Mea Culpa 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Mea Culpa</title> <author>Su Friedrich</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</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>Patterns of Communicating and Space Among Women</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> <div> <pb n='27' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_027.jpg"/> <head>Mea Culpa*</head> <byline>Su Friedrich</byline> <p> I used to read <title>Vogue</title> "for the photography” the way I read <title>Playboy</title> "for the articles.</p> <quote>Help keep America beautiful</quote> <cit><ref>- Cosmetics ad</ref></cit> <p>To assemble the props for this project, I spent an afternoon in the room-sized closet of Helen, a clothes maniac. When I lived with her, I was always carrying on about "the renunciation of material wealth as a primary political act"; I return one year later more humble, less certain that this renunciation is actually as easy as They make it seem.</p> <quote>We are well past the days when beauty was an idle woman's way of passing the time — and we’re secure enough to know the difference. Today, when time is something no one has enough of when women have jobs, families, and half a dozen other commitments — caring about yourself isn’t the icing on the cake. It's one of the responsibilities of everyday life to look as well as you can ... for yourself ... and for the delight of others.</quote> <cit><ref>-Vogue’s "Point of View," 1975</ref></cit> <p>Helen is a perfect resource because of her indiscriminate attach ment to all clothes. On the same day she’ll buy a satin kimono, suede pantsuit and pink mohair sweater and then pack them away and continue to wear her Hellenisms. If I were a freudian, l’d triumphantly claim her for my “clothes as a sexual surrogate thesis. But I'mmore interested in squeezing the lifeblood out of the deadly aphorism: Clothes Make The Woman.</p> <quote>Tonight, I feel as ethereal as a silken butterfly. This afternoon, I helped him change a tire. Is it magic, the moonlight, or Cheryl Baron's slither of silk?</quote> <cit><ref>-Clothing ad in Vogue</ref></cit> <p>I must remain alert during this project, wary of its seduction. have what some people consider the bad habit of rarely confronting myself in the mirror. In fact I'musually surprised to see myself. My appearance runs the short course from plain lesbian feminist to affordably classy dyke. Even these images seem rigidly codified and I am confused and dissatisfied with them.</p> <quote>Do you blame me for wanting to be a man—free in a man-made world? Do you blame me for hating again to resume a woman's clothes and just belong?</quote> <note>— Cora Anderson in 1914, who, after living as a man, in man's dress, and marrying a woman, was "exposed and ordered by a court to resume wearing female clothes <cit><ref>(cited in Gay American History)</ref></cit></note> <quote>Gentlemen prefer tuxedos ... When it's you. In your best ... double breasted satin tux...</quote> <cit><ref>- Clothing ad in The New York Times, 1976</ref></cit> <p>It’s a guilty struggle, indulging in fantasies of myself in new clothes and roles and then rejecting each of them on “political principle”: material projection of self seems at odds with a serious commitment ... And then the cycle twists and I defend artifice as a great form of subversion.<lb/> Women stride in boots.</p> <quote>Little vests are super — little fur vests, little vests in gold at night ... Don’t let anyone talk you into one of those suit-with-a-vest routines — a take-off on men’s clothes is not what it's all about..</quote> <cit><ref>-Clothing ad in Vogue, 1976</ref></cit> <quote>There is no intrinsic sin in riding astride a horse, or in wearing boots and breeches, but there is harm in violating those decent rules by which the conduct of either sex is regulated.</quote> <cit><ref>— London Medical Times, 1897 (quoted in Gay American History)</ref></cit> <p>So now, disguised as a “project,” I'mexposing myself to an overwhelming array of visual, emotional and intellectual costumes and it’s becoming very difficult to overcome the predetermined identities built into these clothes.</p> <quote>The wearing of one scent alone can become as much a part of a woman’s behavior as the way she speaks, parts her hair, wears down her lipstick ... and it's deliberate.</quote> <cit><ref>- Editorial comment in Vogue</ref></cit> <p>I usually don’t think of myself as having the same soft curves that I see displayed everywhere. I imagine that they belong to women with very different perceptions of themselves. But no ... in the right clothes l’d be indistinguishable from them. Breasts, legs, pink, smooth, a mute smile.<lb/> And then I know that underneath they’re as full of blood and guts as l'am.</p> <quote>She dresses for herself but we dress her.</quote> <cit><ref>— Clothing ad in Vogue</ref></cit> <quote>More than a way of dressing, Halston is a way of life.</quote> <cit><ref>-Clothing ad in Vogue</ref></cit> <p>Helen’s attic.<lb/> I slip on an apricot satin gown. It gleams. Soft, fantastically soft, cool on my thighs, hanging loosely over my breasts. My usual garb doesn’t exact such erotic responses from my skin. I begin to act out a seduction but it’s very unclear whom I'm seducing. I enter a male fantasy. I see more clearly than ever the motives for this madness.</p> <p>I was nine years old, reading comic books in the seclusion of my back porch. Eagerly, I flipped to the Frederick’s of Hollywood ad in the back, my fingers slowly tracing the outlines of those drawings, lingering over the firm pointed breasts and outrageously full hips. Stroking, stroking. Squeezing my eyes shut I dreamt of perfect curves and crevices, of cleavage and sculpted limbs on those crazy high heels.</p> <p>In the more discreet magazines of high school and college I recognized Frederick’s aesthetic translated into Tasteful and Chic. They had merely disguised it as “The Fresh Young Look" and "The New Romanticism."</p> <quote>In 1678 Abbe Jacques Boileau published “A just and seasonable Reprehension of naked Breasts, etc.</quote> <cit><ref>Quoted in The Unfashionable Human Body</ref></cit> <pb n='28' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_028.jpg"/> <p>Feeling guilty: "How can I worry about the world of fashion while the world out there is falling apart?" The World and The Fashion World? It’s clear how divisive and misleading man-made categories are.</p> <p>I recall the months of hours spent in Catholic girls’ high school earning the admiration of friends and the disapproval of the nuns. Their typically "altruistic" rationale for our hideous uniforms was that they were freeing our energy for pursuits more honorable than vanity, but by basing this rationale on their priorities (chastity before comfort) rather than our own, they were destined to fail. Precisely because everything was so ugly (to our self-conscious eyes) we spent that precious energy undermining the dress code.</p> <p>Red bras or naked breasts shone through the thin white blouses, high heels and gym shoes replaced the tyrannical saddle shoe, arms were laden with clattering jewelry, eyes and lips and nails changed color every day, and 3:00 brought the hysterical rush to change into presentable street clothes.</p> <quote>The consciousness of being perfectly dressed may bestow a peace such as religion cannot give.</quote> <cit><ref>-Herbert Spencer</ref></cit> <p>In the days when I should have been daydreaming about boys, I was busy admiring magazine models, my classmates, and myself. I was being trained to appreciate the artificial and real curves, gestures and textures of women, but while I never wanted that physical perfection in those to whom I was emotionally attracted, I demanded it of myself. It seemed, however, that the harder I tried to achieve that perfection, the more elusive it became. I saw how arbitrary the rules actually were; I learned to laugh and to formulate some of my own ideas.</p> <p>Powerful feelings of rejection set in: even my most stalwart friends were trying to "grow up," to dress and act “maturely." In response, I discovered nervous habits, too much unwanted atten tion, too little love, self-consciousness and ANGER.<lb/> Thanks for the anger.</p> <quote>"Dressing should be exactly that —a tasteful overlaying that brings out the best in me. And you know what: This is the year I can really be mel" We understand you at Saks Fifth Avenue.</quote> <cit><ref>Clothing ad in Vogue</ref></cit> <p>Like most mothers, mine is respectful of Culture. I once went with her to The Ballet, in old jeans, my favorite peasant blouse, and without shoes. I try now, seven years later, to remember her shame, and her rage (at me). She asked, “Why do you DO it?", sounding as if I was poisoning babies. But I don’t predicate my appearance on how effectively it will offend others. I am confronting how I alone want to dress. If I am ostracized because I dress like a "slob" or a "dyke," she mutters something about my deserving" it. They all do. The impulse to please her, to conform, is a glass splinter in my gut, dangerous to extract but fatal to ignore. What else can I do but try?</p> <p>I admit the monster in me. I salute the witch. My ancestors were proud and fierce and slaughtered. My sisters remember. We remind each other, we snarl.</p> <quote>Spot tip: to reduce a too-full upper lip, outline it with a white pencil and smudge it down.</quote> <cit><ref>Beauty tips in Vogue</ref></cit> <p>I go to Woolworths for makeup for this project. I have to work some black magic on my unkempt face. I expertly "blush on, frost my lips, sculpt my lids with manufactured nature. Why does it feel so natural to perform this ritual? I want to feel terribly strange. I want to experience it with the same bewilderment that someone from a preindustrial culture would feel on seeing the first photograph of herself, but I feel as if l’d never been away from it.</p> <quote>The Papuans, for instance, have a high regard for the vibrating buttocks of their women who early learn to cultivate a provocative walk.</quote> <cit><ref>in The Unfashionable Human Body</ref></cit> <list> <item>-First in class to shave my legs. Brave.</item> <item>— Discarded my bra with my Catholicism. Subversive.</item> <item>- Wore sandals and a long braid at the university. Intellectual.</item> <item>- Feel professional in my velvet jacket. Adult.</item> </list> <p>I see how powerfully Their definitions have defined my reactions, how much my spontaneity has been predetermined. This affects not only how I to dress but how I respond to others.<lb/> The "Ahh, I thought so” when a woman’s actions fit her appearance.<lb/> And the delightful confusion when a woman in Ladydrag gets ANGRY, gets FURIOUS.<lb/> The disappointment when gym shoes and labyris protect a hypocrite.<lb/> The disorienting pleasure when a "butchy” woman speaks tenderly to me.</p> <p>How ludicrous.<lb/> But I challenge anyone to say that she doesn’t go through the same gyrations.<lb/> I hate it. I hate it and I keep doing it.<lb/> Everyone tells me not to worry, "Everyone does it."<lb/> A lousy argument.<lb/> Whatever happened to self-definition? To inner-directed fantasy?</p> <quote>... there is a woman among the Snakes who once dreamed that she was a man and killed animals in the chase. Upon waking, she assumed her husband's garments, took his gun and went out to test the virtue of her dream; she killed a deer. Since that time she has not left off man's costume ... by some fearless actions she has obtained the title of "brave” and the privilege of admittance to the council of chiefs. Nothing less than another dream could make her return to her gown.</quote> <cit><ref>-Pierre-Jean de Smet (quoted in Gay American History)</ref></cit> <p>The danger lies in rebelling on Their terms, replacing one dictate with another. Are we really appeased now that we can wear pants to work? No ... we embrace the egalitarianism of pants and then create socioeconomic distinctions between pants, slacks and trousers, between fine and grubby pants.</p> <p>Fashion changes, but its significance remains: style costs money. We have been taught to be grateful for the “democratic” variety in our lives, but our clothes reflect our economic tyranny. Not only can few of us afford the ever-changing demands of fashion, but we are also destroying animals and the earth to satiate our insatiable "needs."</p> <p>This isn’t a fixed reality, it’s been built from egocentric and ruth less fantasies. Alter the fantasy and we alter the reality.</p> <quote>The mystery of fashion is that this sudden change of detail is imposed on women: they cannot escape it ... In matters of style, women obey some hidden law analogous to the one that decides the colors of the wings of birds or the petals of flowers.</quote> <cit><ref>in Feminine Fulfillment</ref></cit> <pb n='29' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_029.jpg"/> <p> We must begin to believe in a value-free body aesthetic; free choice will come only when the options aren’t value-laden.</p> <quote>Im tired of sad-looking women, of drab suffragettes, of dull and unbecoming colors.</quote> <cit><ref>Valentino, clothing designer</ref></cit> <p>Trying to extricate myself.<lb/> Trying to think without Do’s and Don’ts, feminine and masculine, fame or famine.</p> <p>Growing up a Catholic middle-class white girl taught me the value of disobedience. I have a vivid sense of my difference and I want to exploit this to catalyże a reaction, to force a confrontation of values.</p> <p>My appearance is an immediate, nonverbal statement and what I do subsequently either confirms or destroys people’s assumptions; they don’t want to hear an articulate defense of my "bad habits." They want room to condescend.</p> <p>They tell me l’d "improve my chances” if I wore the right things. Chances? Is this a lottery? Who are they to decide my worth?</p> <p>I know that we need to feel okay about ourselves, but the ques tion here is using clothes to get or keep privilege.</p> <quote>... as hard times were crowding upon us, I made up my mind to dress in men’s attire to seek labor as I was used to men’s work. And as I might work harder at housekeeping and get only a dollar per week, and I was capable of doing men’s work and getting men’s wages, I resolved to try.</quote> <cit><ref>-Lucy Ann Lobdell, 1854, age 25.</ref></cit> <p>When I feel jealous of women who "survive” by wearing the right trinkets smells shoes colors, I remind myself that with the game comes the terror of losing. I had assumed that being a dyke meant not playing the game, but I'min the same trap as an obedient sister. She has to remain desirable by Their standards while I have to continually fight Their insistence that I be desirable. I fall into the trap of thinking that I had no interest in being desirable.<lb/> Of course I do, but not on Their terms.</p> <quote>There is a way of dressing— a way of looking—that to American women is like a way of life. It has to do with a certain free-wheeling casualness and dash that goes through and through and up and down.</quote> <cit><ref>-Vogue</ref></cit> <ab>Slob.</ab> <quote>... elegant clothing becomes your coat of arms, by which others will recognize that this is indeed yourself. A rag can be eminently elegant, as we see in Andalusia with the beggars ... We understand that elegance is not conferred by luxury but rather by poverty; the latter brings us close to a state of nature where nothing is useless.</quote> <cit><ref>in Feminine Fulfillment</ref></cit> <ab>Hippie.</ab> <quote>Thank you, Arthur Richards. At last, someone recognized that women prefer what gentlemen prefer. And that's the fit and quality of menswear tailoring.</quote> <cit><ref>Vogue</ref></cit> <ab>Dyke.</ab> <quote>Confidence is a Lady in a Leon Levin.</quote> <cit><ref>— Vogue</ref></cit> <ab>Ballbreaker.</ab> <quote>The new bareness ... and what it takes to wear it.</quote> <cit><ref>— Vogue</ref></cit> <ab>Whore.</ab> <p>People resent anyone who won’t dress "nicely.” We defile their sanctified spaces.<lb/> "Irreverent!<lb/> It’s just a phase."<lb/> "When I was your age...</p> <p>I am not a string of phases. I am no age.<lb/> In childhood they taught me that acceptance and success would come only with conformity. But my acceptance of myself has come only through nonconformity. They call me selfish because I don’t want to validate their “need" for discretion and propriety, their need to belong. I answer that the incessant craving to be legitimate is the corrupting force in all of us.</p> <p>I don’t want to have to dress like a man to get in.<lb/> I’m not interested in looking like a Lady to receive sanction.<lb/> I’m tired of being fooled by flannel shirts.<lb/> I'm not a feminist because of my boots. </p> <p> What are we all trying so desperately to."get into” anyway?<lb/> Who wants to rent a room in a burning building? </p> <p> * During Catholic mass, the assembled chant “Mea culpa, mea culpa, mea maxima culpa” (through my fault, through my fault, through my most grievous fault) as they beat their breasts three times.</p> <p>Thank you Helen for your clothes, and Amy Sillman and Cynthia Carr for assisting in the photography, and Jonathan Katz, <title>Gay American History</title> (New York: Crowell, 1976), Bernard Rudofsky, <title>The Unfashionable Human Body</title> (Garden City, N.Y.: Anchor Books, 1974) and Jean Guitton, <title>Feminine Fulfillment</title> (New York: Paulist Press, 1965).</p> </div> </body> <back><p> Su Friedrich teaches photography to the women at Bedford Hills (N.Y.) Correctional Facility, is a freelance photographer and lecturer and a mem ber of the Heresies Collective.</p></back> </text> </TEI>
