Transfigurations Exhibition

Transfigurations.'Documentsand lmagesfrom
ContemporaryFeministArt
frorn NYFAIReflectionsExhibit, 1985
October14, 1996 to January16, 1gg7
SpecialCollectionsand UniversityArchivesGallery
ArchibaldStevensAlexanderLibrary
Introduction
Transfigurations:Documentsantl Image.rfrom ContemporatyFeminisiArt is one of three
exhibitions celebratingthe twenty-fifth anniversaryof the Mary H. Dana Women Ariists Series
at tlre Mabel Smith DouglassLibrary. It is being held in conjunctionwith Twent,v-Jive
Yearsof
Feminism, TwenN-fiveYearsof lt/omen'sArt, a retrospectiveof works by the artists who have
shown in the series,at the Mason Gross School of the Arts Galleries,and an exhibition of the
arfists' portraits and statementsat the Mabel Smith DouglassLibrary.
Contemporaryfeministart originatedin about1970,inspiredby the Women'sl,iberation
N{ovementwhich was sweepingthe country at this time. Women artistsbeganto focus on the
fact that so ferv women were representedin gallery and museum shows, not to mention the
exclusionof rvomenartistsfrom the art history canon. Furthermore,very felv women taught on
the facultiesof art schools,in spiteof the fact that the majority of art studentswere women. In
the early 1970s,women artistsand acti,ristsaddressed
theseissuesthroughdemonstrations
at
muserunsand exposingthe practicesof galleriesandart schools.Originallydcminatedby white
women,the movementeventuallyencompassed
the concernsof African-American,Hispanicand
other minoriry rvomenartists,
Feministartistssoughtmore,however,thanequalrepresentation.
They believedthat their
art could help bring aboutsocialand politicalchange.The porverof art to changethe self and
societyis the tansfigurationto which the exhibition'stitle refers. Feministartistsintroduced
both new subject matter and formats in their work, which, unlike the critically-validated
Modernistart of the period,was heavily content-based.Although feminist art was extremelv
diverse,certainbroadthemesare apparent,the most universalbeing the use of autobiography.
Among the themesr,vhichare illustratedin this exhibitionare: women's sexuality,violence
againstwomen,spirituality,thebody,the environment,
multiculruralism.
beau[v,and doinesticity.
The exhibition also illustratesfeminist arfists' experimentationwith new media, such as
perfcrmanceart and craft techniques.
Feministartistsshareda concernwith documentation,
probablybecauseof their historic
invisibility. in the early 1970s,art critic and activist Lucy Lippard started the New York
Women's Art Registry,the purposcof which was to collect slides,resurnesand addresses
of
women artists,in order to make their lvork availablewhile bypassrngthe gallery system. As
women artistsgainedmore opportunitiesto show their work, the collectionwas augmentedby
flyers and cards advertisingshows,exhibit catalogs,articles,and publicationsabout women
artists. Since 1992,tne Women'sArt Registryhasbeenmaintainedat SpecialCollectionsand
UniversityArchives. This exhibitionfeaturesmany iiems from this collection,as well as from
the recordsof the Women's Caucusfor Art, the New York Feminist Art Institute and the
HeresiesCollective.inc.
While this exhibirionfocuseson feministart of the 1970s,many of theseartistscontinued
producing work utilizing feminist themesin the 1980sand 1990s. Documentedworks from this
laier period have been inciudedwhere appropriate,as well as a few examplesof recent work by
young feminist artistswho generouslyloanedpiecesfor the exhibition.
When I fust came to SpecialCollectionsand University Archives in I 992,my fust task
was to inventory the records of the New York Feminist Art Institute and the Women's Art
Registry. Since discoveringthe richnessand variety of thesecollections,I had hoped that some
day I would be given a chanceto exhibit them. This exhibition could not have come about,
however, without the supportof Ronald L. Becker, Head of SpecialCollectionsand University
Archives; RutgersUniversity Libraries;the Mabel Smith DouglassLibrary; and Ferris Olin and
MarianneFicarra,the curatorsof the Mary H. Dana Women Artists Series. I have also received
invaluablehelp from my colleaguesat SpecialCollectionsand University Archives, particularly
intern Amy Eawson for help selectingitems, Exhibitions Curator Ruth Simmons,'who was
largely responsiblefor the arrangementof the exhibition,JaniceLevin, JanetRiemer and Maria
Pisano for mounting the items and captions,and CatherineKeim for her hard work on the
catalogue. I hope this exhibition will be as enlighteningfor othersas it has been for me.
FernandaPerrone
Curator
Considering the Feminist Art Movement in the United States,circa 1970-79
Laura Cottingharn
.
Writing in 1980, American ferninist art's primary ally, Lucy R. Lippard, reflected that
"perhapsthe movement'sgreatestconiributionhasbeenits lack of contribution
to Modernism."r
in the sameyear, America's foremostconservativeart critic, Hilton Kramer, rhetorically asked
whether the "influence of the women's movement[hadn't] contributedto an erosionof critical
standardsin art?".2'By 1980,the Women's LiberationMovementand its sisterart movementhad
ceasedto exist as massmovements.But feministart's chief defenderand oue of its staunchest
antagonistsbasicaily agreedupon the natureof its influence:The Feminist Art Movement had
been antitheticalto the aims of Euro-AmericanModernism.
An assauiton Modernism surfaceddefiantly within the Feminist Art Movement of the
its explorationswere led rvithoutseriousregardfor the most fundamentaiprerequisites
of
what comprisesart and artistic value within the Euro-Arnericantradition. At the sanietime. the
Movement was in no senseanti-art;rather,its participantswanteda "nelv" art, one inspired by
ihe transformativepossibilitiesthey investedin radicalfeminism.A looselyamalgamated
group
of women artists and critics linked through sharednewsletters,slide registies, independent
publications,cooperativegalleriesand ideologicalcommitment,the Movementwas far from a
unifieci front. At the same time, its diverse activities were complimentary, if not always
harmonious.The Feminist Art Movement refused a formalist imperative,insisted on the
importanceof content,contestedthe absoluteness
of history, favored collective production,
reclaimedcraft,prioritizedprocessand performance,
asserteda piace for the autobiographical,
and, perhapsmosi radically,refutedthe ideathat art is evereitherneutraior universal.That art,
like "ttrepersonal,"is political.
