/entity/Q28911659">Joan Braderman</persName>, <persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName>, <persName key="Elizabeth Hess" ref="http://www.wikidata.org/entity/Q106878848">Elizabeth Hess</persName>, <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName>, <persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy Lippard</persName>, <persName key="May Stevens" ref="http://www.wikidata.org/entity/Q6796587">May Stevens</persName>.</byline> <p> Feminism—Art—Politics. What is their connection? In theory? In reality?</p> <p>Once there was a women's art center that was very excited about an "Art as Work" seminar I proposed. They wanted a short personal resumé to follow the course description in the catalogue — to let students know who I was, where I was coming from: Harmony Hammond is a lesbian feminist artist who has exhibited at Gallery X and Gallery Z and taught at R. University and C. University. They wanted my labels and then did not like them. No seminar. Really, I was coming on too strong. Couldn't I use a different word? Or just not say it at all? Would I be teaching art or politics? They were an "Art" center. They were afraid, they said, afraid I would jeopardize...</p> <p>Jeopardize what? Their art? Their teaching? Their students? Their bodies? Their minds? Their sexuality? Their politics? Their power? Their authority? Their thinking? They did not know, they were just afraid...</p> <p>I did not fit their concept of a feminist and therefore I was dangerous.</p> <p>Labels. The meaninglessness of labels. The power of labels. The confining. What does it mean to be a lesbian, radical feminist, activist, mother, artist? I am all of these individually and combined. It means I am political. It means I want to change existing power relationships. A list of experiences. The power of labels is the power of ideas and action combined.</p> <p>The political mother, the political artist, the political feminist, and the political lesbian refuse to be second-class. They take action by ''doing.'' They refuse to be isolated into separatist stances, and they become a total whole. They add up to what <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> has called a ''non-aligned feminism"—not automatically attached to one line of feminism (socialist/left vs. reformist vs. cultural/spiritual) but rather evaluating each individual issue and situation from an independent feminist perspective.</p> <p>Lesbian. Radical feminist. Activist. Mother. Artist.</p> <p>The common denominator is woman. Women are oppressed as a class. This oppression underlies the patriarchal institutions of capitalism, imperialism, racism, and heterosexism. To end all forms of oppression we must first end the oppression of all women regardless ot sexuality or economic class, racial or cultural background.</p> <p>Lesbian. Radical feminist. Activist. Mother. Artist.</p> <p>Together they form my feminism. Feminism is my politics. My art both is formed by and is a statement of my feminism.</p> <signed>H.H.</signed> </div> <div> <p> While l'd always worked in social programs, I never considered myself a political person. Political groups so often revealed confused priorities that I inevitably ended up by questioning my own. But feminism was different–so much was personally at stake. If I questioned my commitment (how can I be amused by this or not outraged by that), I soon found I was not amused and I was outraged by things I might once have considered innocuous or simply unalterable. Feminism had become a persistent way of living and thinking and the most important awareness of my life.</p> <p>Today I trust the impulses calling out for radical change because they're rooted in a lifetime of self-analysis continuously and consistently validated by other women. Frustration, it seems, is being resolved in conviction and action and the awareness of this power has been startling to me. Needless to say, art which strengthens that awareness is exhilarating.</p> <p>I am a medievalist, I was attracted to the field by the escapist fantasies of folklore and romance. But I now feel that all art—whether ancient or modern—can be seen and judged within a feminist context.</p> <p/> <signed>A.L.</signed> </div> <div> <p> When pressed by the people who ask "What do you do?" at times I call myself an artist and then no one knows what to expect. The term is so vague and useless that it does not begin to identify a point of view. The fact that art work keeps the bourgeoisie in style, and the bourgeoisie keeps all the art, suggests that most artists don't bother with politics and ideology, instead they are united by a lifestyle: generally you must privatize your work, hang your head to the left late at night in the bars, and think deeply about how your work will be understood in the melancholic future; be concerned about your isolation from the community.</p> <p>It is difficult not to become a cynic. Opportunism knocks. Even the women's movement is another stepping stone towards critical recognition. Most people are more concerned with the objects we are producing than the world into which we place our work. I make abstract paintings and super-8 films—but not for a living. I work as an editor for a left news magazine called <title key="Seven Days" ref="http://www.wikidata.org/entity/Q27717194"><emph>Seven Days</emph></title>. This is where I learned the business of developing an audience and disseminating information. <emph>Heresies</emph> is an attempt to politicize the art world; a chance to attack the history of our work as opposed to "documenting" it.</p> <p>I have been a feminist it seems ever since I noticed I was living with great difficulty; it came out during the 1960s—but that's a long story. In the 1970s, feminism has tendencies which serve merely to push liberal institutions to their farthest extremes. This has left many women caught in a dubious struggle; a recognition of strength and an inability to act. The feminist movement should not work towards gaining economic power, but towards developing a coherent ideology if we are to participate in change and work towards socialism. (You knew I'd say that.) The point is that an understanding of feminism without an analysis of class is like a long-tailed cat in a room full of rocking chairs. Capitalism is so efficient that it can sustain its own alternatives; likewise the art world—one more radical magazine.</p> <signed>E.H.</signed> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_005.jpg"/> <div> <p> I am a feminist first and a socialist second, rather than a Socialist-Feminist. Not because I don't care about what happens to the oppressed men in the world. Not because I'm against an ideally democratic socialism. But because women's oppression crosses economic-class lines. It's a matter of focus. Clearly the needs of welfare-class women are most urgent and those of upper-class women are least urgent. Some socialists say that getting rid of patriarchy won't change the world. I wonder. Even in revolutionary socialist movements women must maintain an autonomous base. Revolution for Every<emph>man</emph> isn't the same as real social change; it has taken place in the past without solving the "woman question."</p> <p>In the meantime, living in a capitalist country without a strong Socialist Party provokes an irresistible urge to kill time as a liberal feminist. Even though I'm aware of the dangers of opportunism, reformism, co-optation, and all the slimy horde, I often find myself working for reform rather than revolution because I can't bear to see nothing done.</p> <p>Within the art world, this means I work to get women artists into a system I oppose. Outside, in the real world, this means I want the ERA passed because its going to make a difference in women's lives. I want to see a politically aware feminist culture and I hope that <emph>Heresies</emph> will help create it and help destroy some of the boundaries that separate women from the power to make a better society that will fit our needs as well as men's.</p> <p>(P.S. Because I'm a critic, I've been called a "class enemy" of artists, which is bullshit. I'm exploited by publishers, and perhaps editors, just as artists are exploited by galleries, and perhaps critics. I identify with artists whether or not they identify with me because long experience has shown me that our lives are more or less the same.)</p> <signed>L.R.L.</signed> <signed/> </div> <div> <p> When we decided that each of us in the first issue collective should write an individual statement to put our political differences ''out front,'' I thought it was a fine idea. But trying to write one page about my notion of how feminism relates to Marxism relates to making theory and making films was easier said than done: too much to argue in too little space. So what I wanted to do was write, "please see my article on page x'' where I’ve tried to work out some of these problems in more analytical depth. But my sister-editors said, ''write something personal." They chided me for my rhetorical style and my obsessive? academic? commitment to making ''complete'' arguments. "Who are you in all that," they asked. O.K. I'm a woman, I'm white, I'm 28. I'm a film teacher, I'm a student, I'm a writer, theorist, critic, filmmaker. I do political work—in the feminist community and with a new Coalition (July 4th) thats building toward a mass, progressive peoples' movement in this country. I guess I'm what's come to be called a cultural worker.</p> <p>Often it seems there's just not enough time in each day to do all the things that have to be done. And to earn a living, and write a dissertation, and see the art I care about, and do the laundry, and talk with students, and be with the friends I love, and see the ocean sometimes. Putting it all together, I'd often like a few clones of myself to help out. I juggle what's possible with what's not.