Connections 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Connections</title> <author>Miriam Schapiro</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</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>Patterns of Communicating and Space Among Women</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="18" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_018.jpg"/> <div type="essay"> <p> I have met women all over this country who love art. They were teachers or students at schools and museums where I came as a visiting lecturer, or where there was an exhibition of my work. Often as I talked about my work, explaining my idea of “connection” to them, I asked for a "souvenir” handkerchief, a bit of lace, an apron, a tea towel — some object from their past which they would be willing to have “recycled" in my paintings. I saw this as a way to preserve the history of embroidered, often anonymous works which are our "connection" to women’s past. I have used the pieces women sent me in these collage-paintings. — MIRIAM SCHAPIRO</p> </div> </body> <back> <p> Miriam Schapiro lives in New York City, is a painter and member of Heresies Collective. She will be teaching at the Tyler School of Art in Philadelphia in the spring of 1978. </p> </back> </text> </TEI>
Women's Traditional Architecture Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="https://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-model href="https://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="https://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Women's Traditional Architecture</title> <author>Elizabeth Weatherford</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>Issue 2: Patterns of Communication and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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"oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131837662#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131837662#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[4]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "1. Colin Turnbull, The Forest People (New York: Natural History\n\t\t\t\t\tLibrary, 1962), pp. 156-157." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131842931", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:18:42.931Z", "dcterms:modified": "2024-05-02T17:18:45.124Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131842931#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131842931#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[5]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "2. Edward T. Hall, Beyond Culture (Garden City,\n\t\t\t\t\tN.Y.: Doubleday, 1976), Chap. 5, passim." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131848425", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:18:48.425Z", "dcterms:modified": "2024-05-02T17:18:49.224Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131848425#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131848425#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[6]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "3. Patricia Draper,\n\t\t\t\t\t\"IKung Women,\" in Toward an Anthropology of Women, ed. Rayna Reiter (New York:\n\t\t\t\t\tMonthly Review Press, 1975), p. 94." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131854211", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:18:54.211Z", "dcterms:modified": "2024-05-02T17:18:55.301Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131854211#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131854211#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "4. Turnbull, pp.\n\t\t\t\t\t59-60." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131901363", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:01.363Z", "dcterms:modified": "2024-05-02T17:19:03.026Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131901363#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131901363#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "5. J.G. Kohl, Kitchi-Gami: Wandering Round Lake Superior (London,\n\t\t\t\t\t1860), p. 4." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131913036", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:13.036Z", "dcterms:modified": "2024-05-02T17:19:14.460Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131913036#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131913036#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[2]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "6. Alice\n\t\t\t\t\tMarriott, The Trade Guild of Southern Cheyenne Women,\" Bulletin of Okla- homa\n\t\t\t\t\tAnthropological Society (April 1956), p. 24." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131918482", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:18.482Z", "dcterms:modified": "2024-05-02T17:19:19.610Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131918482#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131918482#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[3]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "7. Jomo Kenyatta, Facing Mount Kenya, Re- print of original 1938\n\t\t\t\t\tedition (New York: AMS Press, 1976), pp. 80-81." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131923106", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:23.106Z", "dcterms:modified": "2024-05-02T17:19:24.315Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131923106#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131923106#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[20]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "8. Judith K. Brown, \"Iroquois Women: An Ethnographic\n\t\t\t\t\tNote, in Toward an Anthropology of Women, pp. 235-251" }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131928042", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:28.042Z", "dcterms:modified": "2024-05-02T17:19:28.939Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131928042#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131928042#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[24]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "9. Pierre\n\t\t\t\t\tBourdieu, \"The Berber House, or the World Reversed,\" excerpted in Rules and\n\t\t\t\t\tMeanings, ed. Mary Douglas (Baltimore: Penguin, 1973), p. 100." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131933296", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:33.296Z", "dcterms:modified": "2024-05-02T17:19:34.089Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131933296#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131933296#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[26]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "10. Two recently published books have begun the\n\t\t\t\t\tdocumentation of women in architecture: Doris Cole, From Tipi to Skyscraper: A\n\t\t\t\t\tHistory of Women in Architecture (Boston: press, 1973) and Susana Torre, ed.,\n\t\t\t\t\tWomen in American Architecture: A Historic and Contemporary Perspective (New\n\t\t\t\t\tYork: Wat- son-Guptill, 1977)." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData> </teiHeader> <text> <body> <div type="essay"> <pb n="35" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_035.jpg"/> <head>Women's Traditional Architecture</head> <byline>Elizabeth Weatherford</byline> <div> <p> Human culture has been viewed by history as the product of "mankind's" efforts. Most of the events and achievements chosen for posterity as significant have been dominated and determined by males. However, there are histories other than those of modern post-industrial nation/ states. In traditional societies, located in what is often called the Third World, women have played a crucial role in the formation of cultural features vital to human existence. One such area, not usually credited to women, is architecture. In traditional cultures, women are often the builders and owners of structures, providing shelter and creating the conditions for social interaction.</p> <p>Although I will use the "ethnographic present" in most of this article, many of the traditional non-state societies in North America and Africa on which I focus here no longer exist, or no longer exist in their original forms. Their structures differ vastly from those of modern states. Some of these societies are small bands of gatherers and hunters, some are semi-nomadic peoples who seasonally follow herds, and others pursue a form of farming called horticulture, where the local économy is self-sufficient and women are frequently the farmers.</p> <p>Initially victimized by colonization, virtually all those societies that remain are now undergoing "modernization.“ If we lose the histories of these cultures, we will also lose an important part of the history of women's roles in world culture, for in societies whose traditions remain intact, the roles women play are central to their cultures—not on the sidelines, where our culture seems to wish us to be. In light of this, contemporary feminists' identification and re-creation of "women's culture" can be seen not just as a protest against oppression, but as a recognition of the arbitrary denigration of the history of women's activities. The discovery that architecture is a traditional woman's art opens up the possibility for a new understanding of our role in the formation of human culture.</p> </div> <div> <head>Grass Houses</head> <p>Societies of gatherers and hunters lived in small bands, constantly moving within a relatively large territory from which they foraged for plants and animals. These groups, which include the (Kung of the Kalahari Desert in Namibia and the BaMbuti (Pygmies) of central Africa's Ituri Forest, bands in the Sahara Desert, Algonkian and Athabascan groups in North America, are intriguing in their social harmony and their knowledgeable, non-exploitative interaction with their environments. Women and men regard each other as equals. Among the BaMbuti, hunting is a joint effort, men care for babies and women enter public discussions.<ref n="1">1</ref></p> <p>In gathering societies women may provide up to eighty percent of the food and as an extension of their expertise in plants and fibers (with which they make nets), they are also the builders. The dwelling the women construct usually consists of a framework woven like an inverted loose basket, covered or thatched with available materials such as large leaves, bundles of grass or woven mats. These shelters share significant characteristics across cultures. They are flexible, often flooded with translucent light, and scented with the smoke of fires and fragrant floor coverings. They are round, ovoid or conical, with no edges or planes to interrupt the flow of space. Their size and shape maximizes physical and psychological contact among the dwellers. Anthropologists suggest that such human proximity is particularly conducive to intuitive and nonverbal communication, to the development of internalized cultural rhythms.<ref n="2">2</ref> In our Western cultures, such tacit synchrony is usually found only in mother-infant relationships, a vestige of what was once the nature of communication between both sexes and all ages.</p> <p>A freudian theorist might suggest that the organic nature of gatherers' dwellings is a cultural extension of the biophysical environment of the womb. But in fact, these shelters can be extremely open and unwomblike. They include unsheltered areas where the work of the household, such as plaiting mats and scraping skins, <pb n="36" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_036.jpg" /> takes place. The house life overflows into outdoor space, allowing the activities of its inhabitants to expand. Many gatherers dwellings are easily adaptable, and when not easily expanded (as in the hemispherical scherms of the !Kung) there is flexibility as to who inhabits them. Children do not have to sleep with their parents, and can either stay with their grandparents or make camp with other children of the same sex at either end of the settlement.<ref n="3">3</ref> Thus the gatherers' house is not a structure enforcing family isolation, but serves as a shelter of great social fluidity.</p> <p> In these mobile cultures land is not individually owned and no dwelling is permanent. Women possess the building know-how rather than the actual structures, which they may erect collectively. The building activity may be almost ritualized, as the "performer“ sets into motion a body of traditional knowledge shared with other women:</p> <p>Now she squatted down making her own home, driving the saplings into the ground with sharp thrusts, each time in exactly the same place, so that they went deeper and deeper. When she had completed a circle she stood up and deftly bent the fito over her head, twisting them together and twining smaller saplings across forming a lattice framework. Then she took the leaves we had collected and slit the stalks toward the end, like clothespins, hooking two or three of them together. When she had enough she started hanging them on the framework like tiles, overlapping each other and forming a waterproof covering. There were leaves left over when she had finished, so she let other women take them for their houses.<ref n="4">4</ref></p> <p>The dwelling in the gathering culture is the focal point of women's creative activities. Since it is usually constructed from materials that can be replaced from available natural sources, it also binds society to its natural environment.</p> </div> <div> <head>Desert Dwellings, Wigwams and Tipis</head> <p>Semi-nomadic peoples live some part of the year in relatively permanent camps when an adequate food supply is available — wild plants, such as the wild rice of the Great Lakes region, or those provided by temporary cultivation. Some semi-nomadic peoples follow herds of wild or domestic animals part of the year and spend the rest gathering and hunting, or trading. These societies are not sedentary because they or their animals must range for some proportion of their food and the basics for making material goods. Generally they inhabit arid desert lands or plains choked with grasses, where farming is difficult.</p> <p>The architecture of such semi-nomads grew out of forms developed within gathering societies. Certain structural features of the grass house remained essential. For semi-nomadic desert dwellers, such as the Pima and Papago of the American Southwest, the convenient raw materials for building might still be plant fibers, particularly where the women were highly skilled basketweavers and had developed ways of weaving fibers into other forms, such as cotton cloth or yucca-fiber sandals. Up until the twentieth century the Pima were dispersed in the winter and settlements were occupied only for a few months during a short growing season. The women built structures that mingled the style of mobile peoples with that of the ancient Southwest Pueblos. Their houses were grass but the interiors were slightly below ground. Sometimes earth was used to anchor the lower portion of the exterior wall, a feature which perhaps explains the evolution of the earth lodges built by the Navaho and by the Mandan further north.</p> <p>Another feature of grass houses is the tensile flexibility of the structure, which was later developed into the tent form. In the desert or plains it might be adjusted or even formed in relationship to wind patterns; the walls might be opened, or closed tightly, to adapt to the wide range of temperatures characteristic of these environments. The tent consists of a framework over which a tight covering is stretched; it may be low and rounded or tall and conical, but either shape, with its flexible covering, is perfectly adaptable. Tents also differ from grass houses in that the coverings, and sometimes the frames, are carried with the band as it moves. All the components of such tents, including those of the Tuareg, Algonkian wigwams and Plains tribes' tipis, are made by women — exterior and interior walls, floor coverings and frames. There is a traditional basic form, but the tent is by no means standardized. In each society wom-<pb n="37" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_037.jpg" />en have created subtle variations on the frame or the arrangement of tent flaps for ventilation. In the arid Atlas Mountains of North Africa, Tuareg women weave and embroider wool coverings for their tents. The frame has a number of possible shapes, demonstrating the interplay between individual choice and cultural tradition.