'70s:
The Movement'sparticipantswere,for the most part,academicallytrainedartistson the
margins cf the visual art cornmunity--thatis, like other graduatesof American art schools,they
rverervhiteanCiormiddle class,and unlikenearlyall successful
living artistsin 1970,they rvere
wornen.As artistsengagedin activismagainsttl-resystemicexclusionof rvomenfrom muser-rm
they irreversiblyalteredrhe position of rvornenwithin
exhibitions and art schoolprofessorships,
'70s,
thousandsof American artiststhroughoutthe country
American visual culture. During the
picketed and sued arts institutions to end discriminatoryhiring practicesand other forms of
systemic prejudice against women involved with art. Without the feminist agitation aud
'70s,
idecllogicaltransformationsof the
the American women artists who have risen to
'80s
'90scould
internationalacciaimduringthe
and
not havehadthe samesubjectmatter,critical
support,or eventhe .zerymaterialpossibilityof high level commercialrecognition.r
As artistsengagedin an ideologicaland artistictransformation
of the lr4odernistlegacy
rvh.ichthey inheritedas Americans,but from which they were excludedas women and as non-
a-
rvhite women, the Feminist Art Movement so completelychallengedthe underlyingpremisesof
what constitutesart that neither art, nor the criticaliry'that sun'oundsand informs art, has been
the same since. While it would be possibieto argue that any number of subsequentartistic
developmentsin the United Statesowe their existenceto the strategiesand aims of the '70s
Feminist A-rt Movement, the most enduringlegacy is really one thing: feminism.
While Minimalism was the most critically and commerciallyrespectedart in the United
Statesduring the late '60s and early '70s, the Feminist Art Movement generally had more in
colrunon with the other activist-basedvisual art practicesthat took place in the United States
during that same period. Although SecondWave Feminism inspiredthe only large-scaleart
movement,the other politicalmobilizations,includingthe ChicanoRightsMovement,the antiWar movement, the Black Power Movement and the Gay Rights Movement, all had both
immediateand lastingeffectson art's productionandreceptionin the United States.The insights
and demandsof 160sactivism,especiallythoseof Black Power,Women's Liberationand Gay
Rights, continueto heaviiy form and inform the directionof American social, political and
culrurallife.
It was within the generaiizedactivismof the tJnited Statescirca '68, and againstthe
overdetermination
of American art history by the commercialmarket, that the Feminist Art
ivlovementhad its genesisand, in consequence,
its generaiizederasurefrom most cunent
understandings
of American art of the recentpast and the present.The Movement occurred
during an economicrecessionin the United Statesand at a low level of art coliecting;many of
its mostsignificantgestures
occurredin noncommercial
venuesor wereotherwiseephemeral.
The
artistsknew at the time that as women and as feministstheir activitieswere autoraatically
marginalizedby both the dominantcommercialapparatusand the prevailingcritical discourse:
it rvas for this reasonthat they developedalternativeeducationalvenues,publicationsand
galleries,Aithoughsome,suchas Lynda Benglis,Adrian Piper,HannahWilke and
cooperative
EleanorAntin, garneredearlyand sustained
representation
from strongdor,vntown
galleries,most
of the early feminisi artistswere forcedto operateoutsideof art's professionalsupportsystenl
and no New York gallery ever choseto representFeministArt "as a Movement."The general
lack of initial commercialsupport for feminist-inspiredart continuesto exert an overriding
influenceon ho'',vart from the'70s is curatedand otherwisehistoricized;in the development.of
American art since Abstract Expressionism,there has never been a widely-recognized"ar]
Movement"that lvasn't packagedas suchby one or more commercialgalleries.To accessthe
influenceof the Feminist Art Movement is to confrontthe problem not only of how causal
connectionsbetweenart and artistsare seldomaccountableto any single source,but to also
acknowiedgethat the marginalposition within which feminist art first emergedcontinuesto
preciudeits genuineassessment
from the Americanart establishment,
which is still closelytied
to the samedealers,collectorsand
critical opinionsthat the Movementwent up againstduring the '70s,
Still, evidenceof the Movement'siegacyis undeniable:
feminismcontinucsto be one of
the central guiding principlesbehind the productionof new American art, especiailyof art
producedby women.The stylisticbreadthof the first generationof feministart was wide enough
to haveincorporated
againstrape,FaithRinggoid's:quilts,
SuzanneLacy's demonstrations
Miriarn
Lynda Benglis'sArtfontm advertisement
of herselfnakedwith a dildo;
Schapiro'sfemcollages,
"porffaits",Betye
EleanorAntin's photographicand scuiptual
Saa.r'spersonalized
assemblages,
Harmony Hammond's shamanisticfabric pieces, Sylvia Sleigh's realistic paintings, tvlartha
I{annahWilke's provocativenude body, Ana
Rosier'svideotapes,JoanJonas'sperformances,
Nancy Graves' cascadingceiling
Mendieta'searth-bodyworks, Audrey Flack's photorealistn,
pieces,Nancy Grossman'slithographsof gun-rvieldingmen, Judy Chicago'sporcelainplates,
Mary Beth Edelson's feminized recreationof The Last Supper',Joan Snyder's expressionist
in organdy,ReeMorton's scattered
canvases,
domestically-coded
ElaineReichek'scompositions
installations,Joan Semrnel'sre-renderingsof the female nude and Joyce Kozloff s public art
works enactedin tile. The Movement neither adheredto, nor did it attempt to adhereto, the
Greenbergianidea of formal progression;but what it did attempt to follow, even as it was
"fentinism."
creatingand debatingit, was an idea of
"post-"Modemist,It rvasneither
ironic,relativistic,
The Movementwas "anti-"ratherthan
from
Like
their
activist
sisters
whom
they
cynical, or anything lessthan utopian.
borrowed both
theory(SimoneDe Beauvoir'sIhe SecondSa;r,ShulamithFirestone'sTheDialecticof Sex,Kate
fenrinistartistssoughtto forge a
Millet's SexualPolitics,)and practice(consciousness-raising),
nerv art from a ;rew consciousness.
Although utilized in variousr,vaysby differentindividual and groupsof artists,the primary
'70s
was consciousness
methociinvolved in the productionof feministart during the
raisin.g.
raisingwas developedby
Inspkedby Mao Tse-Tung'sLittie Red Book, feministconsciousness
Redstockings,
Kathie Sarachildof the Neu, York City-based
one of the first radical feminist
activist groups that ernergedout of the anti-war and counterculturalmovementsin 1968.
