WARRIOR WOMEN of HISTORY + LEGEND by Ashley Hinkle a Thesis

WARRIOR WOMEN OF HISTORY + LEGEND

Ashley Hinkle A Thesis Submitted to the Graduate Faculty of Corcoran College of Art + Design in Partial Fulfillment of The Requirements for the Degree of Master of Arts Exhibition Design

Committee:

______Thesis Advisor

______

______Department Chairperson

Date: ______May 2, 2014 ______May, 2014 Corcoran College of Art + Design Washington, D.C.

WARRIOR WOMEN OF HISTORY AND LEGEND

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Corcoran College of Art and Design

Ashley Hinkle Bachelor of Arts in Studio Art and Art History Sweet Briar College, 2011

Advisors: Clare Brown, Cory Bernat, and Nigel Briggs Exhibition Design

Spring Semester 2014 Corcoran College of Art + Design Washington, D.C.

I dedicate this thesis to my parents, Marcus and Shirley, whose unconditional love and support has pushed me to be my best self and has pushed me to be the best artist and designer I could be. I also dedicate this thesis to the millions of women who fight or have fought for leadership, recognition, and freedom. Without your courage, this thesis would not be possible.

ACKNOWLEDGEMENTS

I would like to express the deepest appreciation for my thesis advisors, Clare Brown, Nigel Briggs, and Cory Bernat, who advised me against changing this topic when the professional feedback was poorly received at the time. Without their guidance and encouragement this thesis would not have been possible. Next, I would like to thank my content mentor, Christine Sylvester, whose insights into various revolutions occurring in Africa encouraged and inspired me to research beyond the Western vacuum of current events. Finally I would like to thank Barbara Charles for believing in this topic, pushing me outside of my comfort zone, and exercising her professional connections to propose this exhibition to the Frazier History Museum.

INTRODUCTION

Passion Statement

This research expedition was spurred with the discovery of an anonymous late 19th century photograph of a young Japanese female (Fig. 1). She appears to be in her late-teens, early-twenties wearing her hair parted down the center, and pulled back at the nape of her neck. She wears a barrette of white flowers like a halo, while her eyes stare intensely at a point invisible to the viewer. Her lips are pursed, almost in frustration or anger, but she portrays a great sense of pride. What makes this photograph curious is that she is wearing samurai armor and is tightly gripping a saihai, a tasseled baton to denote a samurai warrior’s rank on the battlefield, while clutching a helmet topped with white flowers on her lap.

Fig. 1: Anonymous, c. late 19th century, photograph, unknown size.

When I asked the veterans of my extended family what they thought about the general concept of female warriors, most appreciated the idea while some had strong feelings against the notion. The antithetical beliefs had stemmed from the Pentagon’s recent lift on combat exclusion allowing women to participate in active combat and artillery units in January 2013. By lifting the ban on women in combat, women are now eligible for serving in more than 220,000 military positions.1 The beliefs that women should not participate in battle were poorly supported and reliant on questionable stereotypes. Statements including how women are the physically weaker sex and are too emotional to handle the realities of war were the most common viewpoints, even among women. The most questionable opinion included that women make better homemakers, caregivers, and mothers than fighters.

1 McSally, Martha E. "Defending America in Mixed Company: Gender in the U. S. Armed Forces." Daedalus 140, no. 3 (Summer 2011): 148-164.

After weeks of researching Japanese Meiji and Edo Period warrior women I eventually expanded the pool of heroines from the ancient Amazons to Post-9/11 Armed Forces soldiers. I took note of how difficult it was to find consistent and reliable historical information on all of my heroines; at which point I began to notice trends in prevalent attitudes of women during each era. This only fueled my efforts to ensure that these women’s remarkable stories would no longer remain unknown to history.

I came to this topic with a background in art history with emphasis on feminist art as well as studio arts with concentrations in drawing, printmaking, and assemblage installation. My interests in liberal feminism and warrior culture, primarily stemming from my pastime in reading epic fantistorical and science fiction novels, provided an ideal framework for exploring historical and legendary accounts of women who fight and defy convention. My role as an exhibition designer extends further from designing a physical space and populating it with graphics and objects. I have adopted the epistemology that designers of all genres, whether industrial designers or typographers, are problem solvers through compelling information architecture. This exhibition is rooted in the belief that by confronting visitors with the realities of women in warfare, it is intended that visitors will acknowledge their beliefs and make better informed decisions with regards to their viewpoint of women, rather than relying on feeble stereotypes.

Summary of topic

Focusing primarily on historical military accounts, Warrior Women of History and Legend is an inquisitive and eye-opening experience that powerfully expresses the actions and philosophies of women in combat all over the world through visual culture and new media. Spanning nearly two thousand years, the exhibition contents are divided into seven interpretive precincts which include the following: Myth Inspired by Reality, Protecting Their People, Fighting for Spirituality, Putting Family First, America’s Story, Instruments of Fear, and The Story Continues.