</p> <p> Algonkian-speaking groups, originally inhabiting much of the Eastern United States, were pushed west to the Great Lakes region after the white invasion. They hunted, gathered, fished, collected maple sugar, gathered wild rice, and had gardens. Some, like the Kickapoo, constructed wigwams of frames covered by mats. Others, including the Ojibwa, constructed conical tents covered with thin sheets of birch bark sewed together with small roots until long enough to cover the sides. Ojibwa women cut the poles for the frames and made colorful mats from reeds to cover the walls, and to serve as carpets, beds and sofas. Softening, bleaching and dyeing these reeds was a complicated process. The completed mats were carried from site to site. Early white observers were greatly impressed with the women's strength, as shown by this comment from 1855:</p> <quote>It may be easily supposed that these squaws, owing to their performing all the work of joiners, carpenters and masons have blistered hands. In fact, their hands are much harder to the touch than those of the men; and indeed their entire muscular system is far more developed and they are proportionately stronger in the arm.<ref n="5">5</ref></quote> <p>Similarly, the tipi-builders of the Great Plains were responsible for all aspects of the construction of their dwellings. They developed one of the most striking forms in women's vernacular architecture. The Plains societies were mobile; they moved from winter hunting camps to large summer ceremonial villages and the women carried not only the skin coverings and interior liners, but the poles with which the tipi was erected as well. These were hard to find on the Plains, and made a useful sled (travois) for carrying household property and people over long distances.</p> <p>When more permanent materials were used for making dwellings, women often cooperated in their manufacture. In making an ordinary tipi, the owner scraped and tanned the hides from which the cover would be made, frequently using treasured tools which she had inherited from the women of her family. Then a female specialist was called in to cut and fit the skins, and neighbors gathered to but the traditional sacred designs and high standards of work are still rigorously adhered to.</p> <p>The Quillers' Society met when a woman of the community had vowed to undertake a project. An older woman held the society's medicine bundle, filled with objects of spiritual power, and with the vower, performed the rituals necessary for the work to begin and end. She would instruct the younger woman in needlework and the society's ceremonies; then the entire group started work together. Afterwards the woman who had vowed the task continued alone, although she could consult with society members whenever a problem arose.</p> <p>Men and children were not allowed to touch or see the work until it was completed, when members of the society displayed the piece to the public. Following a feast, the women whose work was on view became a member of the society, one of the most respected institutions of her world. Among the Cheyenne a woman's achievements in decorative craft were valued as highly as a man's deeds in war. Moreover, the Quillers' Society:</p> <quote>...was spoken of as being similar in help stitch them together with sinew. Making a tipi could also fulfill a sacred function. Plains women formed special associations, notably the Cheyenne Quillers' Society, for the ceremonial decoration of tipis and their interior walls with dyed porcupine or bird quills. More recently these tipis have been made from canvas and decorated with glass beads, conception and attitudes to the Sacred Arrows [most sacred Cheyenne men's society), one very important difference in behavior may be noted. During the four-day arrow ceremony no talking, joking, or laughing was allowed in camp. The making of the sacred beading was attended by a good deal of joking, teasing, and fun. While the cere- <pb n="38" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_038.jpg" /> monial character of the work was recognized, it interfered in no way with the social pleasure of the occasion.<ref n="6">6</ref></quote> </div> <div> <head>Female Farmers</head> <p>When societies obtain their food predominantly from horticulture, it is practical for the people to settle in more permanent villages close to their fields. Jobs are traditionally assigned to one sex or an other. Sometimes men and women cultivate different crops and even speak differ- ent languages.</p> <p>Even space within the village might alsco be divided along sex lines, and the architecture reflects and affects sex-specialized tasks. Women generally dominate culti- vation but building tasks are specified and divided according to sex. In much of Africa the characteristic building form is round, with a gabled and thatched roof and walls made of wattle and daub. Each component is made separately by men or women. Male and female tasks vary from society to society. Among the Kikuyu of Kenya, men construct the walls and women the roof. After the men finish their work, they go to the feast celebrating the house building. They goad the women, calling them "slow chameleons“ who will miss the feast if they don't hurry. The women, who are working on the thatching, typically respond in chorus:</p> <quote>You men, you lack the most important art in building, namely thatching. A wall and an empty roof cannot protect you from heavy rain nor from the burning sun. It is our careful thatching that makes the hut worth living. We are not chameleons but nyoni ya nyagathanga small songbirds known for their beautiful nests).<ref n="7">7</ref></quote> <p>Separation of the sexes does not necessarily serve as a foundation for male domination. Cultural practices that encourage one sex to feel communal solidarity and to express itself in opposition to the other seem to yield much autonomy to both men and women as groups, indicated by the development of separate economic, social or ritual spheres outside of the activities that demand the involvement of both sexes. The position of women is particularly strong in matrilineal societies, where they are leaders of clans and owners of the fields, of harvest, food storage and dwellings. The longhouse of the Iroquois-speaking tribes of North America, built until the mid-nineteenth century, was controlled by women, and was a remarkable example of communal living. The longhouse served as the center of Iroquois social life. Ritual performances took place there and it was both dwelling and workplace for the many families of the clan to whom it belonged. By controlling the longhouse and the food stores, women played a vital part in the political affairs of the tribes.<ref n="8">8</ref> Through manipulation of supplies they could encourage or prevent war parties. The senior women, who controlled the longhouse, also played an important role in social policy decisions. They appointed spokesmen for the clan in village and tribal councils, and they could also "remove the horns," that is, remove those spokesmen from office if they did not do their job according to the women's interests. The longhouse stood as a symbol of the society at large; the confederation of the Iroquois tribes recognized the significance of this woman-owned institution by naming themselves The League of the Longhouse.</p> <p>There are few matrilineal cultivating societies remaining in the world. One of their striking characteristics was that they were subsistence societies — that is, no wealth was accumulated from year to year. Although the source of food and the type of settlement differed, they shared this feature with the gathering peoples mentioned earlier. The change from subsistence society to one in which it is possible to accumulate wealth frequently comes with the addition of livestock or herd animals to horticultural life. Such a change in process was observed in the early nineteenth century among the Mandan, a cultivating society living on the North American Plains. Basically, the Mandan lived two life styles. The matrilineal one dominated the life of the vilage, where women were the farmers and owned and built the houses; the second was patrilineal, occurring during the sum- mer months, when some of the women tended the fields, while most of the men and a few women went into the Plains to hunt buffalo. This resulted in an important division of economic tasks and calendars —the women living by an older agricultural calendar, and the men by the seasonal migration of the buffalo herds.</p> <p>In the Mandan village, the lodges the women constructed were admirably suited to the climate of the Great Plains. They may have originated as structures like those of the Pima. Walls of willow saplings and brush and a final layer of earth were erected over a wooden frame. The walls were built quite thick and the lodges were cool in summer and warm in winter. Quite possibly these were the prototypes for the sod houses built by pioneers settling in the Plains in the nineteenth century. </p> <pb n="39" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_039.jpg"/> <p> If the Mandan had survived the epidemic of smallpox which destroyed the tribe in 1840, it is possible that they would have become patrilineal, giving up cultivation altogether to pursue the buffalo as other Plains tribes did. In patrilineal societies, as we have seen with the Cheyenne, the woman's position is secure when she continues to control important cultural or economic features. Frequently these two spheres are connected, as in societies where women have a specialized architecture for their own activities. The Igbo society in Nigeria is patrilineal, but with the exception of the yam, all produce is considered women's property; they sell anything left over from feeding their families, becoming successful traders. A century ago when this marketing activity was increasing, the women also began to construct ritual sanctuaries in groves outside the villages. Called mbayo houses, these were maintained by a cult of the earth goddess Ala, and were decorated with male and female symbols and erotic figures.</p> <p>In patrilineal societies women may have certain economic powers; if so, they usually own their own houses within the compounds of their husbands' families. But when men control agriculture and herding, or have access to a modern cash market, the domicile and all public buildings fall totally under male control. Men erect the structures; if they are dwellings, women may decorate the walls. In Mediterranean villages in Spain, Greece and the Balkans, and in Islamic villages of the Near East and Africa, woman is associated with the domicile as its caretaker, not as its owner. The isolation of women in the home is, of course, a function of wealth. In poorer cultures the woman may be forced to work for the family's survival, but in most places, she is supposed to remain in the home. In Spain, she decorates her house with whitewash as a symbol of purity —both of the domicile and of its keeper. When a woman's life is relegated to the private sphere of society, her significance in the culture appears merely symbolic. She is a possession to be protected. In Berber villages, she weaves inside her husband's house; the loom is not considered her tool, but a symbol of male protection. Sitting behind it, she is shielded from the door and from the street life that lies beyond it.<ref n="9">9</ref> Thus women are isolated from the world of confrontation, conversation and public interaction.</p> <p>With the advent of industrialism and the wage economy in any society, separation of home life from public work becomes firmly entrenched. The many roles of women are reduced to motherhood and housekeeping. The number of craftswomen, artists, businesswomen and builders decrease. Separation of home from business premises makes it more difficult for women to share in a work world dominated by men. Machine-made products limit the type of paid work that can be done in the household. Control over the design and construction of buildings passes into the hands of "professionals. Women's creativity is confined to planning interiors and obtaining or making interior decorations according to mass-produced guides like women's magazines.</p> <p>Ironically, this vestige of woman's importance as architect and builder is used against her when psychology and popular belief insist that women are by nature' oriented to interiors, and interiors alone. The home, as the exclusive province of women, has become a significant cultural image on many levels — almost an archetypal reflection of the privatization of women's lives and the resulting obsession with house/home. So now we paint, write, sculpt our houses; so far, too few of us are creating architecture.<ref n="10">10</ref> In learning more about the options available to women in other cultures, we become more conscious of our own untapped potential.</p> </div> </div> </body> <back> <head>Notes:</head> <listBibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/252882">1. Colin Turnbull, The Forest People (New York: Natural History Library, 1962), pp. 156-157.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/1818029">2. Edward T. Hall, Beyond Culture (Garden City, N.Y.: Doubleday, 1976), Chap. 5, passim.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/995103118">3. Patricia Draper, "IKung Women," in Toward an Anthropology of Women, ed. Rayna Reiter (New York: Monthly Review Press, 1975), p. 94.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/252882">4. Turnbull, pp. 59-60.</bibl> <bibl resp="HathiTrust" ref="https://catalog.hathitrust.org/Record/000560270">5. J.G. Kohl, Kitchi-Gami: Wandering Round Lake Superior (London, 1860), p. 4.</bibl> <bibl>6. Alice Marriott, "The Trade Guild of Southern Cheyenne Women," Bulletin of Oklahoma Anthropological Society (April 1956), p. 24.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/18400546">7. Jomo Kenyatta, Facing Mount Kenya, Reprint of original 1938 edition (New York: AMS Press, 1976), pp. 80-81.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/1501926">8. Judith K. Brown, "Iroquois Women: An Ethnographic Note," in Toward an Anthropology of Women, pp. 235-251</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/852158789">9. Pierre Bourdieu, "The Berber House, or the World Reversed," excerpted in Rules and Meanings, ed. Mary Douglas (Baltimore: Penguin, 1973), p. 100.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/803833">10. Two recently published books have begun the documentation of women in architecture: Doris Cole, From Tipi to Skyscraper: A History of Women in Architecture (Boston: press, 1973) and Susana Torre, ed., Women in American Architecture: A Historic and Contemporary Perspective (New York: Wat- son-Guptill, 1977).</bibl> </listBibl> <div><p>A native of Tennessee, Elizabeth Weatherford is an anthropologist on the faculty of the School of Visual Arts.</p></div> </back> </text> </TEI>