Redstocking'srulesfor consciousness
raisingrvereftrst distributedin the group'sNote.s
ft'om the
First Year,a1969 x.eroxpacket
one of the most-widelyread
of radicalfeministrvritingsthai r,'ras
documentsoi the Women's LiberationNlovement,Althoughnot enrployedby every artist who
workedin the nameof feminism,consciousness
raisingwas centralto most of the newly-formed
"womanartistgroups"
the U.S. anciin othercountriesduring the '70s.o
up
throughout
that sprung
For instance,a 1972 newsletterof the feminist art nefwork West-EastCoast Bag (W.E.B.)
prcvided its readerswith eight "consciousness-raising
rules" fbllorvedby over fifty suggested
"topics;"
by 1974,sevenof eight city chaptersof W.E.B. who respondedto a query concerning
raising as a basis.This collusionbetweenartistsand
their "philosophy"listed consciousness
duringthe'70s was a kind of historicalanomaly:
activistsof the Women'sLiberationlvfovement
althougha sharedaim betrveenartistsand activistsis common,if not necessary,
to a political
liberationmovement,I canthink of no otherhistoricalexampleof artistsactuallyborrowingand
utilizing, as an artisticmethod,the samepraciiceusedby activiststo further political change.
Like consciousness
raising,much early feministart rvaslocatedin the belief that the description
catalystthatwould eventually
aridelucidationof women'sexperience
couldprov-ide
the necessary
ctrangelived experience.
The reiianceon consciousness
raisinginrroducedautobiography
as a veritablesourcefor
visual production;it also contadictedthe "unconscious"or "random"r'isualseiectionprocess
cherishedby so many Modernist creative theories.Feminism and its self-revelatorymethod
brought a different awarenessto art making: while admittediypersonaland autobiographicalin
its focus, it is, at the sametime, both sociallyconsciousand consciouslycritical.Feminismhad
originated, after all, from women's feelings and observableexperiencethat something was
"wrons":
with the way their lives as women were perpetuallysubordinatedto the lives of men
and children, and with the wa1'fine art, a culturalarenasupposedlyfree and enlightened,assisted
in the ideological devaluation and material exclusion of women. Through their new
"consciousness,"feminists felt they could changenot just
their own lives, but the world itself.
In terms of art, Lippard has described the influence this way: "A developed feminist
consciousne.ss
brings with it an alteredconceptof reality and morality that is crucial to the art
being made and to the lived with that art. We take for grantedthat making art is not simply
'expressing
oneself but is a far broader and more important task--expressingoneself as a
member of a largerunity, or comm/unity,so that in speakingfor oneselfone is also speakingfor
thosewho cannotspeak."s
The goai of consciousness
raising,and of a "consciousart," is similar in some ways to
the self-reflexive artistic practice encouragedby the neo-lr4arxistcriticality of the Frankfurt
Schoolbut it fundamentallydiffers in its prioritizationof women'ssituationand of the specific
verity it privilegesto personalexperience.If consciousness
raising,iike so many '70s artistic
methods and strategies,is no longer widely practiced,its inchoateinfluencepersistsin the
existence of so much recent Ameican art that constructspersonal narrative within an
understanding
of political exigency.
This essayis a modified and abbreviated
versionof "The FeministContinuum:Art After 1970,"
inciudedin the Power of FeminislA'1, Norma Broudeand lvlaryD. Gamard,eds.(New York:
Ha.ry N. Abrams,1994),pp. 276-287.
L,auraCottinghamis the author of How man.v"barl"feministscloes
it taketo cltartgea tightbulb?,
1994and iesbiansare so chic..., 1996.She currentlyteachesart criticismat CooperUnion and
in the Deoartmentof Visual Arts at RuteersUniversitv.
El
Endnotes
TheContribution
of Feminismto theArt of the r70s,"
i. Lucy R. Lippard,"sweepingExchanges:
1980,339-365.
Art Journal,Fall./Winter
NevvYorkTimes,January
2. Hilton Klamer, "DoesFeminismConflictwith Artistic Standards?",
27, 1980,section2; l, 27.
3. The situationfor womenartistsin Europeanart centers,whereno similar massagitationhas
whattheNewYork artcommunitywaslike for femaleparticipants
takenplace,closelyresembles
'70s;
regularlyexcludewornenfrom their exhibitions
that is, galleriesandmuseums
beforethe
model,
andthe few womenthat do shorvinvariablyfollow the Krasner/Frankenthaler/deKooning
i.e.,they must be marriedto or sleepingwith powerfulart world men.
raisingwith the aim
in consciousness
artistswho did not participate
4. Ivlanyfeminist-influenced
participants
in otherconsciousness
raising$oups.
of utilizing it for their art werenonetheless
5 . L u c yR . L i p p a rdi,b i d .,3 6 3 .
-fransfigurations:
Documentsand Imagesfrom ContemporaryFeminist Art
Exhibition Captions
C a s e1 :
FEMINISM AND ART HISTORY
In the early 1970s,there were severalgroundbreakingexhibits which inkoduced women artists
to the public. These included Wtere lVe At: Black WomenArtistsin 1911, WomenChoose
Womenat the New York CulturalCenterin 1913,and Ll/omen,4rtists: 1550-1950,curatedby
L.indaNochlin and Ann SutherlandHarris,in 1976. The latterexhibitinspiredMiriam Schapiro
"Collaboration,"
with her foremotherMary Cassatt.Shelaterdid similarworks with
to createher
ElisabethVigee-Lebrun,BertheMorisotandFridaKahlo. Collaboration,
whetherwith eachother
past.
rvasa key conceDtfor feminist anists.
or rvith women arfists of the
JOANN D'ESPOSITO-WACHTNIANN, PLATE AND TWO BOWLS, GLAZ,ED TERRA
coTTA. 1988-1992
JOANNE ZANGARA. HA}iD PAINTED SILK SCARF'
and JoanneZangaraare two young women artists currently
Joann D'Esposito-Wachtmann
working in the craft tradition.
C a s e2 :
ART, FENIINISIVIAND THE ENVIR.ONNIENT
In the iate 1970s,the use and abuseof the environmentappearcdas an importantthernein
feminist art. Cultural feministsbeiievedthat the environrnentrvas of particularconcernto
\,vomenas child-bearers;
women were naturallypeace-loving,nurnrring,and canng about the
earth. In art and literature,there was a traditionalconnectionbetweenwoman and nattrre,or
betweenwomen's bodiesand the earth.This themecan be seenin the .rork of Brazilian artist
joseiy Carvalho. and of Bea Nettles, whose autobiographicalphotographsexplore the luxuriant
landscapeof her Florida childhood.