Exhibition Resources

The exhibition resources are arranged in a loosely chronological order by theme which includes ancient marble sculpture and pottery, as well as arms, armor, biographical paintings, photography. Oral and video accounts from contemporary female combat soldiers give visitors personal insight into their perspectives as both warriors and women. Most of the exhibition resources consist of prominent works of art, some of which are painted by old masters. These works have been customarily displayed in the context of an artist’s life or its place within the history of art; however applying this approach to

2 displaying visual didactic information will benefit visitors and provide a more holistic experience of the content. This model is adapted from a similar format as the Smithsonian Institution’s National Portrait Gallery where historical accounts are told through the portraits of the individuals that shaped moments in our nation’s history. In contrast my approach will entail a multinational perspective using the same technique, but with the inclusion of representational objects such as weapons, armor, and evidentiary findings (See Appendix 2).

Site

The proposed location for this exhibition is within the temporary exhibition gallery at the Frazier History Museum in Louisville, Kentucky. The Frazier is an ideal venue because of the Museum’s identity as a multinational and pan-historical museum. The Museum also serves as the American outpost for the Royal Armouries’ collection of arms and armor from Leeds, England. The Armouries gallery is adjacent to the temporary exhibition gallery which provides an exclusive spatial comparison between male and female combat, arms, and armor. Furthermore, by hosting this exhibition, the Frazier would provide a unique platform for local and traveling visitors who may not be accustomed to considering relationships between politics, art, and war. By simultaneously presenting historical female warriors and contemporary military soldiers in a unique way, this exhibition supports the Museum’s mission as an institution which “provides experiences that encourage inquiry as a catalyst for building individual respect and cooperation.”2

Challenges

Orchestrating a comprehensive and controversial topic and shaping it to make a suitable and digestible experiential narrative for the public was by far my biggest challenge. What are the most important components of a story that spans two thousand years? Beginning with archetypal examples from antiquity such as warrior societies and the martyr surprisingly informed the content for later and contemporary accounts. Moreover, finding accurate and reliable information posed an immediate problem due to the lack of historical documentation of women’s lives and accomplishments during each era. Facts and visually compelling resources became valuable to the continuation of the project. This posed a challenge with regards to presenting the content and resources with a neutral yet engaging tone as opposed to glorifying or sentimentalizing the information.

2 “Museum Mission.” Accessed October 29, 2013. http://www.fraziermuseum.org/about/

METHODS

Approach to Content Research

Research for this topic began by consulting digitized museum collections for any female warrior-related media and past exhibition information. Analyzing objects from traditional museum collections allowed me to gauge how to best approach other forms of media and storytelling. The majority of collections primarily featured works of art and illustrations rather than evidentiary findings and historical artifacts for the antiquities which spurred the research and inclusion of representational objects and photographs from relative archeological digs. Consulting various new media outlets such as NPR and the New York Times were also effective in archiving audio-visual interviews of post-9/11 soldiers prior to the Pentagon’s lift on combat exclusion.

The initial tone of the exhibition concept was proud and glorified, but soon changed once I began researching feminist perspectives of women’s participation in war. The exhibition content was quickly shaped to encourage a perspective free of stereotypical examples and thinking. Researching these theories and perspectives allowed me to better develop the tone of the exhibition, however it is challenging to present stories built on the foundation of stereotypes and positivist thinking. Francine D’Amico wrote, “That we even need to talk about ‘women and war’ underscores the gendering of our construct of war. War has been perceived as men’s domain, a masculine endeavor for which women may serve as victim, spectator, or prize. Women are denied agency, made present but silenced.”3 By presenting a liberal feminist perspective (a proponent viewpoint for gender equality) as opposed to antifeminism and radical feminism, the content and resources are intended as a middle-ground for a neutral presentation. It is intended that visitors will feel comfortable to engage with the exhibition content through the agency of demonstrating balance between advocacy and information.

Site Precedents

Generally speaking, each museum is traditionally typified by a single overarching subject. Whether a museum is an art, history, or natural history-focused museum, these subjects are independent, and are typically not intermingled. Determining a venue that could feature this sort of multimedia exhibition due to the subject constraints was problematic. I happened upon the Frazier History Museum in Louisville, Kentucky which identifies itself as a multinational and pan-historical museum. This particular site is not

3 D’Amico, Francine. “Feminist perspectives on women warriors.” Peace Review 8, no. 3 (September 1996): 379.

4 only appropriate for its attention to American and multinational history, but its collection’s rich history in warfare. Some highlight objects in the collection include a bow, quiver, and arrows attributed to Geronimo, leader of the Apaches, a Civil War grave marker from the Battle of Little Bighorn in 1890, a late 1800s British Highlander Coat from the Crimean War era, and the Van Male collection ranging from 16th century Italian armor to early 20th century dueling swords. In addition, the Museum maintains a partnership with the Royal Armouries in Leeds, England as the American outpost for part of the Royal Armouries’ armor collection. This relationship facilitates the integration of representational objects and evidentiary artifacts of Warrior Women of History + Legend.