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{ "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/mujer_peruana_0_0_0_0.xml?note_annotation_20230423150227068#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/mujer_peruana_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/mujer_peruana_0_0_0_0.xml?note_annotation_20230423150227068#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/note" } }, "oa:hasBody": { "@type": "cwrc:Note", "dc:format": "text/plain", "rdf:value": "Excerpts (slightly rearranged) from the booklet of this name distributed by\n\t\t\t\t\"Accion para la Liberacion de la Mujer Peruana,\" April 15, 1975, Lima, Peru. This\n\t\t\t\ttext was taken from the first half of the booklet; the second half deals with a\n\t\t\t\tspecific program for practical revolutionary work. The following are listed as the\n\t\t\t\tgroup's coordinators and \"honorary members“: \n\t\t\t\tCristina Portocarrero Rey, Ana María Portugal, Amor Arguedas, Dorelly Castañeda, Beatriz Ramos, Lucía\n\t\t\t\t\tParra, Margot Loayza, Edith\n\t\t\t\t\tAlva, Carmela Bravo, Dora\n\t\t\t\t\tPonce, Flor Herrera, Leo\n\t\t\t\t\tArteaga,\n\t\t\t\tDiana Arteaga, Dora Guerrero,\n\t\t\t\t\tBertha Vargas, Inés Pratt,\n\t\t\t\t\tAdela Montesinos, Estela Luna\n\t\t\t\tLópez." }, "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": 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What Do We Want? What Do We Do?</title></head> <note>Excerpts (slightly rearranged) from the booklet of this name distributed by "Accion para la Liberacion de la Mujer Peruana," April 15, 1975, Lima, Peru. This text was taken from the first half of the booklet; the second half deals with a specific program for practical revolutionary work. The following are listed as the group's coordinators and "honorary members“: <persName>Cristina Portocarrero Rey</persName>, <persName key="Ana María Portugal" ref="http://www.wikidata.org/entity/Q131681187">Ana María Portugal</persName>, <persName>Amor Arguedas</persName>, <persName>Dorelly Castañeda</persName>, <persName>Beatriz Ramos</persName>, <persName>Lucía Parra</persName>, <persName>Margot Loayza</persName>, <persName>Edith Alva</persName>, <persName>Carmela Bravo</persName>, <persName>Dora Ponce</persName>, <persName>Flor Herrera</persName>, <persName>Leo Arteaga,</persName> <persName>Diana Arteaga</persName>, <persName>Dora Guerrero</persName>, <persName>Bertha Vargas</persName>, <persName>Inés Pratt</persName>, <persName>Adela Montesinos</persName>, <persName key="Estela Luna López" ref="http://www.wikidata.org/entity/Q107596196">Estela Luna López</persName>.</note> <byline>Accion para la Liberacion de la Mujer Peruana</byline></div> <div><p> We are a group of women who have organized to study, work and fight for our liberation, and especially to work with and for our sisters who suffer a double oppression: in being women and in belonging to a social sector which has been historically dominated and exploited. </p> <lg> <l>The struggle of women is integrally bound to the struggle of working-class women.</l> <l>No! to Mother's Day.</l> <l>Yes! to Peruvian Woman's Day.</l> <l>Less homage, more rights.</l> </lg> <p> Why are we named Action for the Liberation of Peruvian Women?</p> <p>Because we want to carry out our work without euphemisms or timidity—in short, without masks or half-measures. It is correct to call actions which are destined to radically change our condition by their rightful name: liberation.</p> <p>Ours is simultaneously a study-group and an action-group. We are by no means a political party. We do not aspire to be an institution with traditional hierarchic structure. We reject verticalism, dogmatism and leadership positions. Ideologically, we align ourselves within free Humanist Socialism and adopt the best of its tenets conducive to female emancipation. </p> <lg> <l>Without national liberation, there can be no women's liberation. Fight!</l> <l>Only reactionary men are our enemies!</l> <l>Sisters, Unite with us!</l> <l>Liberation is action!</l> </lg> <p> Because we cannot separate our specific problems from our socio-economic context, all our work strategies are adapted to the actual conditions of our country. We do not copy foreign movements because we are aware of living in a Third-World Society where imperialism is our most powerful enemy. Therefore we express solidarity with other liberation struggles on this continent, as well as with other women and men fighting for national liberation in their respective countries.</p><p/><p/><p/><p/><p>To analyze the historic and social origins of our condition is to revolutionize our understanding of the world!</p> <p> We believe our liberation is inseparable from that of other oppressed groups—workers and peasants. The liberation of our brothers will never be realized while their women—workers and peasants too—are second-class citizens, and while prostitution is seen as a "necessary and insuperable evil."</p> <p>Consequently we do not believe in individual liberation. The fact that some of our sisters are being promoted to important public positions or are gaining access to professional and technical careers in increasingly greater numbers has nothing to do with liberation. We believe that only structural change will produce real "women's liberation."</p> <p>So our position, our actions, are aimed at contributing to the process of transformation taking place in our country, at helping it strengthen and advance without obstacles. We support this Revolution because it is anti-imperialist and anti-oligarchic, and because it makes possible our own liberation.</p> <p>What do we call Cultural Revolution?</p> <p>The process by which the old system is entirely questioned and revised: its values, behavior, habits, customs, institutions and forms of communication. A Cultural Revolution must reject all individualism, engendering a collective way of life harmonious with group ideals, while resistant to group egoism. A Cultural Revolution must combat stereotypical attitudes like "maleism" (<emph>machismo</emph>) and "femaleism" (<emph>hembrismo</emph>)—brute maleness and coy femaleness. A Cultural Revolution must change patriarchal institutions like bourgeois marriage and the nuclear family—two characteristic expressions of capitalism and the division of labor. Finally, a Cultural Revolution's ultimate goal must be to <emph>change life</emph>, to culminate in a free and humane socialism. </p> <lg> <l>Wanting to shape your own destiny is wanting to transform injustice.</l> <l>Wanting to transform injustice is being political.</l> </lg> <p> What do we want to be liberated from? From the social, economic, political, cultural and moral conditions imposed by a patriarchal capitalist society which assigns us secondary roles, condemning us to live as marginal beings passively supporting and "servicing" men.</p> <p>From reformist paternalism which perpetually treats us as legal minors, because it reduces <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_102.jpg" generatedBy="human" xml:space="default" n="100"/> everything to the creation or amplification of protectionary laws that are pretexts to mask our real situation of dependence on men and second-class citizenship.</p> <p>From all kinds of ideological pressure, expressed in the terror most of us feel about joining feminist organizations, under the assumption that if we do so, we must be "against men." From the fear of being ridiculed or insulted as "tomboys," "whores," or "dykes."</p> <p> Statistics affirm that few women are workers.</p> <p>Out of the home and onto the production lines! Working women also carry the burden of the home!</p> <p>Communal eating-places, day-care centers and laundries—to create new jobs and lessen the load of unpaid workers in the home.</p> <p>Being a mother and being fulfilled shouldn't be a contradiction.</p> <p>We want family planning in hospitals, accessible to everyone.</p> <p> Against whom must we struggle?</p> <p>Against the Patriarchal-Capitalist System which determines an unjust society, fostering exploitation, abuse, discrimination, hunger, wars and massacres; a system which transforms woman into a beast of burden (if she is proletarian), or into a luxury sex-object (if she is bourgeois). Capitalism has also reviled love, reducing male-female relationships to economic factors or to mere social appearances. It is a system in which children are the responsibility of individual couples and, in actual practice, of the women alone.</p> <p>Against all sexist ideology which gains by reinforcing our situation as "different" and which is expressed in the cult of "femininity"—sweetness, weakness, virginity and motherhood as woman's only aim and destiny.</p> <p>And finally, against all threats to the liberation front whose ultimate goal is the <emph>Monolithic Unity of Revolutionary Women</emph>, and of those men who integrally support the cause of our liberation.</p></div> </body> </text> </TEI>
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"oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q467961", "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": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb n="101"/> <head><title>WHAT IS LEFT?</title></head> <byline><persName><persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName></persName></byline> <lg> <l>AFTER THE BARS AND THE GATES AND THE DEGRADATION</l> <l>WHAT IS LEFT?</l> <l>AFTER THE LOCK INS AND THE LOCK OUTS AND THE LOCK UPS</l> <l>WHAT IS LEFT?</l> <l>I MEAN, AFTER THE CHAINS THAT GET ENTANGLED IN THE GREY OF ONE'S MATTER</l> <l>AFTER THE BARS THAT GET STUCK IN THE HEARTS OF MEN AND WOMEN</l> <l>WHAT IS LEFT?</l> <l>AFTER THE TEARS AND DISAPPOINTMENTS</l> <l>AFTER THE LONELY ISOLATION</l> <l>AFTER THE CUT WRIST AND THE HEAVY NOOSE</l> <l>WHAT IS LEFT?</l> <l>I MEAN, LIKE, AFTER THE COMMISSARY KISSES</l> <l>AND THE GET-YOUR-SHIT-OFF-BLUES</l> <l>AFTER THE HUSTLER HAS BEEN HUSTLED</l> <l>WHAT IS LEFT?</l> <l>AFTER THE SAD FUTILE MANEUVERS</l> <l>AFTER THE SHRILL AND BARREN LAUGHTER</l> <l>AFTER THE CONTRABAND EMOTIONS</l> <l>WHAT IS LEFT?</l> <l>AFTER THE MURDERBURGERS AND THE COON SQUADS AND THE TEAR CAS</l> <l>AFTER THE BULLS AND THE BULLPENS AND THE BULLSHIT</l> <l>WHAT IS LEFT?</l> <l>I MEAN LIKE, AFTER YOU KNOW THAT GOD CANT BE TRUSTED</l> <l>AFTER YOU KNOW THAT THE SHRINK IS A PUSHER</l> <l>THAT THE WORD IS A WHIP, AND THE BADGE IS A BULLET</l> <l>WHAT IS LEFT?</l> <l>AFTER YOU KNOW THAT THE DEAD ARE STILL WALKING</l> <l>AFTER YOU REALIZE THAT SILENCE IS TALKING</l> <l>THAT OUTSIDE AND INSIDE ARE JUST AN ILLUSION</l> <l>WHAT IS LEFT?</l> <l>I MEAN, LIKE, WHERE IS THE SUN?</l> <l>WHERE ARE HER ARMS AND WHERE ARE HER KISSES?</l> <l>THERE ARE LIP PRINTS ON MY PILLOW</l> <l>I AM SEARCHING</l> <l>WHAT IS LEFT?</l> <l>I MEAN, LIKE, NOTHING IS STANDSTILL AND NOTHING IS ABSTRACT</l> <l>THE WING OF A BUTTERFLY CANT TAKE FLIGHT</l> <l>THE FOOT ON MY NECK IS A PART OF A BODY</l> <l>THE SONG THAT I SING IS A PART OF AN ECHO</l> <l>WHAT IS LEFT?</l> <l>I MEAN, LIKE, LOVE IS SPECIFIC</l> <l>IS MY MIND A MACHINE GUN?</l> <l>IS MY HEART A HACKSAW?</l> <l>CAN I MAKE FREEDOM REAL? YEAH,</l> <l>WHAT IS LEFT?</l> <l>I AM AT THE TOP AND BOTTOM OF A LOWER-ARCHY</l> <l>I AM IN LOVE WITH LOSERS AND LAUGHTER</l> <l>I AM IN LOVE WITH FREEDOM AND CHILDREN</l> <l>LOVE IS MY SWORD AND TRUTH IS MY COMPASS</l> <l>WHAT IS LEFT?</l> </lg> </body> <back> <p><persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName>/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>; courtesy of Assata Shakur Defense Committee.</p> </back> </text> </TEI>
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Paris-based collective consisting of <persName key="Martine Aballéa" ref="http://www.wikidata.org/entity/Q25873672">Martine Aballea</persName>, <persName key="Judy Blum Reddy" ref="http://www.wikidata.org/entity/Q108526436">Judy Blum</persName>, <persName key="Croiset, Nicole 1950-...." ref="http://viaf.org/viaf/229710280">Nicole Croiset</persName>, <persName>Mimi</persName>, and <persName key="Nil Yalter" ref="http://www.wikidata.org/entity/Q19502275">Nil Yalter</persName>, who include among their skills video, painting, sculpture, drawing, and poetry; and among their nationalities French, Turkish, Canadian, American. This work on La Roquette began when Judy and Mimi met through their children at a day-care center. Judy mentioned her collaboration with Nil on the theme of living conditions in each of Paris' 20 arrondissements, for which the prison had been suggested to represent the 11th administrative arrondissement. Mimi, it turned out, had been detained there, and she offered an elaboration of her experiences. Martine, whose writing is based on her own memories and dreams, also joined the project, while Nil offered her use of video to universalize the narrative elements, in collaboration with Nicole, who concentrated on the esthetic/sociological aspects of the research. The result is a visual representation of the prison and of the personal experiences of many women, centered around the group's increasing consciousness of the meaning of Mimi's story: "Bonds of friendship, constantly confirmed, played the most cohesive role on the level of the work itself, resulting in the combination of apparently disparate means connected to each other by mutual understanding within the group." The following narrative accompanies a videotape from which most of the images are taken.</p> <p>The other women were mostly in the prison for bad checks, prostitution, or, like me, for robbery. There were also some murderers; I knew one in my workshop. Another had been accused of stealing a painting. The first days we asked each other, but afterwards we didn’t really say "What are you doing here?" except to our best friends. </p> <p> These women came from all classes. In general, relations between inmates were pretty good. There were a lot of lesbians; the nuns' attitudes toward them was to turn a blind eye. They couldn't not have known about it. The girls hid it a little—and even a lot—but it was too obvious. As for me, I was not a lesbian, but I nevertheless flirted here and there to pass the time. It could have certain advantages: when you didn't have any money, your friends could buy things at the canteen for you. Or, at one time, I went out with an English girl who was the favorite of a nun who didn't like me, and from that day on, that nun was very nice to me, and I got certain favors I shouldn't have had. </p> <p> But still there were lots of fights, sometimes for no reason at all, just because the girls felt like fighting. Sometimes it was a question of class. Some girls felt superior to others: it wasn't a question of money, but of intellect. So sometimes one girl would insult another, or feel insulted, and there would be a fight. We were a whole gang; some had to be in charge. And if you knew how to fight, you were respected. There was nothing you could do about it.</p> <p> Sometimes fights started over cigarettes. For example, I got into a fight with a girl over that. Every Wednesday we had the right to buy four packs of cigarettes at the canteen. This girl didn't smoke, so, with my money, I had bought her something she needed, and she, with her money, was going to buy me four more packs, which would have made eight for the week. She bought me the cigarettes, but another girl told her to give them to her. She was very weak and she didn't dare refuse. That night I waited for her in her cell and I beat her up. The week after that she bought me cigarettes, and she didn't even ask me for money. Afterwards—it's stupid, she was a coward—she would pick up butts in the yard for me, when I really didn't expect that from her. When the other girls saw that, they all turned against her. When I saw that, I stood up for her, because I don't like to take sides. I'd hit her a little, but I didn't have a grudge against her.</p> <p> Another time there was a fight in the mess hall, in front of the nun. There was blood on the floor: one girl had had a nosebleed, and the other had been hurt elsewhere. I was drawing; with my finger I picked up some drops of blood and put them on my drawing. </p> <p> But there was also a feeling of solidarity among the inmates. One time, for example, a girl had been punished and locked up in the mess hall toilets. I didn't know what she had done, I don't even know if she had really done anything; in any case it was totally unjust to lock her up like that. So, with my friend, I climbed onto the ledge over the mess hall door and we said that we would stay there until they let this girl out. Normally we should have done two weeks in the cooler for that, but we didn't get anything. We would have done it anyway because it was unjust.</p> <p>Or one day a girl gave me a little piece of candle about two inches long. We were forbidden to have candles, but there were a lot of things like that that went around the prison. I don't know how she got it; that was the sort of question you didn’t ask. She gave it to me because she knew that I liked to read.</p> <p>We also managed to pass notes from cell to cell by what we called the "yoyo" system. You tied the note to a piece of string and you put it through the window. We did that for certain girls who were in the cooler when we were in the yard. We would send them a note <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_040.jpg" n="38"/> from their best friends or something like that.</p> <p>As for the nuns, apart from some who were especially mean, they were mostly indifferent. But they had, of course, their favorites. It was a question of personality: they liked the docile inmates. In the beginning they didn't like me because I was stubborn and rude to them. Afterwards, I sometimes behaved better. But in any case, being with the English girl, I could do things that were forbidden and not get punished. Sometimes, for example, I would go into the yard to pick up butts that the richer girls had left; we weren't allowed to do that other than at recess. Or I tried doing all kinds of things so I could go to the cooler, because l had a friend who sang in church and in the cooler there was a lot of echo. But despite all I did I never got sent, while some girls did nothing at all and got sent right away.</p> <p>Down in the cooler you were isolated from everybody. You got no mail or visits. You never left your cell, except once a day when you had a walk, alone, in the yard. You only had one meal a day which was brought to you in your cell.