Radical fen'rinistsassertedthat since genderwas sociallyconstrucied.,
rvomenheld no speciai
responsibilityfbr the environment.Lucy Lippardnotesthai women,regardless
of their position
in this debate,are over-represented
among artistswhose work deals with ecology,poilution,
vrastedisposaland other environmentalissr.res.She citesthe rvork of JanetCulbertson.whose
billboard seriespowerfully contrastsan idyllic past with a deskoyedlandscapeof the present.r
Women artists were also among the leadelsin the productionof anti-nuclearart, suchis Dona
Ann McAdams' photographsof performancesheld at nuclearpower plant sites,shown here.
C a s e3 :
FEMINIST ART AND POLITICS
In the late 1960s,feminist artistssuchas Nancy Speroand May Stevensusedtheir art as a means
of political protest againstthe Viehram War and civil rights violations in the southernt-lnited
States. May Stevensdevelopeda seriesof imagesof "Big Daddy", whom Lucy Lippard
describes as "the monstrous symbol of distorted patriotism, patriarchy, prejudice and
imperialism."2 In her Big Daddy Paper Doll (1970), she dressesher characteras a hooded
hangman,military figure,a riot policeman.anda butcher,makinga connectionbetweenpolitical
oppressionand the oppressionof women in society. Nancy Spero,famousfor her War Series
(1966-1970)on Vietnam,laterusedAmnestyInternational
textsin her work depictingthe torrure
of women.
FEMINIST ART AND PIULTICULTURALISM
Women artistsof color experienced
racismwithin the feministart movement.Chicanaartistand
organizerJudy Baca,bestknown for designingthe GreatWall of Los Angeles,a mural depicting
a multi-ethnic history of California,writes, "The problem was aiways the same problem--the
rvhite feministsthoughtthey rvoulddeterminehou'to approachanciconfrontrace. They never
camein the-iapacityto listen."i
Faith Ringgold rvasone of the fust feministartiststo take on the ciualstruggleagainstsexism
and racism. In 1970, she and her daughterMichele Waliace founded WSABAL (Women
Studentsand Artistsfor Black Art Liberation).Shetracesher developmentas a feministto 1972,
rvhenshebeganto work in cloth. Inspiredby her family's multi-generational
historyin Harlem,
Ringgold collaboratedon the quilt "Echoesof Harlem,"with her mother,Willi Posey,shortly
beforethe latter's death.
New York-basedartist and curatorHowardenaPindellalso activelytook on racismthroughher
work. in 1988, she curatedAutobiographt,:In Her hvn Image, a traveliing exhibit which
broughttogetherworks by women of coior from many differentettrnicbackgrounds.She also
conductedsurveyswhich exposedthe under-representation
of artists of color in New York
galleriesand mrtseums,
which shedirectlyexperienced
in her twelveyearsas an associatecurator
at the Museum of Mt-rdernArt.
Case4:
FEMINIST ART AND SPIRITTIAI,ITY
In their searchfor irnagesof powerful women,feminist artistsof the early 1970swere influenced
by historical and archeologicalscholarship,such as the work of Marija Gimbutas and Merlin
Stone, who studied pre-patriarchalcultures based on goddess-worship,as well as by the
rediscoveryof Jung's archetypeof the GreatGoddessas representative
of the feminine principle.
Theseartists createda feminist iconography,reclaimingsuch forms as the spiral, the labyrinth,
the egg,the circle,crescents,
horns,quatrefoils,disks,and others. The imageof the Paleolithic
goddess,the Venus of Willendorf,ostill influencescontemporaryarfists like Sheila Mudgett, as
well as the unknorvndesignerof the necklaceshown here.
in the early 1970s,goddessartiststendedtobelievethat the imageof the goddesswas universal,
regardlessof cuiture. In the 1980sand 1990s.however,arfistsworking in this traditiontended
to lccatetheseimageswithin a specificculturalcontext,as shorvnin Ann McCoy's depictionof
the Greek goddessAphrodite,and Anne Elliott's renderingof Kali, the many-handedHindu
goddessof divine retr-ibution.Feministailists from this later period also tendedto equatethe
goddess'with narure and ecology. Sculptor Nancy Azara,rvho ha.sbeen working with these
conceptsfor tr,venty-five
years,usesfoundwood, red paint,and gold leaf to createher free-like
sc'.rlptures.5
C a s e5 :
FEMINIST ART PUBLICATIONS
Nlany feministart organizations
and publicationsrverefoundedin the eariy 1970s. Someof the
earliestrvereinerpensivelyproduced,underground
news sheetswhich servedas an inforrnation
networkfor rvomenartists. Many wereshort-lived,othersweremore endirring,Of the examples
displayedhere.only the Women'sCaucusfor Art Nevvsletter
and the Lf/omen's
Art Registryof
fufinnescta
pubiisb.ed.
Nexsletterare still being
ALI'ERNATI\TE SPACES
Becauseof the Cifficulty of breakinginio the gallerysystem,somewomen artistsstartedtheir
orvn all-women galleriesor found alteinativespacesin rvhich to exhibit. AIR Gallery, a
cooperativewomen's gailery established
in Ncw York in 1972,was one of the firrstof these.
Other women's ealleriesrvereSoho 20 in Nerv York, Arten'risiaand ARC in Chicago,Hera irr
Wakefield,P.hodeIsiand,and Womanspace
in Los Angeies. Women artistsalso exhibitedin
unusualvenueslike P.S. I in QueensandF'ashioniV{odain the SouthBronx. ln 1971,the first
exhibit of the Women Artists Seriesat DouglassCollegewas heid in the lobby of the Mabcl
SnrithDougiassLibrary. As well as launchingthe careersof somewoirren artists,the alternative
10
exhibition movement allowed controversial feminist art that would not have been shown
elsewhereto be seen.
Case6:
''THE BEAUTY MYTH''
"Making-up"
and "dressing-up"are recurringthemesin feminist art. Someofthis work ironically
commentson the contrastbetweenself and self-image,betweenhow women seethemselvesand
how they are perceived. Another way of expressingthis theme is through the idea of
transfiguration--howthe self canbe transformed,at leastextemally,t'hroughcosmetics,hairstyles,
clothing, or plastic surgery. Another dimensionis the contrastbetweenthe contemporaryreality
of women's diverseidentities,and the way that the ideal woman is definedby societyas young,
thin and caucasian.