</p> <p>Where does the fight for women fit with fighting imperialism? Does working in collectives really help change our deeply entrenched American individualism? How can ''cultural workers'' best advance these struggles? I often argue esthetics with my political comrades. Films, I say, don't have to be simplistic to communicate with mass audiences. We're all subject to subtle propaganda from Hollywood and Madison Avenue. We're all jugglers of contradictions and need to see and hear and read about alternatives to what is. We have to make films that not only say something different but say it <emph>in a different way</emph>. They have to be made in a practical political context, in a coherent theoretical context, and they have to be able to recapture the imaginations of masses of people being lulled to sleep by the crap that's sold as ''mass art." We have to find strategies for making our alternate points of view visible, making peoples' voices heard, our ideas and films seen; find ways of fighting the commercial monopolies that own the air waves, the movie screens, the mass media, that own <emph>us.</emph></p> <p>I argue politics with my feminist sisters. No more separatism, I say. I work on HERESIES to say that and also because—another contradiction—l need community in a country that is in fragments. In short, and as labor people like my grandparents always said: women, artists, men, people; we've got to get organized.</p> <signed>J.B.</signed> </div> <div> <p> What kind of socialist-feminist-artist am I?</p> <p>What kind of socialist artist loves <persName key="Jean-Baptiste Camille Corot" ref="http://www.wikidata.org/entity/Q148475">Corot</persName> as well as <persName key="Gustave Courbet" ref="http://www.wikidata.org/entity/Q34618">Courbet</persName> and forgives oil painting its bourgeois origins and abstract expressionism its heraldry of U.S. imperialism?</p> <p>What kind of feminist artist sees pink as a private color to be sparingly used?</p> <p>To the women's movement I would like to bring, as to art, the subtlest perceptions. To political action, I would like to bring, as to art, a precise and delicate imagination. The personal is the political only if you make it so. The connections have to be drawn. Feminism without socialism can create only utopian pockets. And the lifespan of a collective is approximately two years.</p> <p>Socialism without feminism is still patriarchy. But more smug. Try to imagine a classless society run by men. </p> <p>Trying to be part of a collective is a little like being a chameleon set on plaid. I may split apart before I get the pattern right. But somehow it seems worth the pain because I believe community is the highest goal.</p> <p>I believe every woman's life is a little better because of what we are doing.</p> <signed>M.S.</signed> </div> </body> </text> </TEI>
Class Notes Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Joy Through Strength in the Bardo</title> <author>Sally George</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Lucy Wadsworth</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies Issue #3: Lesbian Art and Artists</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb n="34" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_036.jpg"/> <head><title>Class Notes</title></head> <byline>Harmony Hammond</byline> <div> <p> Class hierarchies and heterosexuality are patriarchal institutions which divide women, give some women power over others, and destroy our strength. As a lesbian feminist artist, 1 am interested in examining the assumptions of class and heterosexuality in art, and the role of lesbian art as a potential catalyst for social change. This article will focus on the myth of art as classless, and how this myth functions to separate us from the reality of our lives and affects the way in which we see ourselves. Specifically, I want to discuss how we as lesbian artists need to defy this myth by developing class consciousness, and incorporating it in the development of lesbian art and culture.</p> </div> <div> <head>THE MYTH</head> <p>Fine art is a reflection of upper class interests, values, tastes, and patterns of thinking. The images found in art reflect and serve the needs of a small group of “corporate-government elite” (upper class white men) who define culture in America and elsewhere if they can profit from it. They found, fund, and run art museums, set standards of taste, and have a vested interest in creating, validating, and supporting art whose form and content justifies and furthers a patriarchal social order.<note>1. The Catalogue Committee of Artists Meeting for Cultural Change, an anti-catalogue, 1977. The catalogue was written as a protest to the Whitney exhibition, "American Art, 1976. I have included a condensed version of a more detailed discussion of “how art is mystified, how art exhibitions influence our views of history, and how collectors such as <persName key="John D. Rockefeller III" ref="http://www.wikidata.org/entity/Q1699735">John D. Rockefeller III</persName> benefit from cultural philanthropy.</note> Jackie St. Joan has defined this social order as:</p> <quote>"...that system—intellectual, political, social, sexual, psychological—which requires in the name of human progress that one group (in the history of the world, rich, white men) controls and exploits the energies of another and in which women are particularly despised. It includes patriarchal institutions (heterosexuality, the nuclear family, private property, etc.) which are the tools of oppression as well as the patriarchal mind-constructs which, like the capitalist mind-constructs, limit even our ability to think beyond what is.<note>2. "A Lesbian Feminist: Jackie St. Joan, an interview, in Big Mama Rag, Jan-Feb, 1977, Vol. 5, no. 1.</note></quote> <p>Rarely does fine art include images of workers, the workplace, or daily survival. Rarely does it depict the experiences of Blacks, Native Americans, women, or lesbians. When these images do appear, they seem outside the experience of those portrayed because they are romanticized or stereotyped, rather than real. For instance, lesbian sexuality is rarely portrayed in visual art and when it is, say in film, lesbians are presented in butch/femme roles, as sick, masochistic, and sadistic, and as though sexuality was the only important thing in their lives. This limited male view hardly relates to my experience as a lesbian. Nor do I feel that my identity as an artist is realistically portrayed. The artist’s life is romanticized as a chosen struggle of economic hardship necessary to produce art rather than as a product of the alienation of artists from society.</p> <p>If art provides a way for us to perceive ourselves and the world around us, it seems necessary that we examine what is validated as art. An excellent example of an attempt to write social history through art was the exhibition “American Art,” a collection belonging to <persName key="John D. Rockefeller III" ref="http://www.wikidata.org/entity/Q1699735">John D. Rockefeller III</persName>, which was shown last fall at the <orgName key="Whitney Museum of American Art" ref="http://www.wikidata.org/entity/Q639791">Whitney Museum</orgName> as our Bicentennial survey exhibition of American art. This collection contains one work by a woman artist, one work by a Black artist, and no work by Hispanic or Native American artists. The absence of work by women and Third World artists in this and most other collections and exhibitions, denies the experiences of most Americans. Not to see their experiences reflected in culture is to say that they don’t exist. Because art both creates and reflects social realities, their absence becomes a political issue. As the artists writing in an anti-catalogue” state: “Omission is one of the mechanisms by which fine art reinforces the values and beliefs of the powerful and suppresses the experiences of others."<note>3. an anti-catalogue</note></p> <p>Another mechanism reinforcing upper class values is the myth of art as classless and universal. By creating the myth of universal art, those in power teach us to identify with images and the experiences these images represent, which have nothing to do with our own class position. We are told that art, and therefore the artist, is classless, and that our experiences are immaterial and should be ignored.</p> <p>All classes accept this myth, for to question it would be to reveal the oppressive political structures and social institutions underlying patriarchal capitalist society. <persName key="Rita Mae Brown" ref="http://www.wikidata.org/entity/Q242956">Rita Mae Brown</persName> writes that “America is a country reluctant to recognize class differences. The American myth crystallized is: This is the land of equal opportunity; work hard, stay in line, you’ll get ahead. (Getting ahead always means money.)"<note>4. Brown, Rita Mae, “The Last Straw," Class and Feminism: A Collection of Essays From The Furies, edited by Charlotte Bunch and Nancy Myron, Diana Press, 1974.</note> Identification with this myth of classlessness redirects us from dealing with our own particular oppression as working class, as women, as lesbians, etc. The artists in an anti-catalogue” state:</p> <quote>“The mystification of art depends upon two things—upon our surrendering our capacity to judge and upon unquestioning acceptance of authority in place of the printed word and the authority of scholarly titles and distinctions. The mystification of art takes our passivity for granted. It encourages us to look upon art as if art had no bearing on experience.<note>5. an anti-catalogue.</note></quote> <pb n="35" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_037.jpg"/> <p> Accepting the myth is accepting our invisibility and powerlessness. To question cultural attitudes is to question social conditions. Passivity smooths the pain of powerlessness and helps us to survive these conditions. We need to see that behavioral patterns affect who becomes an artist, what artists create, what art is validated as quality, and how art in turn reinforces those patterns.