</p> <p>Generally speaking, it took a certain amount of time to make friends. I didn't have this problem because there were already two people there whom I knew when I arrived. But for the others who had no soap, no handkerchiefs (the prison gave you nothing, not even sanitary napkins; all they gave me when I came in was a rag to wash myself with), if they weren't resourceful, if they didn't get some friends to help them, they couldn't make it. You had to work about ten days before having enough money to buy things at the canteen.</p> <p>The money that you made working, making key rings, was only just enough to buy cigarettes. You were paid 80 centimes (15 cents) for one hundred key rings, about a day's work. Those who worked really fast managed to make two hundred. I started working the second day after my arrival, but I lost the tool I had been given. I got yelled at by the nun, and I saw that it was badly paid, so I stopped. Instead, I spent my days reading. I could do this because I was not sentenced yet, while those who were had to work. The catalogue from the library was passed in the workshop and we had the right to two books a week; I would ask some girls who didn't read to order some for me. I read everything—<persName key="Pearl S. Buck" ref="http://www.wikidata.org/entity/Q80900">Pearl Buck</persName>, books on explorations. I also spent a lot of time drawing, and sometimes I would go out. My seat was at the end of the workshop, near the door, so it was easy for me to go out in the yard when the nun wasn't looking.</p> <p>The money that you had on you on entering the prison was kept; you could only use it in the canteen. Some inmates received money orders; many of them, actually, got money. As for me, my brother <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_041.jpg" n="39"/>sent me a hundred francs (20 dollars) and a little money that I had left in a book at my mother's. But for those who had no money at all, the only way to get any was to work.</p> <p>At the canteen you could buy pencils, letter paper, envelopes, toilet articles, or wool. Some knitted; it was winter and it was necessary if you didn't have any clothes. You could also buy french fries, puddings and prepared dishes that you could have on Sundays. We couldn't have newspapers, but we could buy magazines like <title key="Jours de France" ref="http://www.wikidata.org/entity/Q3187102"><emph>Jours de France</emph></title>.</p> <p>About these magazines—we bought them for the recipes that were in them. Often there were pictures with the recipe, so we would tear them from the magazine and eat them. For example, if you liked salad, you would eat pictures of salad. We also ate pictures of chicken, cakes, or things like that.</p> <p>At the meals we got mostly starchy food—potatoes, beans, or cauliflower; there was also bread. They gave us meat, but it was very tough. In fact we couldn't cut it with the blunt children's knives that we bought at the canteen. We ate it with our hands, tearing it with our teeth. At the end of the meal—which had been served by inmates—we did our own dishes. We had brought our bowls and our cutlery to the mess hall in the cardboard boxes that we took everywhere with us, and we went in little groups to wash them with cold water. To wipe them, l used the rag they had given me when I came in...</p> <p>About twice a week we could bring back up to the cells the rice pudding we had had for dessert at supper. I loved this and often exchanged two cigarettes for a bowl. We went up two by two, and silently. If we talked, the nun made us stop until we were silent again. Between the time we went up and the time we went to bed there was about half an hour, when we had the right to stay near the stove and toast pieces of bread. We talked, or we sang; I had a friend who sang very well, and we gathered around her. She sang some of <persName>Adamo</persName>'s songs, but also some she had written herself, like one about the nuns to the tune of <title key="De profundis morpionibus" ref="http://www.wikidata.org/entity/Q3020467"><emph>Morpionibus</emph></title>. She also sang in church; she had spent years in a religious boarding school and she knew the whole mass in Latin...It was forbidden to sing in the cells once the doors were closed, but we did it anyway. We all sang together. The nuns couldn't put us all in the cooler; they contented themselves with yelling into the void.</p> <p>On our beds we had the right to three blankets—and no more—and two sheets. In summer it might be enough, but in December I found another blanket when one of the girls in my cell left, but it was <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_042.jpg" n="40"/>taken away in a search. The heat was provided by a stove in the hall; there was one stove for forty cells. One girl in my cell had accumulated several cardboard boxes; for a while she used them as storage space. Then one night when all the doors had been locked and the lights turned out, she set fire to her boxes to get warm. A nun realized this and came to ask what was going on. We both pretended to sleep, but in the end I lifted my head and told the nun that I didn't know anything, that I hadn't seen anything, and that I couldn't tell her anything else.</p> <p>It wouldn't stick: I was all alone with the other girl and I was saying that I hadn't seen anything. The next day the girl I was friends with said that I couldn't have done it. She knew me and she knew that I didn't have bizarre ideas like that. The other girl did two weeks in the cooler, but I could have gone too because I hadn't said anything....</p> <p>Every week there was a shower session. It was in cubicles that didn't close, and there were three of us in each cubicle. The water ran sometimes too hot, sometimes too cold. When it stopped, everyone had to be through, and even if your head was full of soap, there was nothing you could do about it. You had to find a way to rinse yourself with cold water afterwards; sometimes when you finally got a chance to do it, your head was already half dry.</p> <p>As for clothes, pants were forbidden. Men were banished from our environment and the nuns would say "Stop wriggling!" when we saw workers from Fresnes (men's prison). We weren't supposed to look at them. We had to wear dresses or skirts. When I arrived, I was wearing pants, so to replace it they gave me a burlap dress. In the beginning I didn't have any other clothes; I wore it night and day. I couldn't wash it and until I got other clothes, my dress stayed dirty....One girl had made herself a skirt from a blanket, so she went to the cooler. It was a beautiful skirt and it was a long time before they realized what she had done. I don't know where she found the needle and thread; they were among the things that circulated....The sheets and rags which had been given to us were washed in the linen room. The linen maids, like those who served the meals, were inmates who had been there a long time and who had won the trust of the nuns. The sheets were changed about once a month; it was far from ideal when there were lice.</p> <p>During my stay there was an epidemic of lice. The nuns told us to go to the kitchen and ask for vinegar, and we put it on our heads. When it was dry we put on some powder, and then a scarf; we stayed like that for three days. If you had lice it was considered bad and no one approached you any more. One of the nuns made fun of me; she said, "If you washed every day..." or something like that. I told her that she had surely had them before me. It was the first time in my life that I had them, so....</p> <p>The cells were searched pretty often, sometimes when we were there, but mostly during the day when we were in the workshop. The nuns looked for knives and candles we had gotten by exchange, or other things we weren't allowed to have. They also looked for mail between inmates; we had the right to write letters to each other, but not love letters. Once one of the nuns—a young one who must have been under thirty—wrote to one of my friends. She told her that she liked her and that she would like to have a closer relationship with her. The letter was found and the nun in question was expelled. This sort of thing happened from time to time.</p> <p>Everything we received from the outside was also searched. We received our packages all cut up and opened. All our letters were read, those that we got as well as those we sent. Some had practically nothing in them, but they couldn't go through because they were too long. People wrote to us with the smallest writing possible because one page, written very small, went through, but 2 pages, written in large letters, didn't. As for the letters that we wrote, everything concerning prison life, the nuns, or what we ate, was censored. We could talk about the books we had read, and a minimum about what we did, but that was all. In general, what went through or not depended on the person who read the mail. Some letters that shouldn't have gone through went anyway, and vice versa.</p> <p>We were also searched when we left the prison. You couldn't take out anything that might be a souvenir. One of my friends, for example, had made a drawing of a little girl taking water in her hand to offer a doe; they didn't let her take her drawing out. In these searches you couldn't really hide anything, and what was least likely to be found was what wasn't hidden. In the end they looked more often into the girls' vaginas to see if they had hidden letters than in the luggage. As for me, I had certain drawings and papers which normally I wouldn't have been allowed to take out. I just left them with my things and they weren't even seen.</p> <p>It was on the eve of my departure that they told me that I was coming out. Until then I had no idea how long they were going to keep me. I could have gone out on probation before, but only on condition that they tell my mother. I preferred that they didn’t. Once out, I didn’t have the right to write to my inmate friends who stayed. </p><p>Sundays were different from other days. In the morning, some went to church and the others stayed locked up in their cells, but we could go into our friends' cells. Afterwards we did the cleaning up.</p> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_043.jpg" n="41"/> <p>That day we didn't work, and we could sit where we liked in the workshop-mess hall. The nuns put the radio on, but they turned it off as soon as the news came on. They didn't let us know what was going on in the outside world. To pass the time we played games. For instance, we played truth games. We asked questions about incidents that had happened a few days before and about which we hadn't managed to find out the truth. The girls were generally honest; you couldn't lie in that game, otherwise you didn't play. But the biggest pastime was cards—Tarot, Belote. Some of them were played with real cards that some girls had managed to smuggle in. The others had been made with empty packs of Gitanes on which we had drawn.</p> <p>Some girls tattooed themselves. They would take ink from ball point pens and mix it with cigarette ash. This way they managed to make an ink which was pretty indelible—blue-black. Then they took two needles, one projecting in front of the other, and put a drop of ink between them. Then, with the projecting needle they made the drop slip into the hole. This made a point; they made as many points as they wanted. They made snakes, hearts, names, but mostly just three points, which means "Death to the Pigs," or five points "Alone Between Four Walls." It was the emblem of prison.</p> <p>We wrote all over ourselves with pens, and there were ways of making up your face. With ashes from the stove in the hall and water we could make mascara. There were black felt pens that we could use as eyeliner, but it was hard to take off and we usually did it with shoe polish that we got at the canteen. We mostly made our eyes up, but some girls put brown pencil around their lips.</p> <p>Some girls reacted badly to prison life, but we tried to help them, and they managed to make friends, to find people who helped them overcome their distress. I wouldn't leave a poor girl by herself who arrived here and who looked completely lost. I went to see her, I talked to her. Of course there were those who had their husbands and their children outside; for them it was harder. I was told that once a girl hanged herself. Sometimes there were also attempts at escape; I was told that one inmate hid herself in a garbage can, but she didn't have time to get out and was killed inside the garbage truck.</p> <p>At Christmas the Salvation Army came. We got together in the mess hall and listened to them sing Christmas carols. These women were very nice. They gave each of us a towel, a handkerchief, and a pack of candy. We had a lot of fun because we weren't used to seeing this sort of woman. Everybody was laughing, but they were well received by the inmates. In the end we thought it was really nice of them to trouble themselves for us. I think a lot of the girls were touched.</p> <p>For the meal, we put all the tables together to be the most together possible. Those who had saved a little money bought pastries, but almost everything was shared. I, for example, didn't have any money, but I had a little of everything like everybody else. On the part of the prison, there was nothing, except that we didn't work that day and we could go to midnight mass. A lot of people were depressed that day; all this reminded us of our families and of all the things we were trying to forget. It was nice, this party, but actually it was painful. The monotony of the other days was better. We didn't really give each other presents. We didn't have the possibility of giving anything, except cigarettes. The girl I was going out with gave me some cigarettes. </p></div> </body> </text> </TEI>
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"Lucy Wadsworth" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rivolta2_0_0_0.xml?work_annotation_20250422144035358#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rivolta2_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/rivolta2_0_0_0.xml?work_annotation_20250422144035358#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/quote/title" } }, "oa:hasBody": { "@type": "bf:Title", "@id": "http://www.wikidata.org/entity/Q42245141", "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" }, "cwrc:hasCertainty": "cwrc:high" }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <front> </front> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_102.jpg"/> <body> <div><head><title>On Woman's Refusal to Celebrate Male Creativity</title></head> <byline>Rivolta Femminile</byline> <note type="scholarNote">Text written by Rivolta Femminile, March 1971; free translation by <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName> from Carla Lonzi, Sputiamo su Hegel: La Donna clitoridea e la donna vaginale e altri scritti, Scritti di Rivolta Femminile, 1, 2, 3, Milan, 1974.</note> <quote> Rivolta Femminile is an Italian group of radical feminists founded in Rome in July 1970, now associated with other feminist groups in Milan, Turin, Genoa and Florence. They have consistently resisted hierarchal structures and male-dominated institutions and their development of feminist theory has been detailed in publications such as <persName key="Carla Lonzi" ref="http://www.wikidata.org/entity/Q3658850">Carla Lonzi</persName>'s <title key="Sputiamo su Hegel" ref="http://www.wikidata.org/entity/Q42245141" cert="high">Sputiamo su Hegel</title> (1970) and <title level="m">La Donna clitoridea e la donna vaginale</title> (1977), the collective's <title><emph>Sessualita femminile e aborto</emph></title> (1977) and <persName key="Carla Accardi" ref="http://www.wikidata.org/entity/Q2939027">Carla Accardi</persName>'s <title><emph>Superiore e inferiore</emph></title> (1972). The latter records the author's dismissal from her job after discussing the Rivolta Femminile manifesto with her female high school students. All publications are available from Rivolta Femminile, Via del Babuino 16, Rome, Italy.</quote> <div><p>We in Rivolta Femminile refuse to pay tribute to male creativity because we are aware that in the patriarchal world—that is, in a world made by men and for men—even the liberating force of creativity is the prerogative of men. Woman—in so many ways a subsidiary being—is denied every role which could effect a recognition of these inequities. For her, there is no prospect of liberation.</p> <p>The creativity of men speaks to the creativity of other men while woman, as client and spectator of that dialogue, is assigned a status which excludes competition. Woman is locked into a role which, <lang><emph>a priori</emph></lang>, assures the male artist an audience. While <emph>creating</emph> art is seen to have a liberating function, art as an institution insists that woman be the neutral witness to the work of others. Man's energy, even in art, is spent by competing with other men. Only the contemplation of art invites woman's involvement.</p> <p>This is the nature of patriarchal creativity: to depend upon aggressive competition with male rivals and on the passive appreciation of women. Man, the artist, feels abandoned by woman as soon as she abandons her archetypal spectator's role; their mutual solidarity rests solely on <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_103.jpg"/> the conviction that, as a spectator gratified by creativity, woman reaches the highest possible point in the evolution of her species.</p> <p>But, on the contrary, woman is discovering that the patriarchal world <emph>needs</emph> her—that man's self-liberating efforts absolutely depend on her—and that <emph>woman's</emph> liberation can only be realized independent of patriarchal previsions and the dynamics by which men liberate themselves. The artist depends upon woman to glorify his work and she, until she begins her own liberation, is happy to oblige. The work of art cannot afford to lose the security inherent in her exclusively receptive role.</p> <p>Once aware of her position in relation to male creativity, woman is left with two possibilities: the first—until now, the only available option—of distinguishing herself within the creative hierarchy historically defined by men (which alienates her from other women while men recognize her only indulgently); or—the feminist alternative—of autonomously recovering her own creativity, nourished by her awareness of past oppression.</p> <p>To celebrate male creativity is ultimately to submit to the historic sovereignty of men, to that patriarchal strategy which deliberately subjugates us. But let woman remove herself, and the struggle for male supremacy becomes not man lording it over woman, but merely a struggle between individual men.</p> <p>By refusing to celebrate male creativity, we are not judging creativity, nor are we contesting it. Rather, with our absence, we are refusing to accept it as defined; we are challenging the concept of art as something which men graciously hand down to us. By ceasing to believe in a refracted liberation, we are unleashing creative energy from patriarchal bonds.</p> <p>With her absence, woman performs a dramatic act of awareness, creative because it <emph>is</emph> liberating. </p> </div> </div> </body> </text> </TEI>