Case7:
HANNAH WILKE
Someof the most radicaland provocativeart of the 1970swas doneby feministswho usedtheir
own bodiesor imagesof the body in their work.6 HannahWilke's photographsand perfionnances
attractedparticularattentionandnotoriety. In her StarificationObjectSeries(1974-1982),Wilke,
a celebratedbeauty, strikes high fashion/pornographic
poses,rvhile displaying a body studded
with chewin$gum sculptures.Starification,a play on staring/scarring,
represents
the suffering
that women undergoin their struggleto be beautiful. Lucy Lippard commentsthat, 'lA woman
using her own face and body hasa right to do what shewill with them,but, it is a subtleabyss
that separates
men's use of womenfor sexualtitillationfrom rvomen'suse of womento expose
that insult."7
HannahWilke died of cancerin 1993.
''CUNT.POSITIVE'' ART
In the 1970s,feminist artists wanted to reclaim the female body for women by representing
women's bodiesand bodily experiences.They soughtto createpositive imagesthat showedthe
beauty,and sexualand spiritual power of the body, as seenfrom the female perspective. Some
of this work attemptedto reclaim female genitaliafrom degradation,in imagessuch the placesettingsin Judy Chicago'swell-knownDinner Party installation,and the coloring book and
pb.otographs
shown here, Women artistscoinedtle phrase"cunt-positive"art, in an attemptto
reclaim the term "cunt" from its connotationsof defilementand opprobrium.s
1l
Case9:
RECLAII\{ING THE CRAFT TRADITION
For centuries,decorativeand dornestichandicraftshave been regarded,literally, as women's
work, a form of "Low Art" from which western,male-dominated"High Art" strove to separate
itself. In the early I970s, feminist artists, often working collaborativeiy,sought to reclaim
women's traditional crafts like quilting, embroidery,lace-making,and china-painting,by using
them in their work, Somewomen artistscombinedthesetechniqueswith sexualimageryto create
w"itfy,ironic images,as shown by "The Boob Tree" and "The Girl in the Velvet Box". In the late
1970s,feminist artistsJoyceKozloff, Miriam Schapiroand Valerie Jaudonbecameieadersin a
new mainstreammovement,Patternand Decoration,which emergedto challengethe dominant
Minimalist aesthetic.
C a s e1 0 :
WOMANHOUSE
In 1971,studentsin the FeministArt Programat the CaliforniaInstituteof the Arts in Valencia
and their teachers,Judy Chicago and Miriam Schapiro, created Womanhouse.Working
collaboratively,they took over a condemaedHollywood mansion,and painted,sculptedand
decoratedeachroom to representthe fantasies,constraintsand hiddendespairof middle-class
women'slives.Womanhousewas opento the public in 1972. Althoughthe housewas latertorn
down, its powerful imageshave beenpreservedon film.
THE L.A. IVO}IAN'S BUILDING
The Woman's Building, a "public centerfot u,omen'sculture",rvasopenedin Los Angelesin
1973.It originally housedthe FeministStudioWorkshop,an alternativeart school for women
foundedby JudyChicago,art historianArleneRaven,andgraphicartistSheilade Bretteville:the
Women's Graphic Center;WomanspaceGallery,which had been founded n 1972 in an old
iaundromat:AssociatedWomen'sPress;the Los AngelesFeministl-heatre;and other wonren's
organizations.
FeministStudioWorkshop,as well as teachingart-rnakingskills,tried to develop
wornen'sidentitiesin the contextof a rvomen'scorffnuniry.It also servedas a performance
space,giving a startto performancegroupslike FeministArt Workersand the Waitresses.The
L.A. Woman's Building no longer exists.
13
THE NEW YORK FEMINIST ART INSTITUTE
The New York Feminist Art Institute rvasfoundedin New York City in 1979by Nancy AzNa,
Miriam Schapiro, Carol Stronghilos,Irene Peslikis, SelenaWhitefeatherand Lucille Lessane.
Like the foundersof the L.A. Woman's Building, they askedthe fundamentalquestion,"How
doesthe social and psychologicalcontextof our identity as womeninform our art?" which would
becomethe ethosof the school.In the inhospitableclimateof the 1980s,NYFAI's existencewas
overshadowedby the struggle for funding. In the early i980s, when the word "feminist" was
becoming almost taboo,I.IYFAI adoptedthe additicnaltitle Women's Cenrerfor Learning, and
broadenedits focus to include other arts suchasprint- and paper-making,basketry,and puppetry,
as well as courses in psychology and writing. In 1989, NYFAI sponsoredan exhibit and
symposium, Be.vondSurvival,which tackledthe issuesof raceand gender.Becauseof a shortage
of funding, however.bIfFAI was forcedto drasticallycurtail its activitiesin 199C,and eventualiy
dissolved.
VISUAL DIARIES
The New York FeministArt Institutecurricuiumwas non-haditional.In the first year, within the
on developinga better understandingof
context of group sessions,srudentsconcenrrated
themselvesand their positionas womenbeforeembarkingon the study of artistictechnique.in
her consciousness-raising
classes,sculptorNancy Azarapioneeredthe conceptof visual diaries.
through drawing, painting,
These were journals kept by studentsrecordingtheir experiences
personal
their
experiences
into ari.
sculptureand sometimestext, which helpedthem translate
C a s e11 :
FEIVIINIST ART AND THE DOMESTIC ENVIRONNIENT
"Probablynlore
than most artists,women make art to escape,overwhebn,or transformdariy
rea.lities.
So it rnakessensethat thosewomen artistswho do focus on domesiiciniageryoften
seemto be taking off from, ratherthan gettingoff tx, the implicationsof floors and broornsand
dirri' laundry.iley work from such imagerybecausethey can't escapeit."ro
--Lucy Lippard
14
C a s e1 2 :
PROTEST
Beginning in the early 1970s,women artists,teachers,students,and curatorscompiied statistics
and stagedprotestsagainstthe under-representation
of women and minorities in galleries and
museruns. in 19.i0,the New York Ad Hoc Women Artists'Committeeprotestedthe limited
number of women artists in the Whitney Annual, leadingto an increasein representationfrom
tive percentin 1970to 22 percentthe followingyear. In 1981,however,outragedby the absence
of rvork by women and minorities in the Los Angeles Coung Museum of Art's Bicentennial
exhibition, artistsdressedin cowgirl and cowboy outfits, or wearingmasksof the show's curator,
Maurice Tuchman,stageda guerrillaperformancewith pink and black balloons. Displayedhere
are artifactsfrom a 1984 demonstrationby the Ne'v York City Chapterof the Women's Caucus
for Art againstthe inclusion of only 14 women out of a total of 165 participantsin An
International Surveyof RecentPainting and Sculpture,lheexhibit marking the reopeningof the
Nluseumof Modern Art after a four-yearrenovation.