</p> </div> <div> <head>HOW I BOUGHT THE MYTH</head> <p>Thinking back to junior high school in the fifties, I see that one reason 1 chose to be an artist was to escape the daily pain of lower middle class life in Hometown—of living in a duplex, taking a bus to school, and wearing hand-me-downs until I got a job at Lerner’s and could buy my own clothes. The guy I went with turned me on to Mulligan, Coleman, Getz, and all that jazz and the beat writers <persName key="Jack Kerouac" ref="http://www.wikidata.org/entity/Q160534">Kerouac</persName>, Ginsberg, and Prevert. They were "artists" and intellectuals, without money (like me), and romanticized. I thumbed my nose and fantasized riding naked down the highway. We fucked. I got a scholar- ship to the Saturday School of the Art Institute of Chicago. I wanted to be a dress designer or fashion illustrator because it sounded “classy” and "sophisticated." If all else failed, I could be an art teacher.</p> <p>In the museum I saw “real" painting and sculpture. I remember sitting in front of the Pollock, the Rothko, and the Still, thinking that I could do those paintings, but not realizing that I was a woman and that it didn’t matter what I did. In the studios I saw art being made by grubby students and I took note that the artist could wear anything, say anything, and didn’t have to socialize. The artist seemed special and not bound by class behavior. I would be an artist. Accepting fine art meant renouncing my class background and stepping out of the lower middle class life of Hometown into the universal world of the muses. Safe and protected at last. Who ever heard of a middle class muse?</p> </div> <div> <head>THE MYTH SHATTERED: CLASS IS HOW YOU SEE THE WORLD. ART IS HOW YOU SEE THE WORLD.</head> <p>It has taken me a long time to begin to understand and accept my lower middle class background, and to realize that the art world I entered wasn’t an alternative to middle class society but that women, Blacks, and the poor are also oppressed within the alternate “world of culture. As long as society allowed me to be a starving artist" I did not question my own experiences, or how they affected my work and work attitudes. Acting out a romanticized art life was my option to upward mobility. Heterosexual women get their privilege from the same patriarchal systems that give privilege to middle and upper class women. Coming out as a lesbian with a feminist consciousness forced me to realize what class privilege I did and did not have, and what I would now lose. Even the fact that I first came out to myself through my art and not in bed is in itself a reflection of my class position. As a feminist artist I had learned to use my work as a place to confront fears and other feelings privately in my studio. A woman working as a maid, a waitress, or a seamstress, does not have this option.</p> <p>As a lesbian, however, 1 was forced to confront and give up illusions I had about being accepted and rewarded by the male art world where they treated art seriously. To be public about being a lesbian means that your work may not be taken seriously, or may squeezed into a category of “camp” or erotic art. Because you do not hang out with the right men or the right women (those who hang out with the men) at the right bars, and since the lesbian feminist community doesn’t yet support its visual artists, you are less likely to make your work visible, to have professional dialogue, and to support yourself through your work either directly (sales) or indirectly (teaching). For women, the economic class system is largely determined by their relationship to men. The higher up the man she relates to, the more she benefits from the system. The lesbian, by not relating to men does not benefit economically and has no privilege unless she is independently wealthy. Most of us do not have that kind of support and opportunity, and without support, it is very difficult to continue making art. Historically, known lesbian visual artists (<persName key="Rosa Bonheur" ref="http://www.wikidata.org/entity/Q241732">Rosa Bonheur</persName>, <persName key="Romaine Brooks" ref="http://www.wikidata.org/entity/Q466607">Romaine Brooks</persName>, etc.) were wealthy. Only they had the privilege to continue making art despite their public lesbian lifestyle.</p> <p>If we examine the relationship of lesbians to the class system, and to patriarchy, we can get an idea of the active role art can play in developing a culture that does not make women powerless and invisible. In “Lesbians and The Class Position of Women," <persName key="Margaret Small" ref="http://www.wikidata.org/entity/Q115581765">Margaret Small</persName> writes:</p> <quote>...At this point in history, the primary role that lesbians have to play in the development of revolutionary consciousness is ideological. Because lesbians are objectively outside of heterosexual reality, they have potential for <pb n="36" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_038.jpg"/> developing an alternative ideology not limited by heterosexuality. Lesbians stand in a different relationship to (the) three conditions that determine the class position of women (production, reproduction, sexuality). The lesbian does not have a domestic base that is defined by the production of new labor power and maintenance of her husband’s labor power. Her relationship is in proletarian terms. The element of slave consciousness integral to heterosexuality is missing.<note>6. Small, Margaret, “Lesbians and the Class Position of Women," Lesbianism and the Women's Movement, edited by Nancy Myron and Charlotte Bunch, Diana Press, 1975.</note></quote> <p>I am interested in how we can do this through art. Developing a class consciousness does not mean that each work of art by a woman would have to directly relate to women of all classes, but rather that the form and content of the work, be it figurative or abstract, would somehow illuminate experience in such a way that it is shared with and includes rather than excludes women from different backgrounds. Instead of presenting one universal experience that is supposed to represent ALL of us yet represents few, art should reflect and give information—facts, emotional response, visual accounting, ways of seeing into and understanding different experiences and feelings. We must acknowledge our differences in order to learn about, support, and work with each other. Thus I feel that to make art as a lesbian with class consciousness has far-reaching creative and political potential for connecting women through work. This means actively rejecting cultural dictates, taking responsibility for our work, and questioning the concept of apolitical art. Art-making is where consciousness is formed.</p> </div> <div> <head>ANALYSIS—REINTEGRATION</head> <p>Ultimately it is a question of the function of art beyond the personal. It is not merely a matter of doing work that doesn’t oppress others, but also of doing work that pushes further towards a redefinition and transformation of culture. For me, coming out as a lesbian has a lot to do with developing a class consciousness, and that consciousness brought to my art raises questions of imagery, permanence, scale, ways of working, and concepts of art education. It raises questions of money and power, who sees my work, and what effect I want it to have on others.</p> <p>This does not mean that we as class conscious lesbian artists must make paintings with recognizable figurative imagery, that we must be downwardly mobile, give up making art for “real political struggle, or involve ourselves in the rhetorical circles of the artistic left. What it does mean is not making or accepting class assumptions about art such as what is allowable as art, who makes it, who sees it, and what its function is to be. By removing esthetic hierarchies and the need to pretend that we all share the same experiences, meaning can become accessible and available.</p> <p>Talk about "bringing art to the people” only reinforces class distinctions. Class consciousness can be reflected through our art by demystifying and deprivatizing the creative process. Presently it is difficult for a working class woman who likes to write, paint, or dance even to consider being a professional artist. When making art as well as owning art ceases to be a privilege, and the art-making process itself is available to women of different classes, races, and geographic backgrounds, we can begin to understand the political potential of creative expression.</p> <p>As lesbians, we need our experience validated culturally. To refuse art that denies our existence and to deny that art is apolitical and universal, is to actively challenge the wealthy few and their supporters who have been defining and controlling social order through the manipulation of fine art. Demanding group and self identity in art is one means of resisting oppression. The art-making process is a tool for making these demands and changes.</p> <p>Art is essentially work. <persName key="Simone Weil" ref="http://www.wikidata.org/entity/Q157309">Simone Weil</persName> writes that art is a surplus commodity in this culture because it does not have immediate consumption and is not shared and used by the people. That artists are not part of the paid work force further separates the productive from the consumptive classes. The work process (and the purpose of work) have always been external to the worker. Just as she writes that our main task is to discover how it is possible for the work to be free and to integrate it, we must free the art-making process so it is accessible and understandable to everyone. The process should be as available as the product.<note>7. Weil, Simone, First and Last Notebooks, translated by Richard Rees, Oxford University Press, London, 1970, p. 58-61.</note></p> <p>Acknowledging the existence of class structures, and how through art they can affect cultural attitudes is just a beginning—a necessary step one. In the long run, we should not focus merely on the relationship of one class to another, or on the relationship of art and class, but on defining a future classless society. The integration of art into the lives of all people and not just the upper class contributes to that vision. "Revolution presupposes not simply an economic and political transformation but also a technical and cultural one."<note>8. First and Last Notebooks.</note></p> </div> </body> <back> <p> <persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> is a painter and sometimes writer who is a member of the Heresies collective. She teaches at any university and feminist art program that will have her, and gives workshops and lectures on lesbian artists and feminist artists. </p> </back> </text> </TEI>