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Charlotte Bunch and Nancy Myron (Baltimore, 1974). This book contains\n\t\t\t\t\t\tsome excrutiating insights for the middle-class feminist; it raised my\n\t\t\t\t\t\tconsciousness and inspired this essay (along with other recent experiences\n\t\t\t\t\t\tand conversations)." }, "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/", 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"https://leaf.bucknell.edu/sites/default/files/2025-04/lippard_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/lippard_0_0_0_0_0_0.xml?note_annotation_20250130161746041#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[12]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Michele Russell, \"Woman and Third World,\"\n\n\t\t\t\t\t\tNew American Movement (June, 1973)." }, "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[{ 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"schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/lippard_0_0_0_0_0_0.xml?person_annotation_20250423162222433#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[25]/note/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q299662", "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> <pb n="82" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_084.jpg"/> <div type="essay"> <head> <title>The Pink Glass Swan: Upward and Downward Mobility in the Art World</title></head> <byline><persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy Lippard</persName></byline> <p>The general alienation of contemporary avant-garde art from any broad audience has been crystallized in the women's movement. From the beginning, both liberal feminists concerned with changing women's personal lives and socialist feminists concerned with overthrowing the classist/racist/sexist foundations of society have agreed that "fine" art is more or less irrelevant, though holding out the hope that feminist art could and should be different. The American women artists' movement has concentrated its efforts on gaining power within its own interest group—the art world, in itself an incestuous network of relationships between artists and art on the one hand and dealers publishers, buyers on the other. The "public," the "masses," or the "audience" is hardly considered.</p> <p> The art world has evolved its own curious class system. Externally this is a microcosm of capitalist society, but it maintains an internal dialectic (or just plain contradiction) that attempts to reverse or ignore that parallel. Fame may be a higher currency than mere money, but the two tend to go together. Since the buying and selling of art and artists is done by the ruling classes or by those chummy with them and their institutions, all artists or producers, no matter what their individual economic backgrounds are dependent on the owners and forced into a proletarian role—just as women, in <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels'</persName> analysis, play proletarian to the male ruler across all class boundaries. Looking at and "appreciating" art in this century has been understood as an instrument (or at best a result) of upward social mobility in which owning art is the ultimate step. Making art is at the bottom of the scale. This is the only legitimate reason to see artists as so many artists see themselves—as "workers." At the same time, artists/makers tend to feel misunderstood and, as creators, innately superior to the buyers/owners. The innermost circle of the art-world class system thereby replaces the rulers with the creators, and the contemporary artist in the big city (read New York) is a schizophrenic creature. S/he is persistently working "up" to be accepted, not only by other artists but also by the hierarchy that exhibits, writes about, and buys her/his work. At the same time s/he is often ideologically working "down" in an attempt to identify with the workers outside of the art context, and to overthrow the rulers in the name of art. This conflict is augmented by the fact that most artists are originally from the middle class, and their approach to the bourgeoisie includes a touch of adolescent rebellion against authority. Those few who have actually emerged from the working class sometimes use this—their very lack of background privilege—as privilege in itself, while playing the same schizophrenic foreground role as their solidly middle-class colleagues.</p> <p> Artists, then, are workers or at least producers even when they don't know it. Yet artists dressed in work clothes (or expensive imitations thereof) and producing a commodity accessible only to the rich differ drastically from the real working class in that artists control their production and their product—or could if they realized it and if they had the strength to maintain that control. In the studio, at least, unlike the farm, the factory, and the mine, the unorganized worker is in superficial control and can, if s/he dares, talk down to or tell off the boss—the collector, the curator, etc. For years now, with little effect, it has been pointed out to artists that the art-world superstructure cannot run without them. Art, after all, is the product on which all the money is made and the power based.</p> <p> During the 1950s and 1960s most American artists were unaware that they did <emph>not</emph> control their art, that their art could be used not only for esthetic pleasure or decoration or status symbols, but also as an educational weapon. In the late 1960s, between the Black, the student, the anti-war and the women's movements, the facts of the exploitation of art in and out of the art world emerged. Most artists and artworkers still ignore these issues because they make us feel too uncomfortable and helpless. Yet if there were a strike against museums and galleries to allow artists control of their work, the scabs would be out immediately in full force, with reasons ranging from self-interest to total lack of political awareness to a genuine belief that society would crumble without art, that art is "above it all." Or is it in fact <emph>below</emph> it all, as most political activists seem to think?</p> <p> Another aspect of this conflict surfaces in discussions around who gets a "piece of the pie"—a phrase which has become the scornful designation for what is actually most people's goal. (Why shouldn't artists be able to make a living in this society like everybody else? Well, <emph>almost</emph> <pb n="83" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_085.jpg"/> everybody else.) Those working for "cultural change" through political theorizing and occasional actions are opposed to <emph>anybody</emph> getting a piece of the pie, though politics appears to be getting fashionable again in the art world and may itself provide a vehicle for internal success; today one can refuse a piece of the pie and simultaneously be getting a chance at it. Still, the pie is very small and there are a lot of hungry people circling it. Things were bad enough when only men were allowed to take a bite. Since "aggressive women" have gotten in there too, competition, always at the heart of the art-world class system, has peaked.</p> <p> Attendance at any large art school in the U.S. takes students from all classes and trains them for artists' schizophrenia. While being cool and chicly grubby (in the "uniform" of mass production), and knowing what's the latest in taste and what's the kind of art to make and the right names to drop is clearly "upward mobility"—from school into teaching jobs and/or the art world—the lifestyle accompanying these habits is heavily weighted "downward." The working-class girl who has had to work for nice clothes must drop into frayed jeans to make it into the art middle class, which in turn considers itself both upper and lower class. Choosing poverty is a confusing experience for a child whose parents (or more likely mother) have tried desperately against great odds to keep a clean and pleasant home. <note type="researchNote"><title><emph>Class and Feminism</emph></title>, ed. <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> and <persName key="Nancy Myron" ref="http://www.wikidata.org/entity/Q94280766">Nancy Myron</persName> (Baltimore, 1974). This book contains some excrutiating insights for the middle-class feminist; it raised my consciousness and inspired this essay (along with other recent experiences and conversations).</note> </p> <p> The artist who feels superior to the rich because s/he is disguised as someone who is poor provides a puzzle for the truly deprived. A parallel notion, rarely admitted but pervasive, is that a person can't understand "art" if their house is full of pink glass swans or their lawn is inhabited by gnomes and flamingos, or if they even care about house and clothes at all. This is particularly ridiculous now, when art itself uses so much of this paraphernalia (and not always satirically); or, from another angle, when even artists who have no visible means of professional support live in palatial lofts and sport beat-up $100 boots while looking down on the "tourists" who come to SoHo to see art on Saturdays; SoHo is, in fact, the new suburbia. One reason for such callousness is a hangover from the 1950s, when artists really were poor and proud of being poor because their art, the argument went, must be good if the bad guys—the rich <emph>and</emph> the masses—didn't like it.</p> <p>In the 1960s the choice of poverty, often excused as anti-consumerism, even infiltrated the esthetics of art.<note type="scholarNote">Actually nothing new; the history of modern art demonstrates a constant longing for the primitive, the simple, the clear, the "poor," the noble naif, etc.</note> First there was <rs key="pop art" ref="http://www.wikidata.org/entity/Q134147">Pop Art</rs>, modeled on kitsch, on advertising and consumerism, and equally successful on its own level. (Women, incidentally, participated little in Pop Art, partly because of its blatant sexism, sometimes presented as a parody of the image of woman in the media—and partly because the subject matter was often "women's work," ennobled and acceptable only when the artists were men.) Then came Process Art—a rebellion against the "precious object" traditionally desired and bought by the rich. Here another kind of co-optation took place, when temporary piles of dirt, oil, rags and filthy rubber began to grace carpeted living rooms. The Italian branch was even called <emph>Arte Povera</emph>. Then came the rise of a third-stream medium called "conceptual art" which offered "anti-objects" in the form of ideas—books or simple xeroxed texts and photographs with no inherent physical or monetary value (until they got on the market, that is). Conceptual art seemed politically viable because of its notion that the use of ordinary, inexpensive, unbulky media would lead to a kind of socialization (or at least democratization) of art as opposed to gigantic canvases and huge chrome sculptures costing five figures and filling the world with more consumer fetishes.</p> <p> Yet the trip from oil on canvas to ideas on xerox was, in retrospect, yet another instance of "downward mobility" or middle-class guilt. It was no accident that conceptual art appeared at the height of the social movements of the late 1960s nor that the artists were sympathetic to those movements (with the qualified exception of the women's movement). All of the esthetic tendencies listed above were genuinely instigated as rebellions by the artists themselves, yet the fact remains that only rich people can afford to 1) spend money on art that won't last; 2) live with "ugly art" or art that is not decorative, because the rest of their surroundings are beautiful and comfortable; 3) like "non-object art" which is only handy if you already have too many possessions—when it becomes a reactionary commentary: art for the overprivileged in a consumer society.</p> <p> As a child, I was accused by my parents of being an "anti-snob snob" and I'm only beginning to see the limitations of such a rebellion. Years later I was an early supporter of and proselytizer for conceptual art as escape from the commodity orientation of the art world, a way of communicating with a broader audience via inexpensive media. Though I was bitterly disappointed (with the social, not the esthetic achievements) when I found that this work could be so easily absorbed into the system, it is only now that I've realized why the absorption took place. Conceptual art's democratic efforts and physical vehicles were cancelled out by its neutral, elitist content and its patronizing approach. From around 1967 to 1971, most of us involved in conceptual art saw that content as pretty revolutionary and thought of ourselves as rebels against the cool, hostile artifacts of the prevailing formalist and minimal art. But we were so totally enveloped in the middle-class approach to everything we did and saw, we couldn't perceive how that pseudo-academic narrative piece or that art-world-oriented action <pb n="84" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_086.jpg"/> in the streets was deprived of any revolutionary content by the fact that it was usually incomprehensible and alienating to the people "out there," no matter how fashionably downwardly mobile it might be in the art world. The idea that if art is subversive in the art world it will automatically appeal to a general audience now seems absurd. </p> <p> The whole evolutionary basis of modernist innovation, the idea of esthetic "progress," the "I-did-it-first" and "it's-been-done-already" syndromes which pervade contemporary avant garde art and criticism, are also blatantly classist, and have more to do with technology than with art. To be "avant-garde" is inevitably to be on top or to become upper-middle-class, because such innovations take place in a context accessible only to the educated elite. Thus socially conscious artists working in or with community groups and muralists try to disassociate themselves from the art world, even though its values ("quality") remain to haunt them personally.</p> <p> The value systems are different in and out of the art world, and anyone attempting to straddle the two develops another kind of schizophrenia. For instance, in the inner-city community murals, as <persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName> points out elsewhere in this publication, the images of woman are the traditional ones—a beautiful, noble mother and housewife or worker, and a rebellious young woman striving to change her world—both of them celebrated for their courage to be and to stay the way they are and to support their men in the face of horrendous odds. This is not the art-world or middle-class "radical" view of future feminism, nor is it one which radical feminists hoping to "reach out" across the classes can easily espouse. Here, in the realm of aspirations, is where upward and downward mobility and status quo clash, where the economic class barriers are established. As <persName key="Russell, Michele D." ref="http://viaf.org/viaf/11163457050804813684/">Michele Russell</persName> has noted, <note type="researchNote">Michele Russell, "Woman and Third World," <title level="m">New American Movement</title> (June, 1973).