THE GUERRILLA GIRLS
The women artists protest group, the Guerrilla Girls, was organizedin Manhattanin 1985.
Appearingin public wearinggoriila masksto hide their identities,they distributedleafletsand
posterswhich exposedthe continuinginequitiesin the representation
of men and women in
gallery and museumshows in New York. Using humor and irony, the Guerrilla Girls kept
women's art activism alive throughthe 1980s,and into the 1990s,when they broadenedtheir
agendato intlude otherfypesof socialcriticism.rl
C a s q1 3 :
VIOLENCE AGNNS'I WOMEN
Itre themeof violenceagainstwomenhasbeenfrequentlyusedby feministperforrnanceartists
such.as SuzanneLacey and Lesiie Labowitz, or by the Cuban-bornartist Ana Mendieta, who
herselfdied tragicallyin 1985. In this piecedonewhile shewas still a studentat the University
oi Iowa, spectatorswould suddeniycomeuporl her blood-stained,
half-nakedbody. Women's.
,,vork in this gen-refocused on rape, domesticabuse,or the more muted .riolenceof the
expioitationof women by society;suggested
in the peribrmancepiece "Minimum Wage Rage,"
by young artist SuranSong.
15
''WE OPPOSE VIOLENT PORI{OGR4.PHY''
"On
July 4, 1986, 5 members of the Women's Freedom Front demonstratedagainst
objectificationand againstpornographyby simuitaneouslyripping up pornographyand riding on
a flrrat without shirts. The action took placein CedarBluff, Iowa, at a 4th of July paradeviewed
by 15,000peopie....Women
rvho removetheir shirts as they rvishin a noncommercialcontext
are actively stopping the male pornographic fantasy of man as dominator and lvoman as
object....Thisaction is one of a seriesof feministdirect actionsagainstpornographyby Citizens
for Media Responsibilitywilhout Law and the lowa Women'sFreedomFrontlt2
Endnotes
l. Lucy R. Lippard, "'fhe GarbageGitls," inThe Pink GlassSwan: SelectedFeminist Essuyson
lrl QrlewYork, 1995),pp.258-261. Reprintedfrom Z lulagazine(DecemberI99l).
2. Quoted in Norma Broude and Mary D, Garrard,eds.The Pover of Feministlrf (New York,
1994),p. 142.
3. Quotedin YolandaM. Lopez and Moira Roth, "SocialProtest: Racismand Sexism,"inThe
Power of FeministArt, p. 752.
4. JoelynnSnyder-Ott.ll'omen
and Creativif (llillbrae, CA, 1978),p.55.
5. Flavia Rando,"sacredDwellings: The Work of Nancy Azara,"in Nancy*
A:ara (Ne* York,
p
.
1995), 6.
-6. JoannaFrueh,"The Body ThroughWomen'sEyes,"in ThePower of FeministArt, p. 190.
7, Quoted in Hannah Wilke, So Help Me Hannalr. Text for video performancetape. Privately
printed,n.d.
8. Frueh,p. 192.
9 . I b i d . p, . 2 0 1 .
10. "Householdimagesin Art," in ThePink GlassSwan,p. 62. Reprintedfrom Ms. l, No. 9
(March 1973).
I l. "Guerrilla Girls." in The Pink GlassSwan.o. 257.
12. Postcard.V,/omen'sFreedomFront. go*u Cirr-,1986).
t6
Documentsand Imagesfrom ContemporaryFeministArt
Transfigurations:
Checklist
Case 1: Feminism and Art llistory
"Collaboration."January,1977,
Ir{iriam Schapiro,poster,
Mitzi Landau Gallery, Los
Angeles.2611000.Inscribedfor Lucy Lippard by artists. Women'sArt Registry
JoannD'Esposito-Wachtmann.Plate and two borvls.Glazedterra cotta, 1988-1992.
Collection of the arttst
JoanneZangara.Hand painted silk scarf. Collectionof the artist
Case2: Art, Feminism and the Environment
JoselyCarvalho. My Body is My Country.Hartfbrd,CT: Real Arts Ways,lggl.
V/omen'sArt Registry
Bea Netties. "Rain Forest,"Flamingo in the Dark. Rochester,NY: Inky Press
Productions,1979.Women'sArt Registry
Exhibition AnnouncementCards:
--JanetCulbertson."Untitled." EastHampton.NY: Guild Hall
-_
Museum.
--ianet Culbertson."Facesof the Peconic." Riverhead,NY: East
End Arts Council.
--JanetCulbertson."Untitled." New York: Anita ShapolskyGallery.
--JanetCulbertson."Memorial,1965." Frorn Seato ShiningSea.
Riverhead,NY: SutTolkCommunity College. l\omen's Art Registry
"RanchoSeco,Sacrarnento,
Dona Ann McAdams,
California. SacramentoMunicipal
IJtility District." frorn.They're Juggling Our Genes!I'he Nuclear Suntival Kil. Postcard.
Privatelyprinted,NY, 1981.Women'sCaucusfor Art
"Karen
Silkwood was murCered."Photo in Heresies.Issue I3
Yoko Ono. Color, Fiy, SlE. Museetfor Samtidskunst:Palaeet,Raskilde;Denmark,
1992. LYomen'sArt Registry
JoanneZangara.llandpaintedsiik scu'f. Collectionof the artist
t7
7
Case 2: Art, Feminism and the Environment (con't.)
Kathy Vargas, poster,"Hunger & the Environment:A Seriesof Events Dedicatedto
the Memory of Mickey Leland." 5th Annual World Food and FlungerConference.University
of Texas Schoolof Public Health.october l6-19, 1989.Il/omen'sArt Registr},
Case 3: Art, Feminism, lVlulticulturalismand Politics
Faith Ringgold and Willi Posey."Echoesof Harlem" in The Artist and the Quilt. New
York: Alfred A. Ifuopf, 1983.RutgersArt Library
Monica Sjoo, Halina Korn, GertrudeElias, MaureenScott, Heinke Jenkins,.