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"schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="/sites/default/files/2025-08/heresies03_002_1.jpg" n="2"/> <head>From The Lesbian Issue Collective:</head> <div type="statement"> <p>l’m a writer who struggles constantly with the urge to remain silent.</p> <p>And I understood our collective process as a struggle with silence. Like an individual isolated lesbian, we worked first on self-validation. We talked about the famous respected closet cases—could we get them to come out or figure some way to claim them. (Claiming the "great ones" is a way for a despised group to feel good about itself.) And we spent many many meetings doing consciousness-raising on what it means to be lesbian artists—talking, some of us, about issues we had never discussed before. My excitement in working on this issue of Heresies centered around the hope that many lesbian artists would write us, share their work, and contribute to this dialogue.</p> <p>The standard I used in judging work was based on my wish to be inclusive—to present as much diversity as possible, to present clearly articulated articles even if I disagreed with their content.</p> <p>Others in the collective felt differently. This we discovered as we worked and worked and no longer had time just to talk to each other. We had been too busy when we started—discussing our similarities, our struggles, our fears, and our opportunities as lesbian artists—to get very far in discussing our differences.</p> <byline><persName key="Cynthia Carr" ref="http://www.wikidata.org/entity/Q5200026"/><persName key="Cynthia Carr" ref="http://www.wikidata.org/entity/Q5200026" type="real">Cynthia Carr</persName></byline> </div> <div type="statement"> <p> The only talent I bring to the lesbian collective is my sexual preference, a scorn of self-important pretension, a nose for drivel, and a desire to see to it that we say it like it is. In the past, we have done ourselves and our work a terrible damage by lying about our experience. Driven by a need for the comfort of a common political position, we have all too often allowed rhetoric to pass for truth. Seeking an accommodation with the straight world, we have lied about our essential difference. And in a spirit of loyalty, we have compromised ourselves by supporting thinking and work which is simply bad. There is very little sense of humor in us. We have, by this excusable example, leaned heavily on many closet doors which might otherwise have sprung open. It was my hope that with this issue we might present truly good work by lesbians. Now, as I am about to be pasted up and mechanicaled, I can say that the effort has been exhausting and perilous. And certainly I am too close to the final product to say that we have succeeded.</p> <byline><persName type="real">Betsy Crowell</persName></byline> </div> <div type="statement"> <p> I usually think of myself as part scientist and part magician with certain skills that sometimes make art. Neither feminism nor lesbianism determine the form and content of my work yet it was only with the security of the former and the coming to terms with the latter (the muse) that my life and art began to be uniquely and overtly me.</p> <p>Initially I worked on the issue seeking a community to explore in depth the relationship of lesbianism to the artist and to discover what would happen if lesbian art and artists were brought together. Our editorial collective’s discussions were some of the most provoking and intimate that I have experienced, yet after each I felt a sense of panic. I know that lesbians have made great art, I know that lesbians have been major contributors to culture, and I believe that lesbianism in the largest and most powerful sense of the word has been central not peripheral to the creative world of woman, yet I was worried that we wouldn’t receive sufficient "good” material. I also feared being viewed through society’s homophobic lenses yet I will not obscure the importance of lesbianism to my life and art. The muse and I are inextricably entwined and she is a woman. I struggle continually against any restrictions on my identity while questioning why this culture relentlessly omits and suppresses from discussion and history (even in the feminist community) the essentialness of lesbianism to the creative lives of women.</p> <p>However, there was a far deeper reason for my panic. After nine months of working on this issue 1 felt that our greatest unfaced demon was our own homophobia absorbed by all of us in different ways from a culture so homophobic that it ruthlessly suppresses and punished all exploration of female sexuality. This, coupled with the fact that lesbian artists desperately need visibility and credibility, gave us a common unexamined goal: visibility as matured and serious artists.</p> <p>This is only a beginning. Omitted from the issue is any dialogue that examines the role of lesbianism as central to women claiming full power over their sexuality and that such power is the root of strong and unique art. Do not for a minute imagine that art has to be explicitly about sex or anything so simplistic. I am speaking rather to the fact that a person must be able to put the full force of herself behind her work. Fear of being seen as sexual, fear of the audience, fear of offending heterosexual friends, fear of retribution for creating or being in the issue are only a few of the fears that are real and need to be faced before we can initiate a discussion that begins from a point that assumes that lesbianism is the key to the powerfulness of all women.</p> <byline><persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535" role="art">Betsy Damon</persName></byline> </div> <div type="statement"> <p> I wanted an issue on lesbian art and artists that would provoke me; an issue that would challenge all the assumptions I have about lesbians and art; an issue that would leave me filled with questions and with the energy with which to explore the questions further. I wanted lesbians to be excited and disturbed by what they read here, finding glimpses of themselves, as well as a sense of what is missing. What stories are still untold?</p> <p>What are lesbians? What are artists? In trying to reach a working definition of these two most basic questions, a sense of my own alienation from the task before us began to grow. This alienation came from being forced to examine sexuality from within a patriarchal context. A context which has created distinctions and categories in order to maintain its own power and privilege. The advantages gained by society's "power-brokers" through perpetuating and emphasizing the differences among racial, economic, sexual, and religious groups are clear. The most apparent difference between myself and a heterosexual woman; or myself (white, middle-class), and a Chicano working-class woman—is one of privilege. And for me, as a lesbian, as white, as middle-class, to maintain and perpetuate differences that ultimately exist only to deny privilege to some, seems wrong. One way I see myself as a lesbian perpetuating differences is in my focusing on what is and what is not a lesbian. "A woman who does not sleep with men." “Any woman who calls herself a lesbian.” “A woman that loves and sleeps with other women." “What if she sleeps with a man one time? Is she still a lesbian?” “What if she used to sleep with men, used to be married to one, and doesn’t now, but can’t predict the future?" “What is the difference between a woman-identified-woman and a lesbian?” It was in trying to answer questions like these that a sense of futility and absurdity developed. I am not a lesbian. I make love only with women. I am in every way what society calls a lesbian. I will call myself and insist upon being called a lesbian as long as something called a heterosexual or bisexual exists. In all probability, 1 am referring to a sexuality that will never exist inside me. A simple sexuality, without reference to another’s <pb facs="/sites/default/files/2025-08/heresies03_003_1.jpg" n="3"/> gender. All of this is related to the question of circumstance (the time and space I live in) and therefore related to strategy (the means of change): an area l’m far less clear about than that of alienation.</p> <p>The dilemma for me is that regardless of how I view the role such distinctions serve in this society, 1 am brutally oppressed by them, as they have been accepted by most everyone. The fact that I am a lesbian has a profound affect on my life. (My job, my family, my friends always hang in the balance.) While believing that “heterosexual” and “lesbian" are concepts that directly serve to oppress us all, I know full well that as a les bian I am intentionally persecuted and isolated by this society. The nearest weapon to me with which to fight back is the taking of the concept and the word lesbian and claiming it as my own. My continuing to work on this issue is the result of that conclusion.