</note> the Third-World woman is not attracted to the "Utopian experimentation" of the left (in the art world, the would-be Marxist avant-garde) or to the "pragmatic opportunism" of the right (in the art world, those who reform and co-opt the "radicals").</p> <p> Many of the subjects touched on here come back to Taste. To a poor woman, art, or a beautiful object, might be defined as something she cannot have. Beauty and art have been defined before as <emph>the desirable</emph>. In a consumer society, art too becomes a commodity rather than a life-enhancing experience. Yet the <persName key="Vincent van Gogh" ref="http://www.wikidata.org/entity/Q5582">Van Gogh</persName> reproduction or the pink glass swan—the same beautiful objects that may be "below" a middleclass woman (because she has, in moving upward, acquired upper-class taste, or would like to think she has)—may be "above" or inaccessible to a welfare mother. The phrase "to dictate taste" has its own political connotations. A Minneapolis worker interviewed by students of artist <persName key="Don Celender" ref="http://www.wikidata.org/entity/Q28873078">Don Celender</persName> said he liked "old art works because they're more classy," <note type="researchNote"><title level="m">Opinions of Working People Concerning the Arts</title>, ed. Don Celender (New York, 1975)</note> and class does seem to be what the traditional notion of art is all about. Yet contemporary avant-garde art, for all its attempts to break out of that gold frame, is equally class-bound, and even the artist aware of these contradictions in her/his own life and work is hard-put to resolve them. It's a vicious circle. If the artist/producer is upper-middle-class, and our standards of art as taught in schools are persistently upper-middle-class, how do we escape making art only for the upper-middle-class?</p> <p> The alternatives to "quality," to the "high" art shown in art-world galleries and magazines have been few, and for the most part unsatisfying, although well-intended. Even when kitsch, politics or housework are absorbed into art, contact with the real world is not necessarily made. At no time has the avant garde, though playing in the famous "gap between art and life," moved far enough out of the art context to attract a broad audience—that audience which has, ironically, been trained to think of art as something that has nothing to do with life and, at the same time, tends only to like that art which means something in terms of its own life, or fantasies. The dilemma for the leftist artist in the middle class is that her/his standards seem to have been set irremediably. No matter how much we know about what the broader public wants, or needs, it is very difficult to break social conditioning and cultural habits. Hopefully, a truly feminist art will provide other standards.</p> <p> To understand the woman artist's position in this complex situation between the art world and the real world, class and gender, it is necessary to know that in America artists are rarely respected unless they are stars or rich or mad or dead. Being an artist is not being "somebody." Middle-class families are happy to pay lip service to art but god forbid their own children take it so seriously as to consider it a profession. Thus a man who becomes an artist is asked when he is going to "go to work," and he is not-so-covertly considered a child, a sissy (a woman), someone who has a hobby rather than a vocation, someone who can't make money and therefore cannot hold his head up in the real world of men—at least until his work sells, at which point he may be welcomed back. Male artists, bending over backward to rid themselves of this stigma, tend to be particularly susceptible to insecurity and <emph>machismo</emph>. So women daring to insist on their place in the primary rank—as art makers rather than as art housekeepers (curators, critics, dealers, "patrons")—inherit a heavy burden of male fears in addition to the economic and psychological <pb n="85" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_087.jpg"/> discrimination still rampant in a patriarchal, money-oriented society.</p> <p> Most art being shown now has little to do with any woman's experience, in part because women—rich ones as "patrons," others as decorators and "home-makers"—are in charge of the private sphere, while men identify more easily with public art—art that has become public through economic validation (the million-dollar <persName key="Rembrandt" ref="http://www.wikidata.org/entity/Q5598" cert="high" type="real">Rembrandt</persName>). Private art is often seen as mere ornament; public art is associated with monuments and money, with "high" art and its containers, including unwelcoming whitewalled galleries and museums with classical courthouse architecture. Even the graffiti artists, whose work was unsuccessfully transferred from subways to art galleries, were all men, concerned with facades, with having their names in spray paint, in lights, in museums...</p> <p> Private art is visible only to intimates. I suspect the reason so few women "folk" artists work outdoors in large scale (like <persName key="Simon Rodia" ref="http://www.wikidata.org/entity/Q1119723">Simon Rodia</persName>'s <title>Watts Towers</title> and other "naives and visionaries" with their cement and bottles) is not only because men aspire to erections and know how to use the necessary tools, but because women can and must assuage these same creative urges inside the house, with the pink glass swan as an element in their own works of art the living room or kitchen. In the art world the situation is doubly paralleled. Women's art until recently was rarely seen in public and all artists are voluntarily "women" because of the social attitudes mentioned above; the art world is so small that it is "private."</p> <p> Just as the living room is enclosed by the building it is in, art and artist are firmly imprisoned by the culture which supports them. Artists claiming to work for themselves alone, and not for any audience at all, are passively accepting the upper-middle class audience of the internal art world. This is compounded by the fact that to be middle-class is to be passive, to live with the expectation of being taken care of and entertained. But art should be a consciousness-raiser; it partakes of and should fuse the private and the public spheres. It should be able to reintegrate the personal without being satisfied by the merely personal. One good test is whether or not it communicates, and then, of course, what and how it communicates. If it doesn't communicate it may just not be very good art from anyone's point of view; or it may be that the artist is not even aware of the needs of others, or simply doesn't care.</p> <p> For there is a need out there, a need vaguely satisfied at the moment by "schlock." <note type="researchNote"><persName key="Bernard Kirschenbaum" ref="http://www.wikidata.org/entity/Q10428700">Bernard Kirschenbaum</persName>, in correspondence. Celender, op. cit., offers proof of this need and of the huge (and amazing) interest in art expressed by the working class, though it should be said that much of what is called art would not be agreed upon by the taste dictators.</note> And it seems that one of the basic tenets of the feminist arts should be a reaching out from the private sphere to transform that "artificial art" and to more fully satisfy that need. For the art-world artist has come to consider her/his private needs paramount, and has too often forgotten about those of the audience, any audience. Work that communicates to a dangerous number of people is derogatorily called a "crowd pleaser." This is a blatantly classist attitude, taking for granted that most people are by nature incapable of understanding good art (ie., upper-class or quality art). At the same time, much ado is made about art-educational theories that claim to "teach people to see" (consider the political implications of this notion) and muffle all issues by stressing the "universality" of great art.</p> <p> It may be that at the moment the possibilities are slim for a middle-class art world's understanding or criticism of the little art we see that reflects working-class cultural values. Perhaps our current responsibility lies in humanizing our own activities so that they will communicate more effectively with all women. Hopefully we will aspire to more than women's art flooding the museum and gallery circuit. Perhaps a feminist art will only emerge when we become wholly responsible for our own work, for what becomes of it, who sees it, and who is nourished by it. For a feminist artist, whatever her style, the prime audience at this time is other women. So far, we have tended to be satisfied with communicating with those women whose social experience is close to ours. This is natural enough, since this is where we will get our greatest support, and we need support in taking this risk of trying to <emph>please</emph> women, knowing that we are almost certain to displease men in the process. In addition, it is embarrassing to talk openly about the class system which divides us, hard to do so without sounding more bourgeois than ever in the implications of superiority and inferiority inherent in such discussions (where the working class is as often considered superior as the middle class).</p> <p> A book of essays called <title level="m">Class and Feminism</title> written by The Furies, a lesbian feminist collective, makes clear that from the point of view of working-class women, class is a definite problem within the women's movement. As <persName key="Myron, Nancy, 1943-" ref="http://viaf.org/viaf/79318339/">Nancy Myron</persName> observes, middle-class women:</p> <quote>can intellectualize, politicize, accuse, abuse and contribute money in order not to deal with their own classism. Even if they admit that class exists, they are not likely to admit that their behavior is a product of it. They will go through every painful detail of their lives to prove to me or another working-class woman that they really didn't have any privilege, that their family was exceptional, that they actually did have an uncle who worked in a factory. To ease anyone's guilt is not the point of talking about class... You don't get rid of oppression just by talking about it.</quote> <pb n="86" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_088.jpg"/> <p>Women are more strenuously conditioned toward upward cultural mobility or "gentility" than men, which often results in the woman consciously betraying her class origins as a matter of course. The hierarchies within the whole span of the middle class are most easily demarcated by lifestyle and dress. For instance, the much-scorned "Queens housewife" may have enough to eat, may have learned to consume the unnecessities, and may have made it to a desired social bracket in her community, but if she ventures to make art (not just own it), she will find herself back at the bottom in the art world, looking wistfully up to the plateau where the male, the young, the bejeaned seem so at ease.</p> <p> For middle-class women in the art world not only dress "down," but dress like working-class <emph>men</emph>. They do so because housedresses, pedal pushers, polyester pantsuits, perrnanents, the wrong accents are not such acceptable disguises for women as the boots, overalls and win breaker syndromes are for men. Thus young middle-class women tend to deny their female counterparts and take on "male" (unisex) attire. It may at times have been chic to dress like a native American or a Bedouin woman, but it has never been chic to dress like a working class woman, even if she's trying to look like <persName key="Jacqueline Kennedy Onassis" ref="http://www.wikidata.org/entity/Q165421">Jackie Kennedy</persName>. Young working-class women (and men) spend a large amount of avallable money on clothes; it's a way to forget the rats and roaches by which even the cleanest tenement-dwellers are blessed, or the mortgages by which even the hardest-working homeowners are blessed, and to present a classy facade. Artists dressing and talking "down" insult the hardhat much as rich kids in rags do; they insult people whose notion of art is something to work for-the pink glass swan.</p> <p> Yet women, as evidenced by the Furies' publication, and as pointed out elsewhere (most notably by <persName key="August Bebel" ref="http://www.wikidata.org/entity/Q76520" cert="high" type="real">Bebel</persName>), have a unique chance to communicate with women across the boundaries of economic class because as a "vertical class" we share the majority of our most fundamental experiences—emotionally, even when economically we are divided. Thus an economic analysis does not adequately explore the psychological and esthetic ramifications of the need for change within a sexually oppressed group. Nor does it take into consideration that women's needs are different from men's—or so it seems at this still unequal point in history. The vertical class cuts across the horizontal economic classes in a column of injustices. While heightened class consciousness can only clarify the way we see the world, and all clarification is for the better, I can't bring myself to trust hard lines and categories where fledgling feminism is concerned.</p> <p> Even in the art world, the issue of feminism has barely been raised in mixed political groups. In 1970, women took our rage and our energies to our own organizations, or directly to the public by means of picketing and protests. While a few men supported these, and most politically conscious male artists now claim to be feminists to some degree, the political <emph>and</emph> apolitical art world goes on as though feminism didn't exist—the presence of a few vociferous feminist artists and critics not withstanding. And in the art world, as in the real world, political commitment frequently means total disregard for feminist priorities. Even the increasingly Marxist group ironically calling itself Art-Language is unwilling to stop the exclusive use of the male pronoun in its theoretical publications. <note type="researchNote">This despite their publication of and apparent endorsement of <persName key="Carolee Schneemann" ref="http://www.wikidata.org/entity/Q299662">Carolee Schneemann</persName>'s "The Prounoun Tyranny" in the Fox, 3(1976)</note></p> <p> Experiences like this one and dissatisfaction with Marxism's lack of interest in "the woman question" make me wary of merging Marxism and feminism. The notion of the non-economic or "vertical" class is anathema to Marxists and confusion is rampant around the chicken-egg question of whether women can be equal before the establishment of a classless society or whether a classless society can be established before women are liberated. As <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> says of her own Marxism and feminism:</p> <quote>They are at once incompatible and in real need of one another. As a feminist and a Marxist I carry their contradictions within me and it is tempting to opt for one or the other in an effort to produce a tidy resolution of the commotion generated by the antagonism between them. But to do that would mean evading the social reality which gives rise to the antagonism. <note type="researchNote">Sheila Rowbotham, Women: Resistance and Revolution (London, 1972).</note></quote> <p>As women, therefore, we need to establish far more strongly our own sense of community, so that all our arts will be enjoyed by all women in all economic circumstances. This will happen only when women artists make conscious efforts to cross class barriers, to consider their audience, to see, respect, work with the women who create outside the art world—whether in suburban crafts guilds or in offices and factories or in community workshops. The current feminist passion for women's traditional arts, which influences a great many women artists, should make this road much easier, undess it too becomes another commercialized rip-off. Despite the very real class obstacles, I feel strongly that women are in a privileged position to satisfy the goal of an art which would communicate the needs of all classes and sexes to each other, and get rid ofthe we/they dichotomy to as great an extent as is possible in a capitalist framework. Our sex, our oppression and our female experience—our female culture, just being explored—offer access to all of us by these common threads.</p> </div> </body> <back> <p>Lucy R. Lippard is a feminist art critic, writes fiction too, and has been active politically. She is co-founder of several women artists' groups and has published 10 books on contemporary art, the two most recent ones being <title level="m">From the Center: Feminist Essays on Women's Art</title> (E.P. Dutton) and <title level="m">Eva Hesse</title> (N.Y.U. Press).</p> </back> </text> </TEI>