Hilda Bernstein,JacquelineMorreau.int'o. by CharlotteYeldham. The World as We See It:
GraphicsPaintinsSculpture.1975-1985.
InternationalWomen's Decade.London: Camden
Council for InternationalCooperation,1977.Women'sArt Registry
.
ExhibitsUSA, 1992.LYomen's
Caucusfor Art
May Stevens.
--exhibitioncatalogfrom HerbertF. JohnsonMuseumof Art. Cornell
University. November28-December
21, 1973.
--"Big DaddyPaperDoll, 1971"from Bie Daddv, Lerneir-Heller
Gallery,New
York, NY.
Art Registrlt
Yomen's
Adios Columbus. VistasLatinas. Hilhvood Ar1 Nluseunr.Long IslandUniversity.
Brooklyn, NY, 1972. Women'sArt Registrv
Betty La Duke: Multi-CulturalImaees. Paintines-Prints-Drawines
l9-53-1986.
Exhibition catalog,SeattleArt Museum.lI/'omen's
Art Registr-:.,
--"Chiricahua
Apaches,I99I ."
--"Sampler(If you reallylove . . .), 1993."
ElaineReichek.Home Rule. OrchardGallery,Derry: Irish Museumof Modern Art, Dublin,
1993. Women'sArt Registry
Nancy Spero,"l984 The Year of the SouthAfrican Wonran".lrlevr'York,Art Against
Apartheid,1984. Women'sArt Registty
18
Case4: Feminist Art and Spirituality
Sheila Mudgett. Figwes. Llomen'sCaucusfor Art
goddessnecklace.Loaned by Amy Da',vson
Annabel Nicolson. "MenstrualHut." Exhibition "ConcerningOurselves.."Norwich,
1981. LVomen'sArt Registry
Amy Zerner, poster,Materiatizatlonq.Whitelight Gailery.New York, NY, September
17 October24, i987. "Tabernacle",1987,depicted.l[romen'sArt Registry
Nancy Azara. "Spirit House of the Mother". Exhibition catalog. E.M. Donahue
Gallery, 1995,Essayby Flavia Rando. Prosepoem by Arlene Raven. Exhibition curatedby
Ronald Sosinski. Vf/omen's
Art Registrv
"Heroic
Female:lmagesof Power." Announcement
of exhibitionat CeresGallery
1986.Work by Women Artists Associatedwith NliFAIAVomen's Center for Learning. New
York Feminist Art Institute
Anne Elliott, "Kali", 1984.Sculptue blwalqeLln the Eiehties. Exhibition at the UP
Gallery,Universityof Pittsburgh,1985.Women'sCaucusfor Art
"Work
of the Spirit." Announcement
of exhibitionat CeresGallery, 1988.Work by
Women Artists Associatedwith NYFAI. Women'sArt Registrv
AnnMcCcv: New RomanWorks.Rome 1989-1990.Exhibitioncatalog.Arnoid
Iierstand& Company,New York, NY, 1990.Women'sArt Registt1t
"Artist
as Shaman."Exhibitionat the Woman'sBuilding Gallery,Los Angeles.
November4-28, 1985.Women'sArt Registry
Case5: FeministArt Publications,Organizationsand Erhibition Spaces
Soimine off: a monthly newsletterof women'sculturepublishedat the Los Angeles
Women's tsuilding. I(omen'sArt Regi.rtry
WWAC NEWS (WashinglonWomen'sArt Center)Vol. 4, no. 12, February1982.
Ilomen's Art Registry
Womanart"What Ever Happenedto the Women Artists Movement?"Winter/Spring
1977.Women'sArt Registry
19
Case5: FeministArt Publications,
Organizations
and ExhibitionSpaces(con't.)
WARM Journal(Women'sArt Registryof Minnesota)Vol. 2, no. 1, 1987.Women's
Art Registry
Women'sCaucusof the ColleqeArt Association
of AmericaNewsletterNo. 1, 1973.
Women'sArt Registry
Vol. 10,no. 3, Spring1985.Women'sCaucus
for Art
The FeministArt JournalFalI 1972.Women'sCaucus
for Art
"Heresies'flyer. For HeresiesCollective,inc.Heresies
"Heresies"
poster.Heresies:
a feministpublication
on art & politics.Posterfor issue
#2. Il'omen'sArt Registry
Warm Art Gallery.ScenicViews:paintines.JaneBassuk,1979.Minneapolis,MN.
Exhibit Opening.Ia/omen's
Art Registry
ArtemisiaGallery. PhyllisBramsonandLindaKramer,1976.Chicago,IL. Opening
Announcement.
Women's
Art Registry
ARC Gallery. JaneStevensandMarilyn Sward,1979.Chicago,IL. Opening
Announcement.
Lltomen's
Art Registty
Catafbgs.
WomenArtistsSeries,MabelSmithDouglass
Library,1973,1974,1975.
W'omen's
Art Registry
Case6: "The BeautyMyth"
"Age BeforeBeauty".A film by SarahGibson&
SusanLambert.Discussionleaflets.
Women'sFilm Fund,1980.LV'omen's
Art Registry
The Fat Book.BeverlyNaidus,1992.Privatelyprinted.LYomen's
Art Registry
"The Alien of a ShortStoryaboutthe Little Girl with
the JapEyes,HawaiianPig
NoseandNiggerLips." KatherineHall. Heresies,
Issue9
'
"Girl with Mirror." MarthaMayerErlebacher.1974.
From Wor4enArtists.Here&
Now and exhibitionat the Art Gallery,O'Shaughnessy
Hall, the Universityof Notre Dame.
ll/'omen'sCaucus
Art
for
20
Case 7: Feminist Art, Sexuality and the Body
So Help Me Hannah.HannahWilke. Text from videoperformance.
Cardadvertising
performance
Art Registry
at AIR.,February20, 1982.lVbmen's
So Helo Me Hannah."oneof 48 ray gunphotos". HannahWilke, 1978.Women's
Art
Registry
with Ray Gunscollectedfrom 1969-78.Exhibition
Sc Help lrtleHannah:Snatch-shots
Art Registry
Opening,P.S.1. L.I. City,New York, 1978.Women's
box
S.O.S.Starificationobjectseries. i of 36 playingcardsfrom rnastication
Art Registry
peiformance.HannahWilke. Paris,1975.Women's
Nipple balls, 1996. Suran Song, Artist statement.Collectiottof the artist
4 imagessuggestinglesbiansexualiry.He:resies,IssueI2
"The
Great American Lesbian Art Show." GALAS. Announcement. Woman's
Building. Los Angeles,1979.Women'sArt Registry
"Wrappedparts.'l Judith N{oriarryand
"Big Date EveningBag." HelenaD. Negrette
from Erotica:Women CreatineBeyondthe Sexual.1984.By Evelyn PatriciaTerry and Gayle
GrubisicRiordan.Women'sCaucusfor Art
3 phoios:Norma Hairnes.