</p> <p>The term “artist" serves a very similar function as the word "lesbian, though the specific effect upon society is quite different. The term "artist" distinguishes between those who are artists and those who are not. To me, an artist is a person who works without sham. One who works with integrity. The three most basic tools are a sense of self, honesty, and imagin ation. These are also three of the greatest enemies of this society. With good reason all three of these qualities are suppressed in most people at a very early age and replaced with subservience, confusion, and conformity. The expressing of oneself creatively demands not only a sense of self, honesty and imagination; but time...the time to listen, the time to concentrate. To have time, is one of the most important instances of privilege (and therefore oppression) in this society. If everyone had access to the same opportunities as everyone else—would there be such a creature as “artist?” Art would not have to speak for everyone if everyone could speak for themselves. Because of the privilege accorded to and/or fought for by artists in this society, the presumptuous assumption that some of us whether by genius, skill, or inspiration are better able to express "our” circumstance—I refuse to call myself or others “artists. Accepting money for work and associating with art institutions only contributes to the class system of art and artists. There are poets, performers, cooks and the like among us. These words refer to what we do. But "artist" refers to who we are in a context that inescapably implies a difference that furthers oppression rather than challenging it.</p> <p>The most important point to me, as it refers to this issue, is that just as the words “lesbian" and "artist" exist within a context and are affected by a circumstance, so does this issue.</p> <byline><persName key="Marty Pottenger" ref="http://www.wikidata.org/entity/Q19663455" type="real">Marty Pottenger</persName> </byline> </div> <div type="statement"> <p> I want people to understand that to be a lesbian feminist is to be undefined, complex, groping, newly born, uncategorizable and uncategorized—i.e. not a “Lesbian as she has been culturally defined. I work and live for the day when the damnable categories of human behavior are gone. And towards this end, I am a part of Heresies and the lesbian issue. I don’t for a moment believe that we are presenting (or that we even looked for) any answers or final solutions in this issue. There were frightening moments when I felt that we had to say it all right now or never. As far as l’m concerned that's a reasonable and not too paranoid reaction to a culture which "gives us" NO place NO voice NO credibility NO trust. We just have to keep stretching, shoving, insisting, confronting, and pursuing whatever goals we each find most politically important and personally fulfilling. I find all the challenge I need in keeping my faith in the strength of the combined efforts of feminists and in taking seriously my individual acts of survival and growth in this death culture.</p> <p>I am committed to photography and the written word, to outrageous and humorous art, to women, to the chaos of reconstruction, and to publishing as a way to become visible, to be heard and felt by no matter how small or select an audience.</p> <byline><persName key="Su Friedrich" ref="http://www.wikidata.org/entity/Q4492765">Su Friedrich</persName></byline> </div> <div type="statement"> <p> l’ve been painting for twelve years—as a feminist I feel l’ve been making “my own" art for six of those years—and have identified myself as a lesbian for four years. We continue, the work and 1, the commitment growing stronger, the relationship deeper. As 1 am less anxious that the work will leave me, or that others won’t approve, I step out of my protective world and find myself increasingly concerned with feminist political issues. I know how my work functions for me, but how does it fit into a larger social political view of feminism?</p> <p>I have to admit that, 1 came to this issue with a lot of expectations. From the beginning, I conceived of a whole issue devoted to lesbian art as political. I had hoped it would give lesbian artists visibility (especially lesbian visual artists who have virtually been ignored), create dialogue and community between lesbian visual artists and writers, remove the separation between lesbian art and politics, and bring an art consciousness to the lesbian community and a lesbian consciousness to the feminist art community. Since lesbian artists are so often isolated, I had hoped that in this special collective context we would take risks, ask questions, explore ideas, and theorize. Like a painter exhibiting for the first time, I wanted to show it all.</p> <p>Now that we have worked for almost a year on this issue, 1 have very mixed feelings. I think the work presented in this issue is excellent. The problem is not the art itself, for much strong work has been and is being made by lesbians. The problem is what’s missing, and what is missing is a context for the work. 1 am disappointed that this issue has avoided controversial material and has continued the artistic fear of conscious political discussion. We have avoided a larger social political context for our work, as though it would somehow interfere with the work or take away from its power and meaning. To think politically doesn’t mean we can’t see creatively.</p> <p>If artmaking is an integral part of feminist revolution as l believe it is, we should be asking the following questions:</p> <list> <item>What is the role and function of lesbian feminist art in the lesbian movement?</item> <item>What is its role and function in the feminist movement?</item> <item>How does lesbian feminist art relate to larger social struggles for change in a society where lesbians and others will no longer be discriminated against?</item> <item>How does lesbian feminist art affect and transform culture?</item> </list> <p>The discussion of these questions is far more important than the answers. I believe that to be a lesbian artist is in itself political, but I also think in these days of homophobic backlash, that we need to push further and analyze all patriarchal institutions which control our lives. I feel that we have not allowed ourselves (because we’re artists?) to deal with important issues of lesbian separatism, socialist lesbians, lesbian sensibility, the relationship of lesbianism to feminism, and the issues of race and class. These subjects are not rhetorical, cliched, or irreleant to artmaking. To me they are very real and important in determining the quality of lesbian art.</p> <byline><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529" type="real">Harmony Hammond</persName></byline> </div> <div type="statement"> <p> My impetus to work on this issue was rooted in the desperation and frustration I was experiencing working as a lesbian painter within a very circumscribed.peer group. 1 had begun to do what most lesbians have always done in creating a private world of reinforcement. I no longer believe these pockets of isolated support groups can bear the strain of what it means to be a lesbian in a culture predicated on misogyny and homophobia. This issue was an attempt to seek out lesbian artists and publicize the fact of their existence to myself, other les¬ bians and other women. The dangers and ramifications of exposing myself and others in a solitary lesbian issue of a magazine whose audience and founders are predominately straight are inherent and menacing. But no matter what the extent of this issue’s token quality I believe that the content: pursue with integrity essential questions and possibilities facing all women.</p> <byline><persName>K. Webster</persName></byline> </div> <pb facs="/sites/default/files/2025-08/heresies03_004_1.jpg" n="4"/> <div type="statement"> <p> I believe we are lesbians largely because we realize on some level that the demands of heterosexual roles are rooted in a tradition of violence to women’s bodies and minds. This tradition is consciously and unconsciously ritualized; it is large and powerful, life determining in fact. Feminism can and must help alter the tradition but cannot ultimately transcend it. Some of us have tried to transcend it, could not, don’t believe anybody can at this time, and reject it. Equality is a myth that liberal feminism and theories of androgyny nourish. Self hatred, doubt, and homophobia on some level are operative in all our lives. In spite of this, and in defiance of this, I believe lesbianism is fundamentally about self-preservation and self-love in a culture that would have it otherwise. The choice to make art is directly aided and energized by such positive impulses.</p> <p>The connections between artist’s lives and their artistic creations have historically been acknowledged, probed and even embellished upon. However, the very existence of lesbiar lives has inveterately been denied. The connections between our lives and our work must be constructed and recognized, by ourselves, and eventually by others. It is essential that these connections and their powerful political ramifications be given credence, and a loud, loud voice. Despite my terror at signing my name to this magazine, my convictions are strengthened over and over: the presence of lesbians and lesbian artists must be affirmed. The third issue of Heresies is an attempt in this direction. My personal dedication is to all lesbian artists who understandably remain silent, in hopes that they won’t always have to.