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"https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_056.jpg"/> <div><head><title>ABCS</title></head> <byline><persName><persName key="Susan Yankowitz" ref="http://www.wikidata.org/entity/Q19517707" cert="high" type="real">Susan Yankowitz</persName></persName></byline></div> <div type="letter" n="a"> <head>AN APPLE</head> <p>Manuelo Manchik admires the apple before devouring it. He cups the thing in the palm of his hand, turning it this way and that; the light bounces off the curves of its golden skin. O golden delicious, you make a mouth water! The fruit is round and firm and fully packed; unlike the mealy banana, it will resist his teeth just a little. Again his mouth waters as he delays the coming pleasure. He cups the thing in the palm of one hand, stroking it with the other; it is smooth and cool beneath his fingers. O golden delicious, you do tempt a man! Yes there is no doubt, you were made to be eaten. He opens his mouth wide and chomps through to the core in a single bite. Two black seeds slither in a rill of juice down his chin.</p> </div> <div type="letter" n="b"> <head>BREASTS</head> <p>At a gathering of talents, artistic and profane, MM had spotted across the crowded room his own dreamed-of Olympia, half-reclining on a fat settee. The exquisite naturalness of her <persName key="Édouard Manet" ref="http://www.wikidata.org/entity/Q40599" cert="high" type="real">Manet</persName> pose enchanted him no less than her near nudity. Under her see-through blouse her breasts were classic. O wonder. O no wonder that they pushed out the silk (or was it cheap nylon?) of her blouse exactly like breasts; that to exploring hands (at other hours of course for now she was half-reclining naturally alone) they were as round and firm and full as round firm full breasts; and that the nipples which tipped these breasts resembled nothing so much as the nipples which tip such breasts. In short and in sum, her breasts were truly like breasts. But MM had no interest in the obvious. He was a man of imagination, of poetry even. The excesses of similitude multiplied by their exact number his pleasures. He saw what he saw: Olympia with breasts which were breasts and at the same time various other roundnesses not breasts. And roundness was all, preferable even to that commonplace of literature, ripeness. Only one fact was crucial and he had ascertained it, subtly brushing his fingers against her shoulders: she was not made of wax. So when MM opened his mouth wide one night days later and bit with gusto into the breast on the left, that same breast bled. Damn, he had erred in his distinctions! But Manuelo Manchik was not a man to hang fire. With a gesture of magnificent unconcern, he wiped his chin and continued eating.</p> </div> <div type="letter" n="c"> <head>CHYME</head> <p>Olympia had accepted that name, accepted too the play of tongue and teeth, accepted even the discomfort of her body crushed beneath him when poing! she was punctured. Too late to cry foul! she fell, undone by mastication. Softened by saliva she travelled in mouthfuls through his gullet and into the fat sac of his stomach. There she lodges, divided against herself. </p><p>Fool, she chides herself, to have come to chyme!</p> <p>Her head is separated from her body. Her legs, each in one long piece, are severed from her crotch and from each other, Her two loose breasts bounce from wall to wall, free-floating, as his stomach contracts and dilates in digestion. Pressed against the locked pyloric door she is grateful at least that she will not be further fractured by the cleaving peristaltic actions of his intestine. There is no disguising the situation: she is split, sundered, she is not in one piece. If she does not want to sour in his belly (and why would she desire such a fate?) she must somehow (but how?) reverse the process herself. But herself is not. From deep inside Manuelo's stomach, she surveys the chaos of her members and thinks: I must pull myself together! </p> </div> <div type="letter" n="d"> <head>DREAM?</head> <p>Maybe it's all a dream, she reasons reasonably enough, and when I wake up I'll find myself me again, just me, no one's Olympia, in toto. And so she falls to sleep so she can fall awake. This is the dream she finds: she is standing in water being fucked in the ass by the shameless beak of a crane. His long legs pinion her hips. He wades and fishes, taking his time. It hurts. What can she do but submit? Her name is not Leda; the power is all his.</p> </div> <div type="letter" n="e"> <head>ESCAPE</head> <p>She wakes up gagging with her left foot in her mouth. No use sucking on the toes, they're not sour balls, they won't dissolve or sweeten her palate. Her mouth is dry with sleep and anxiety; she could have suffocated during that nighttime shift. There is no escaping the fact now: she must escape! But how? She wags her head a few times to float the foot free as she ponders the ins and outs. The nearest exit is the rear. Can she deliver herself through there? MM is <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_057.jpg"/> notoriously tight-assed. She experiments, jamming her foot in the door; MM jumps. Assured of the flexibility of that aperture, she glances upward to the other hole, further away but far less foul. Keeping her foot wedged in the crack she sticks a finger up his throat; MM gags. Both routes are open to her. Which out should she take?</p> </div> <div type="letter" n="f"> <head>FLATULENCE</head> <p>MM ejects a fart and holds his nose in indignation. The cream of the art world thins around him. Many noses are held. How could she, the bitch, upset him so? He excuses himself gracefully from the room, leaving his smell behind. Is he stuck with her forever? Must he pay with his immaculate reputation for one night's overindulgence? O she is lodged there in his gut, forcing him to take strong measures.</p> </div> <div type="letter" n="g"> <head>GLUTTONY</head> <p>"I'd like to eat you up," he had said. She had been enthusiastic. Whose sin was it then? Definitely food for thought, his and hers.</p> </div> <div type="letter" n="h"> <head>HIS AND HERS</head> <p>HIS: She tempted me. <lb/> HERS: He ate.</p> </div> <div type="letter" n="i"> <head>INDIGESTION</head> <p>"I'm carrying her around. She weighs me down. Really, I'm not a free man anymore," Manuelo confided to his friend the doctor, picking his teeth with an indigestible sliver of fingernail. "You must get her out of your system," replied the learned doc. "May I prescribe a laxative?" </p> </div> <div type="letter" n="j"> <head>JUSTICE MORE OR LESS POETIC</head> <p>She hadn't cared who drove into her. He had had a full set. It was good sport yes. And what a ball! He had swung hard, lifted high and, rimming the cup first with a brilliant display of control, had dropped right in: hole in one, Manuelo Manchik was not the sort to putter around. Well, neither was she.</p> <p>"You're a real swinger," he complimented her.</p> <p>"Just par for the course," she replied, refering of course to her life.</p> <p>Now she was teed-off, finding herself in the trap. O she had been green in those green days, but she would lie in the roughage no longer. With a method to her madness she slices into his intestine with her teeth. MM howls then doubles over, squeezing her (according to plan) more closely together; his cramp adheres her. When he straightens up she delights to see the connections: her legs secured to her groin and her groin to her torso, o classic <persName key="Venus" ref="http://www.wikidata.org/entity/Q47652">venus</persName> though still not Olympia for her breasts and arms are still somewhere adrift. And her head, that obstinate be-bumped ball, is lying slightly offcourse, planning the next shot. </p> </div> <div type="letter" n="k"> <head>KIDDING</head> <p>When she reached twenty-five, her psychiatrist had said (though gently): "All kidding aside, my dear, you are no longer a child prodigy." </p><p>She had run home crying to her mother, blurting the tragic news. "So? What are you going to do with yourself?" mother had asked, heart-to-heart.</p> <p>"I gotta grow up sometime, ma. He's right. So here's what: I'm gonna have a baby!" </p><p>"What? What?" disbelieving ma had hollered, flinging her daughter from her sacked-out breast. "I'm going to have a bastard?" "No, ma, no," she calmed her mother. "<emph>I'm</emph> gonna have the bastard."</p> <p>The child was born crying and one gulp of air later, died. The bereaved not yet a mother invited her psychiatrist to the funeral and told him then and there that they were quits. That was how he would remember her: standing gravely at the grave, dressed all in black, a grown-up color.</p> </div> <div type="letter" n="l"> <head>LIKE</head> <p>"I like you," MM had said (as had others), thinking to flatter.</p> <p>"No you're not," she retorted almost at once, angry almost. "You're not like me at all."</p> </div> <div type="letter" n="m"> <head>MILK OF MAGNESIA</head> <p>He takes the prescribed dosage and waits.</p> </div> <div type="letter" n="n"> <head>NO ANSWERS</head> <p>In the park, Abigale is lying on her belly, waiting as pre-arranged for her best friend, the putative Olympia. She pokes with a spring twig at the underside of a caterpillar, trying to hurry it out of its skin.</p> <p>"Where are your wings, caterpillar?" she asks.</p> <p>"And where was I before I was born?"</p> <p>"And where, sky, do you get off, looking down on me?"</p> <p>Everything is mute. The silence is its own question.</p> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_058.jpg"/> <div type="letter" n="o"> <head>OSCILLATIONS</head> <p>Suddenly everything starts churning. Using all anchored organs for ballast, she holds herself together; he will not shake her up, will not fragment her. His belly bloats with gases, goes into a rumble. So! He is trying to purge himself by purging her. The rejection infuriates her. She will come out when she is good and ready, and she will use the exit of her choice. Tough shit, Manuelo! She braces herself against his spasms.</p> </div> <div type="letter" n="p"> <head>P'S & Q'S</head> <p>"Mind them!" her mother had warned. But what were they? She had learned the alphabet thoroughly but the deeper meanings of p's and q's had eluded her. If she had gone further in her study of letters, would she have led a simpler life?</p> </div> <div type="letter" n="r"> <head>REFLECTION</head> <p>MM strains.</p> <p>O resists.</p> <p>The battle is in earnest. Some old words rise to the occasion. "The man who hates you and the woman who is hated are probably one and the same," her psychiatrist had suggested, maddening her (at the time) into silence.</p> <p>Was he speaking of suicide?</p> <p>Hers?</p> <p>The thought sobers her and sheds light. After all, it is almost spring out there. The crocuses are already beginning their day-open night-close ritual. She could if she chose walk outside without a coat, breathing sunlight. Someone, also without a coat, might be coming round the corner, fated to bump chests with her. Her mind too, she realizes, can turn corners. And certainly Abigale, her old friend, must be waiting for her in the park this very moment.</p> </div> <div type="letter" n="s"> <head>SURE IS</head> <p>His stomach is storming around her with a vengeance. She holds on for dear life. O yes, it is so so dear, good old life. It is indeed of the essence, hers in particular. Her imagination has never yet failed her. She will live! Out of the darkness, the closet, the belly of this male whale. The way is lighted by divine coincidence as MM opens his mouth widely to expel a belch. The light rays down his throat, a sign. Her route has been decided. Really, there are possibilities in everything, even a belch, she concludes.</p> </div> <div type="letter" n="t"> <head>TRANSLATION (AFTER <persName key="Rainer Maria Rilke" ref="http://www.wikidata.org/entity/Q76483">RILKE</persName>)</head> <p>Manuelo has thrown caution to the winds. "Do something," he pleads. "I need help."</p> <p>"Yes," agrees the doctor, "you must change your life."</p> <p>O but it hurts! His eyes are blind with tears.</p> <p>Manuelo weeps with the effort to restrain them.</p> </div> <div type="letter" n="u"> <head>UNITED SHE CAN</head> <p>He falls back into his chair, trying to relax, inadvertently giving her the room she needs to maneuver. She holds herself snugly in her own arms; they mate with their respective sockets, home at last. Now able to manipulate with her hands, the rest is easy. She catches her drifting breasts and fixes them onto her chest. She knows which is which, having observed in moments of self-criticism that the left is slightly larger than the right. It occurs to her at this juncture that nature is purposive in all plans. Nothing is very much like anything else, each thing is essentially itself and under no compulsion to be other. Goodbye then, Manuelo's Olympia! Goodbye velvet settee and languid pose! MM's ass presses down into the seat, squeezing her upward. Her body rises toward her head and miraculously naturally unites with it. He cannot keep her down. He does not want to. She is on her way.</p> </div> <div type="letter" n="v"> <head>VOYAGING</head> <p>Still afraid that she will fall apart — these connections are so tenuous, so untested — she kicks her feet, gingerly at first, then with increasing vigor as she finds to her elation that they will move her. She paddles upward toward his heart. O the current there is strong; she struggles bravely; she falters, sucked into its vortex; she kicks, she flails and manages, through stratagems newly known to science, to bypass the whole throbbing mass. The worst is over. She catches her breath at his lungs and then, with a great final spurt, dives through his esophagus.</p> </div> <div type="letter" n="w"> <head>WHOOPS!</head> <p>She spills out of his mouth.</p> <p>"Hi, Manuelo."</p> <p>"Olympia!"</p> <p>They stand gaping at each other, both of them messy with blood and other slime. She sets him straight at once. "My real name's Claire. Can I take a shower?"</p> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg"/> <div type="letter" n="x"> <head>x =</head> <p>Claire, not Olympia then. He looks at her in this new light as he scrubs her back. How could he not have noticed those pimples on her shoulders? Perhaps that is why he was unable to stomach her. But no, no, the mystery is more than skin deep.</p> <p>"Scrub harder, Manuelo."</p> <p>He does, marveling at the dead skin which peels off, flake by flake. How many layers are there? He stares into the skin, lost in ponderings beneath the surface and then, with a wild cry of exultation, realizes that he has found his calling. Dermatology will teach him the topography of the flesh. Through that mundane profession he will explore the twin mysteries of desire and disgust.</p> <p>"You're breaking the skin again!" shouts Claire.</p> <p>"Enough!"</p> </div> <div type="letter" n="y"> <head>YOU</head> <p>"You have helped me to find myself," they admit simultaneously and, with a tender embrace, part forever.</p> </div> <div type="letter" n="z"> <head>ZOON</head> <p>Shining in the sunlight which is shining too, she runs to the park. Abigale is asleep; a caterpillar is making a moustache on her upper lip. Claire picks it off and tosses it carelessly into the grass. It slithers away as Abigale wakes.</p> <p>"Where have you been?" drowsy A asks. Claire hesitates. What words could convey the absurdity, the enormity of her adventure? An attempt is necessary. She begins to stammer a reply but her stomach, miraculously to the rescue, speaks first: loudly it rumbles, fiercely it growls. Both women laugh. The noise suffices for response.</p> <p>Claire stretches out her hands to Abigale and, with a little tug, pulles her to her feet.</p> <p>"It's time for another beginning," Claire says.</p> <p>"It always was," Abigale grins.</p> <p>And off they go, old friends hand in hand, in search of apples.</p> </div> </body> <back> <div><p>Susan Yankowitz's first novel, <title ref="http://viaf.org/viaf/167148269718005230000">Silent Witness</title>, was published by Knopf in May. Her play, <title>Still Life</title>, will be produced in January at the Women's Interarts Theatre, and her published plays include <title ref="http://viaf.org/viaf/5179165271898210690008">Slaughterhouse Play</title>, <title><title>Terminal</title></title>, <title>Boxes</title>, and <title>The Prison Game</title>, among others.</p></div> </back> </text> </TEI>
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" }, "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>