--"Mae West,"1975.
--"Little Pussy,"1975.
--"FannyHill," 1976.Lt/'omen's
Art Registry
Cunt ColorineBook. Drawingsby Tee Corinne. San Francisco,CA: Pearchild
Art Registry
Prociuctions.LVomen's
Case 8: "What is Feminist Art?"
Cards with originai art by:
-----
Mary Beth Edelson
Anita Steckel
Avis Lang
Sonya Rapoport
27
Case8: "What is Feminist Art?" (con't.)
- Avis Lang
-- SusanneMueller
- Helene Aylon
--unidentified
.- Arlene Raven
- Robin Tewes
- Anita Steckel
Judy Malloy. Heresies
Case 9: Reclaiming the Craft Tradition
Phyllis Green, "Boob Tree" and Anna Gustafson,"Girl in the Velvet Box." Woman as
Viewer. Catalog,Winnepeg Art Gallery, 1975.An IntemationalWomen's Year Project
Independentlypresentedby the Committeefor Women Artists, Winnepeg,Manitoba.
lYomen'sArt Registry
Barbara E. Harris et al., T,hreadsof Intimacy. Privatelyprinted, 1980. Women'sArt
Registry
Case10: Feminist Art Education
WomanhouseInvitation, 1972.ll/omen'sArt Registry
Photos:
-Beth Bachenheimeret al., Dining Room, 1972.
@Lloyd
Hamrol.
-Kathy Huberland,Bridal Staircase,1972.@Lloyd }Iamrol.
-Robbin Schiff, NightmareBathroom, 1972.
@L\oyd Hamrol.
"Woman
to Woman." The Woman's Building, a public centerfor woman's culture,
welcomesyou to the Grand Opening.December13, 1973. Women'sArt Registry
Visual Diaries. 1981.Nelv York FeministArt Institute
NffFAIAVomen's Centerfor Learning
-Catalog, 1979
-3 Schedules
of Classes,Workshopsand Events,1986-1987
York Feminist Art Institute
22
New
Case10: Feminist Art Education(con't.)
"Reflections:
Women in their own image
Advertisementfor Opening.
Autobiographical works by women artists.l' affiliated with I.ffFAIMomen's Center for
Leanring, 1985. CeresGallery, New York, NY. New York FeministArt Institute
"The Political is Personal." Work by
Advertisementfor Opening.
Women Artists
Affrliated with i.flTAVWomen's Centerfor Learning, 1987.CeresGallery, NY. New York
Feminist Art Institute
Photo, "Anais Nin and Judy Chicagoat OpeningNight at the Woman's Building,
November 28, 1973." Women'sArt Registry
Case11: FeministArt and the DomesticEnvironment
"Wages for housework." New York Wagesfor HouseworkCommitlee.Heresies,
Issue 9
"Always a bridesmaid,nevera bride." SusanE. King.
--"Miss SusanElizabethKing announces
the publicationof her book
Always a Bridesmaid,Never a Bride
on Saturday,the fifteenth of April
Nineteenhundredand seventy-eight
815 OceanFront Walk: Number 1
Art Registrlt
Venice, California 90291." l't/'ornen's
Art Installation."The Family Wash." MarianneEdwards.OpeningInvitation.Fashion
Moda. Bronx, NY, July i9, 1980.Women'sArt Registry
"Potato.1979." Beckv
Cohen.lI/omen'sCaucusfor Art
"Tell Me More."
Carol Law. Women'sCaucusfor Art
Scuipture."Woman's Work." RhondaRoland Shearer.CatalogueForeword by John
A. Cherol.Essaysby Arlene Raven,RhondaRoiandShearer,1995.Women'sArt Registry
Nipple cup, SuranSong. Collectionof the artist
)?
Case 12: Women Artists' Protests
"MOMA
Doesn't Always Know Best.", 1984.Women'sCaucusfor Art
Mock-ups: "Whitney . . . 60 to 7 ?" Women's Caucusfor Art/lrlew york City
Chapter,c. 1986.
"Guggenheim
. . . 50 to 2?", c. 1986.Women'sCatlcttsfor Art
"Now You See
Us, Women's Caucusfor ArL 1986." The Museu.mof Modern Art
Opens,but not to Women Artists, Pin. Women'sCaucusfor Art
3 color phctosof protestat the MOMA, c. i986. I4/omen's
Caucusfor Art
Photo, "Guerilla Girls, Conscienceof the Art World." II/omen'sArt Registry
Sticker. "Women in America Earn Only 213of what men do. Women Artists earn
oniy l/3 of what men artistsdo." GuerrillaGvls. lltomen'sCaucusfor Art
"Artists
Missing in Action." Poster.Double X and Arts Coalition for Equality. Los
Angeles,1981. Il/omen'sCaucusfor Art
2 black and white photos of protestat the Los Angeles County Museum of Art, July
1981.Women'sCaucusfor Art
Tee-shirt,"Women artiststake overNew York," c. 1986,Women'sCaucusfor Art
Bannir. "MOMA, Do only white men make art?",1984.Women'sCaucusfor Art
Case13: \/iolenceagainstWomen
Rape-Murder,1973. Ana lv{endieta.From Rape.presentedby the Ohio State
University Gallery of Fine Art. Dedicatedto the Memory of Ana Mendieta,r,vhose
unexpecteddeathorLSeptember8, 1985,underscores
the violencein our society. Hoyt L.
SherrnanGaliery.Photodocumentation
of outdoorperiormance,in iowa City, IA. Women's
Caucusfor ,4rt
SuranSong, "Minimum Wage Rage:Hit the GlassCeilitrB",1994.2 photosof
performance.Collection of the artist
"$Ie
,
opposeviolent pornogiaphy."Postcard.Women'sFreedomFront. Iowa City, IA,
l
1986.Women'sArt Registry
IgrkSA45! 250 Feminist Cartoons.An exhibition curatedby A.ris Lang Rosenberg.
Vancouver,IlC. UBC Fine Arts Gailery,1981,RatgersArt Library
24