</p> <byline><persName type="real">Rose Fichtenholtz</persName></byline> </div> <div type="statement"> <p> This issue of Heresies has had a particularly difficult built-in problem. Heresies’ usual policy is not to print monographs of contemporary artists, but the invisibility of lesbian artists and the need for dialogue of every kind among lesbians moved us to consider altering the monograph policy in various ways. Essentially, because we decided to publish only lesbian-made material, the issue itself is monographical: Ourselves, our thought, our work.</p> <p>We used a discussion and voting process to determine what to publish. The question of inclusivity/exclusivity has been a source of trouble for us as a collective; it was a problem that we never resolved methodically. One direction that I felt the urge to follow was to print as much as we could, since this issue could be seen as a vehicle by which to strengthen a "women’s culture." As it has been defined by some women, a women’s culture is based in part on the principle of representation of as many of our voices as possible with the idea that the many voices make a beautiful choir.</p> <p>However, in the end I was committed to print only that material which I felt was most powerful. This outlook can be and has been seen as an alternative to the “many voices’ method of creating a women’s culture. I agree that what 1 deem “powerful" is colored by personal biases, some of which must be examined closely for their validity. But to try to reflect what was “out there” seemed foolish. I felt that it was more honest to print what I believe in; that is, not just what I agree with ideologically but what agrees with me esthetically Unfortunately the usual editorial message is that to deny space to something is to imply its worthlessness, and that, conversely, to print something is to assert its worth.</p> <p>As an editor I have reflected only my own biases and opinions. I have done so only with the hope that other lesbians will investigate our lives true to their own opinions and values—and that we will analyze our differences with an eye towards our diverse pasts and our collective future.</p> <byline><persName key="Amy Sillman" ref="http://www.wikidata.org/entity/Q481952">Amy Sillman</persName></byline> </div> <div type="statement"> <p> l’ve been a lesbian and l’ve been a painter for a long time. have little respect for rhetoric, politics that squeeze the life’s blood out of artists, or theories of lesbian sensibility or lesbian imagery formulated out of daydreams.</p> <p>I don’t like being isolated in this magazine because my lesbian artist sisters out there refuse to come out. Backlash is on its way, but we don’t even need backlash—we have the sanctity of the closet.</p> <p>l’d like to personally dedicate this issue to all the women who we know are lesbians and who have made it big in the last forty years—as artists, as dealers, and as intellectuals—for their steadfastness in the denial of their queerness. The starkness of their lives led me to cherish honest living and to search for an alternate route for making art.</p> <p>I want to share what 1 have learned in my twenty years of being a painter and a lesbian with lesbians who want a strong identity as artists. I am interested in work. I am first a painter. I am not interested in formulating politics or in promoting a lesbian universe. I am in this despite my doubts about the productivity of collective enterprise and despite the distance it takes me from my work.</p> <byline><persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739" type="real">Louise Fishman</persName></byline> </div> <div type="statement"> <p> When I am making a work of art I am making it first and foremost therapeutically for myself, and I am alone in my studio and feeling usually very lonely. At this time there is only a vague sense that it is also for other women artists and women who like to look at art. And even when 1 have finished working on it and it is an expression of my own formulated and particular visual bias, it is still not yet complete. Women come to my studio and look at it and see things that I was too close to see and the painting’s meaning becomes larger. Anc still it is not yet finished. It seasons awhile in front of its small audiences and insistently sits before them and I bring people in front of it and say, “Yes, this is my art; this is my experience, until in some way it is recognized, analyzed and absorbed. Then it is finished. It is finished when it goes public, is recognized, given meaning.</p> <p>Women have managed somehow to survive in a woman- hating culture, but rarely have they found ways to complete expression in the culture. We know better than most that the personal is political because when we have insisted upon our personal viewpoint, when we have insisted upon our art, we have been burned, mutilated, raped and put away—at best ridiculed. Exposure, even sometimes to each other, is dangerous; fraught with memories of past violence, visions of future violence, the feeling that we will be considered crazy if we let others know who we are and what we think. We have no his torical or political context to decide which parts of us remain intact after suffering consistent negation and brutality.</p> <p>Who we choose as an audience is of vital consideration as long as exposure is dangerous. I sign my name to this issue with a great sense of purpose as well as real trepidation. Everyday l am aware that people think I am crazy because I am a lesbian and that violence may be done to me because of it. This will continue long after male institutions grant us our civil rights. It will continue until we make the reality of our experience clear. Women have often had strength in the private domain, are safer there. When we have brought our experience, our work, our ideas to the world we have been repudiated and endangered. It is time to be particular and rigorous in our language and ideas, to articulate our needs and biases, and to insist, “Yes, this is our art; yes, this is our experience,” in a voice that can not be refuted.</p> <byline><persName>Christine Wade</persName></byline> </div> </body> </text> </TEI>
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"https://raw.githubusercontent.com/djakacki/heresies/main/issue01/texts/hammond.xml?note_annotation_20230423145737184#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[11]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Note exhibition" }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.7.3" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_068.jpg"/> <div><head><title><title>Feminist Abstract Art—A Political Viewpoint</title> </title></head> <byline><persName><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName></persName> </byline></div> <div><p>There are many articles written on feminist art which try to pinpoint and define a feminist sensibility. Few of these articles go beyond the recognition that feminist art is based on the personal experiences of women by beginning to question its larger political implications and the role it plays in feminist revolution. Most articles originating from the art world tend to be formal descriptive attempts at documenting what women are doing, and do not attempt a feminist analysis of function and meaning.</p> <p>In a reactionary escape from formalist criticism, most movement writing on feminist art deals with political issues, but lacks any real understanding of the creative process, how it functions for the artist and how it affects form and content. Without such an understanding it is impossible to evaluate the work as art. While feminist poets and writers comment on each other's work and write of their own processes, we visual artists tend to remain silent and let others do the writing for us. Our silence contributes to a lack of dialogue between artist and audience, to the lack of criticism from a feminist perspective, and ultimately to the misinter- pretation of our work.</p> <p>In this article I wish to focus on abstract art and show that it can have a feminist basis and therefore be political. Feminists are not only people to attempt political or revolutionary art, but because certain ideas and issues occur over and over, they are of interest to us and worth exploring. I will focus on one area of abstract art by discussing concepts of marking and language in feminist drawing and painting-to show its origin, meaning, and political potential.</p> <p>In "Prime Time: Art and Politics"<note type="scholarNote"><persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName>, "<title>Prime Time: Art and Politics</title>," <title><orgName key="Quest: A Feminist Quarterly" ref="http://www.wikidata.org/entity/Q105972288">Quest: A Feminist Quarterly</orgName></title> (Summer, 1975).</note> <persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName> look at how art is viewed in this capitalist, patriarchal society and criticize activists for reacting too quickly and overlooking the revolutionary potential of art. However, they in turn react to male estabishment myths about abstract (non-representational) art and exclude it from feminist and political potential. They view abstract art as private expression which is not understandable or analyzable to the audience, and therefore irrelevant to feminist political goals. Thus they incorrectly see elitism as a pre-condition of abstract art, rather than realizing that this is how abstract art has been used by men as a defense mechanism against the alienation of their own capitalist system; that as well as furthering the myth of artist as alienated and isolated genius, abstract art has offered an illusion of objectivity. Such notions suggest that the content of one's work can be separated from one's political beliefs. By sponsoring international exhibitions showing apolitical abstract paintings by former <orgName key="communist party" ref="http://www.wikidata.org/entity/Q233591">Communist Party</orgName> members, the <orgName key="Central Intelligence Agency" ref="http://www.wikidata.org/entity/Q37230">C.I.A.</orgName> (via the <orgName key="Museum of Modern Art" ref="http://www.wikidata.org/entity/Q188740">Museum of Modern Art</orgName>) has sought to impress other nations with the cultural freedom of the U.S.A. The way in which Abstract Expressionist art was defined and developed by the artists and then used by others to further cold war politics in the fifties is only one example of the manipulation of abstract art to create the illusory separation of art and politics.<note><persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>, <title key="Abstract Expressionism, Weapon of the Cold War" ref="http://www.columbia.edu/itc/barnard/arthist/wolff/pdfs/week4_cockcroft.pdf">"Abstract Expressionism, Weapon of the Cold War,"</title> <title><orgName key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</orgName></title> (June, 1974).</note> Thus when women continue to respond to abstract art as "apolitical," they are reinforcing and maintaining myths established by men.</p> <p>The Freeman/MacMillan article is typical in its analysis of art and politics. Abstract art has become taboo for most artists who consider themselves political feminists. Because of the history outlined above, it is difficult to determine abstract painting's relationship to feminist ideology. There are radical feminists who are making abstract art. Radical feminism operates from the belief that women as a class are oppressed, and that a mass political women's movement is necessary to overthrow male supremacy.<note><persName>Brooke</persName>, "<title>The Retreat to Cultural Feminism</title>," in <title><orgName>Feminist Revolution</orgName></title>, ed. <orgName key="Redstockings" ref="http://www.wikidata.org/entity/Q3480184">Redstockings</orgName> (<placeName key="New York City" ref="http://www.wikidata.org/entity/Q60">New York</placeName>, 1975).</note> Therefore, we might ask, how are the visions of radical feminists analyzed and portrayed in this art?</p> <p>It is necessary to break down the myths and fears surrounding abstract art and make it understandable. Women—artists and non-artists—need to talk about art, and talking about abstract art need not be more difficult than discussing portraits, nudes, vaginas, or whatever. Every work of art is understandable on many different levels. It is by talking about our work and work processes that we will not only begin to develop a new language for interpreting abstract art, but also to integrate this work with society. This language, which I see evolving from consciousness-raising techniques, will be able to be shared with any woman, regardless of class background. For artists, such a dialogue with the audience is essential, as it offers valuable feedback for the development of our art.</p> <p>I want to reclaim abstract art for women and transforrn it on our own terms. It is interesting to note that much of women's past creativity, as <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_069.jpg"/> well as the art by women of non-western cultures, has been abstract. I'm thinking of the incredible baskets, pottery, quilts, afghans, lace and needlework women have created. Many of the motifs used were based on "the stitch" itself. The repetition and continuity of the stitch or weaver formed the individual shape and also the pattern resulting from its repetition. Usually these motifs and patterns were abstract and geometric. <persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName> points out that they had specific meaning for the women who made them, and in a sense formed a visual language in themselves:</p> <quote>in designing their quilts, women not only made beautiful and functional objects, but expressed their own convictions on a wide variety of subjects in a language for the most part comprehensible only to other women. In a sense, this was a secret language among women, for as the story goes, there was more than one man of Tory political persuasion who slept unknowingly under his wife's 'Whig Rose' quilt. Women named quilts for their religious beliefs...or their politics-at a time when women were not allowed to vote. The 'Radical Rose' design, which women made during the CIvil War, had a black center for each rose and was an expression of sympathy with the slaves.<note><persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName>, "<title>Quilts: The Great American Art</title>," <title><title key="Feminist Art Journal" ref="http://www.wikidata.org/entity/Q18207079">The Feminist Art Journal</title></title> (Winter, 1973).</note></quote> <p>As we examine some contemporary abstract art by women, it is important to develop a sense of identity and connection with our own past creativity rather than that of the oppressor who has claimed "fine art" and "abstract art" for himself. In fact, the patriarchal putdown of "decorative" traditional art and "craft" has outright racist, classist, and sexist overtones. <persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName> states:</p> <quote>Art history assigns creative products to two categories -fine arts and crafts-and then certifies as legitimate only the fine arts, thereby excluding those creative traditions of primitive people, peasants, women, and many other groups outside the mainstream of Western history.<note><persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName>, "<title>Craft for Art's Sake</title>," <title><orgName key="Ms." ref="http://www.wikidata.org/entity/Q3656351">Ms. Magazine</orgName></title> (May, 1973).</note></quote> <p>Until recently, decorative art, or craft techniques and materials, have been valid only as sources for contemporary male artists. While women working with these ideas, techniques, and materials have been ignored (<persName key="Ann Wilson" ref="http://www.wikidata.org/entity/Q64532860">Ann Wilson</persName> first painted on quilts in 1958) or put down for doing "womens work," men like <persName><persName key="Shields, Alan" ref="http://vocab.getty.edu/ulan/500021038">Shields</persName></persName>, <persName key="Oldenburg, Claes" ref="http://vocab.getty.edu/ulan/500029735">Oldenburg</persName>, <persName key="Frank Stella" ref="http://www.wikidata.org/entity/Q375268">Stella</persName>, and <persName><persName key="Kenneth Noland" ref="http://www.wikidata.org/entity/Q527001">Noland</persName></persName> are hailed as innovative. But times have changed. Today many female artists are connecting to a long line of creativity by proudly referring to women's traditional arts in their own work. They are recording the ritual of women's artmaking both in the past and the present, thereby reflecting a feminist concern not only with the end product but with the dally process and function of making art. Sewing techniques and materals as both process and content are used in a variety of ways in the abstract works of <persName key="Sarah Draney" ref="http://www.wikidata.org/entity/Q21289822">Sarah Draney</persName>, <persName key="Pat Lasch" ref="http://www.wikidata.org/entity/Q28553688">Pat Lasch</persName>, <persName key="Nina Yankowitz" ref="http://www.wikidata.org/entity/Q20642044">Nina Yankowitz</persName>, <persName key="Paula Tavins" ref="http://www.wikidata.org/entity/Q114223354">Paula Tavins</persName>, <persName key="Patsy Norvell" ref="http://www.wikidata.org/entity/Q28059096">Patsy Norvell</persName>, <persName key="Rosemary Mayer" ref="http://www.wikidata.org/entity/Q29024964">Rosemary Mayer</persName>, and many other women. <persName key="Kruger, Barbara" ref="http://vocab.getty.edu/ulan/500118792">Barbara Kruger</persName> says that she first learned to crochet and sew when she decided that these techniques could be used to make art.<note>Ibid.</note> For women, the meaning of sewing and knotting is "connecting" —connecting the parts of one's life, and connecting to other women-creating a sense of community and wholeness. Other women, drawing on women's traditional arts, make specific painterly reference to decoration and craft. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam Schapiro</persName> utilizes remnants of fabric, lace, and ribbon along with handkerchiefs and aprons in large collages, thus making the very material of women's lives the subject of her art. <persName key="Joyce Kozloff" ref="http://www.wikidata.org/entity/Q6297552">Joyce Kozloff</persName> and <persName key="Mary Grigoriadis" ref="http://www.wikidata.org/entity/Q21643944">Mary Gregoriadis</persName> explore decoration as fine art, basing their paintings on the abstract patterning of Islamic architecture and tiles, Tantric art, Caucasian rugs, and Navaho weaving.</p> <p>The way many women talk about their work is revealing, in that it often denies formal art rhetoric. Women tend to talk first about their personal associations with the piece, and then about how these are implemented through visual means; in other words, how successful the piece is in its own terms. This approach to art and to discussing art has developed from the consciousness-raising experience. It deals primarily with the work itself, what it says and how it says it-rather than with an imposed set of esthetic beliefs.</p> <p>In her excellent catalogue introduction to "Changes<note type="researchNote">Note exhibition</note>," an exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName>Carole Fisher</persName>, <persName key="Johnson, Kathryn C." ref="http://viaf.org/viaf/68171928/">Kathryn C. Johnson</persName> comments that "intent" is most important when defining feminist art. She states that it is "a powerful oneness of subject and content" that makes certain work feminist:</p> <quote>...Their work both is and tells about the pain of their life experiences. It is about pain and is painful, but does not present woman as passive victim. The pain is presented with deep understanding of its sources and effects, and the anger which follows confrontation with the hurt.<note><persName key="Johnson, Kathryn C." ref="http://viaf.org/viaf/68171928/">Kathryn C. Johnson</persName>, catalogue introduction to "Changes," exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName>Carole Fisher</persName> at the <placeName key="St. Catherine University" ref="http://www.wikidata.org/entity/Q3444427">College of St. Catherine</placeName> (St. Paul, Minn., 1976).</note></quote> <p>Fisher writes:</p> <quote>Betsy looked at the work and recognized the fact that I worked to survive, to keep from growing crazy, and to keep the pain from becoming too great. She recognized the pain in my work instantly! This was something I had only come to recently recognize and acknowledge in my work. Like many women in our culture, I had become adept at hiding and covering my pain. I had gotten all the messages that to be vulnerable in our culture is to be weak and despised.<note type="scholarNote">Ibid</note>.</quote> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_070.jpg"/> <p>It is this "oneness of subject and content" that carries their work through feminist consciousness beyond the personal to the political. It is also present in abstract paintings that seem superficially more related to the male modernist tradition than to women's creativity in that they involve the physically expressive manipulation of paint on a two-dimensional surface.</p> <p>In much of this work the reoccurring stitch of women's traditional artmaking becomes the repetitive mark, taking on a new form as a "visual diary." Such works are dally records of thoughts and are used as such by the artists. Just as the weaver continues from day to day, from one physical and psychic location to another, mate- rials and dyes changing slighty, irregularities and tension showing, the painted marks also reveal daily emotional changes and tensions. They are a record of present feeling, a ritual giving in to the repetitive gesture, a language to reveal self-a woman's mantra.</p> <p><persName key="Jenny Snider" ref="http://www.wikidata.org/entity/Q62057437">Jenny Snider</persName>'s nervous lines recall ancient Chinese calligraphy, which has both a letter/ character reference and a body/figure reference. Her drawings are made with and are about her nervousness and vulnerability. She "is" the mark, the line. As the marks are repeated and contained in different spaces (usually grids or rectangles suggesting fabric, rooms and houses), the quality and feeling of the line changes and she becomes more comfortable in some spaces than in others. She explores her self-image and feelings about her body in relationship to other people and spaces. Snider describes these works as "figurative." To me, it is the mark and its repetition that is most important. Her works are figurative in the sense that Chinese calligraphy is figurative-in having a direct body reference. Works are sometimes combined or used interchangeably with the markings, reinforcing Snider's commitment to the diaristic mode. As she says, "The words and lines come from the same psychological place and gesture and are not intended to describe or explain what the drawings are in terms of images-but rather express the fact that they come from a nervous hand and a yakking heart." Phrases such as "little sounds arose (and it showed)"; "Well, for one thing, never step on broken glass"; and "Remember when we saw the ocean? It was just like this, wasn't it?" tell where the drawing is coming from and what the drawing is about.</p> <p><persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739">Louise Fishman</persName>'s paintings also function as a place for personal confrontation and as a statement directed towards other women. Earlier, Fishman ripped up her old paintings and reconnected them by sewing and knotting them together with fragile thread. Her past was used to make a statement about her present. The strips and connecting thread formed loose grids, transformed in later work to a series of strokes or marks repeated across the page of canvas or within the confines of a "particular felt shape" (a circle or a piece of irregularly cut masonite). The marks of paint, layered on top of each other, lead eventually to a rich sensuous sur- face. The top layer usually consists of strong marks holding the partially revealed undermarks to the painting surface-feelings revealed and hidden. Fishman has always talked about her work in terms of hiding, guilt, vulnerability, anger, and personal individuation.</p> <p>In a seven-panel reversible painting on unstretched canvas, Fishman deals with her feelings about her mother, also an artist. One side of each canvas is painted with calm strokes, while on the other side the marks explode into intensely scrawled letters reading "A letter to my mother about painting." Another canvas has the star of David and the words "I am a Jewish working-class dyke" scratched into the surface. Just as consciousness raising leads to political awareness; this work moves from the personal into the political. Titled <title key="Angry Jill, Angry Djuna, Angry Paula, Angry Sarah" ref="https://louisefishman.net/work/feminism.html">Angry Jill, Angry Djuna, Angry Paula, Angry Sarah</title>, and so on... they seem to be painted with the anger. When she made these "angry paintings" Fishman said that all she could feel was her rage. When she looked around at other women, she saw that they were crippled by their anger too. These paintings were made to force women to confront it rather than letting it turn inward and become self-destructive. Grouped together as a wall of women's anger, the paintings show a tremendous amount of energy that can now be redirected towards feminist creativity and revolution.</p> <p>These women as well as others (<persName key="Joan Snyder" ref="http://www.wikidata.org/entity/Q6205466">Joan Snyder</persName>, <persName key="Tardi, Carla" ref="http://vocab.getty.edu/ulan/500074371">Carla Tardi</persName>, and <persName key="Pat Steir" ref="http://www.wikidata.org/entity/Q7144042">Pat Steir</persName>, to name a few) have used words and marks fairly interchangeably as abstract gestures with concrete feminist meanings. Words are marks and marks are words; their repetition becomes not only an interior monologue but also a dialogue with other women. Like Damon and Fisher, these artists make individual feeling and experience the subject of their work, while the content deals with the difficulties and ambiguities of being a feminist artist in a patriarchal society.</p> <p>Their painting surfaces are often violated on mutilated; cut, gouged, ripped, scratched, or torn. The reversal of the usual additive process of painting refers to the violation of the traditional painting surface and also to the physical and psychic violation of women. The thick paint applied with a palette knife in Fishman's work, for instance, acts both as poultice for wounds and cement for holding self together. In Joan Snyder's recent work the marks, cuts and burning combine with words and color to make a passionate statement about sexuality.</p> <p>This work is certainly political. Yet Freeman and MacMillan, in their attempt to distinguish protest from political art, to show that specific forms are more conducive to one or another, <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_071.jpg"/> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_072.jpg"/>still ignore the political potential of abstraction.<note type="scholarNote">Freeman and MacMillan, op. cit.</note> They accept male definitions of what art is, and do not deal with the evolution of a feminist creative process or feminist art forms. Theirs is a reformist approach to a revolutionary endeavor.</p> <p>I am reminded of <persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>'s "afterword" "<title>The Great Punctuation Typography Struggle</title>" —in her book <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692">Woman Hating</title>, where she explains how the text was altered against her will by the publisher's insistence on uppercase letters and standard punctuation. She had wanted the book to be as empty of convention as possible, to create a new form that would merge with the content.</p> <quote>reading a text which violates standard form forces one to change mental sets in order to read. there is no distance. the new form, which is in some ways unfamiliar, forces one to read differently-not to read about different things, but to read in different ways. <lb/> to permit writers to use forms which violate convention just might permit writers to develop forms which would teach people to think differently: not to think about different things, but to think in different ways. that work is not permitted.<note><persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>, <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692">Woman Hating</title> (New York, 1974).</note></quote> <p>The fact that innovative form is so feared by the male establishment shows that like content it has a power of its own. If our lives and our art are connected, and if "the personal is political" in the radical sense, then we cannot separate the content of our work from the form it takes. </p> <p>As abstract artists, we need to develop new abstract forms for revolutionary art. The women's work I've discussed here, and I include my own, is moving in this direction. We are not yet there. Hopefully, as we create art within the context of other women's art, and within the context of evolving feminist theory, we will develop a new visual language. Art in transition is political, for it both is our develop- ment and describes our development. In a sense we are coming out through our art, and the work itself is a record of the ongoing process of developing a feminist esthetic ideology. </p></div> </body> <back> <div><p><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> is an artist living in New York who teaches, gives workshops, and has shown her work here and elsewhere. She has also studied martial arts, Tai Chi Ch'uan and Aikido.</p></div> </back> </text> </TEI>