By presenting the exhibition information through a liberal feminist lens, this opportunity should allow for the inclusion of all women; however selecting specific examples provides for better retention of information among visitors. The amount of space necessary to discuss all examples of warrior women throughout history would far surpass the size constraints of the Museum’s 7,765 square foot temporary exhibition gallery. However, the space constraint poses an opportunity to incorporate as many far- reaching examples of women in combat as possible into a ceiling installation (Fig. 2). Though the minimum ceiling height is 8 feet 6 inches due to ductwork, this comprehensive installation will feature hundreds of photographs or silhouettes of warrior women to convey the volume of powerful women throughout time. The variable sizes of the photographs have the potential to disguise the existing ductwork. This approach could also function as a system of wayfinding throughout the exhibition.

Fig. 2: Ceiling installation concept sketch, 2013, Ashley Hinkle.

Exhibition Precedents

Upon researching historical military exhibitions with specific prominence on the topic of women warriors, only a section or sub-section of examples were featured within a short period of time, and

5 were geographically specific. With regards to the historical U.S. Armed Forces accounts, non-combat affiliations including civilian contributors to the warfront, such as the Rosie Riveters and the Women Air Service Pilots (WASPs) of World War II are of particular focus. These civilian examples are also presented through the lens of patriotism.

The Dinner Party by Judy Chicago Sackler Center for Feminist Art, Brooklyn Museum, New York

In the initial planning stage of this exhibition, Judy Chicago’s installation, The Dinner Party, served as inspiration for maintaining a chronological and archetypal system for discussing a volume of inspirational women through time.4 The Sackler Center’s organizational system of interpretive text panels, or “Heritage Panels,” seemed logical and effective for museum visitors. By adopting archetypes, visitors are more likely to draw comparisons to other familiar examples.

Fig. 3: The Dinner Party “Heritage Panels,” photograph, Brooklyn Museum.

Women Who Ruled: Queens, Goddesses, Amazons 1500-16505 University of Michigan Museum of Arts, 2002

The resources of this exhibition, consisting of paintings by old masters of European royalty, were explored through the lens of sixteenth and early seventeenth century viewpoints. An archetypal structure was used to organize the artists’ renditions to characterize the queens as warriors, mothers, virgins, or goddesses for the purpose of propaganda.

4 When considering the site at the beginning of this project, the temporary exhibition galleries alongside Chicago’s installation were considered an ideal venue. I was in correspondence with the Sackler Center’s curators to see if they would hypothetically host this exhibition, but there was little traction on the idea. 5 Women Who Ruled: Queens, Goddesses, Amazons 1500-1650. Accessed September 29, 2013. http://www.umma.umich.edu/view/ONLINE/women/

When Janey Comes Marching Home6 Traveling exhibition, 2010

This exhibition featured portraits and emotional oral histories of female Armed Forces combat veterans returning home from the warfront. Though the focus was specific to post-9/11 warfare and United States soldiers, the soldiers’ affective stories were told visually and orally alongside their emotionally- charged photographic portraits.

Audience Precedents

Setting quantitative audience goals progressed into qualitative objectives as exhibition research precedents began to take shape. In noting that the cultural definition of ‘warrior’ is unrestricted to individuals who participate in active combat, I grappled with the challenge of facilitating the audience association to women who fight through a suggestively violent identity (Fig. 3). Next, my primary concern was maintaining the attention of a male audience. My initial belief was that men would neither gravitate nor develop meaning-making from the female-centric information or objects as strongly as women would, though data presents that men are more attracted to warrior culture and byproducts of war in exhibition settings than women.7 In addition, by consulting review websites of museums that focus attention on arms and armor collections, the majority of female reviewers opposed the overwhelming appearance of weapons with little to no interpretation or object descriptions.

Fig. 4: Exhibition concept graphic, 2013, Ashley Hinkle.

6 Browder, Laura , and Sascha Pflaeging. When Janey Comes Marching Home: Portraits of Women Combat Veterans. Chapel Hill: University of North Carolina Press, 2010. 7 Randi Korn. “Men and Women: Do They Experience Exhibits Differently?” Center for Advancement of Informal Science Education. November 29, 1991. Web. Accessed October 2, 2013. http://archive.informalscience.org/researches/VSA-a0a5x5-a_5730.pdf

EXHIBITION INFORMATION

Teaching Points

The overarching teaching points for the exhibition include the following broad strokes of information:

 Women today are just as capable of fighting alongside men in battle as the thousands of women throughout history who have participated in war before them.  The military combat we are familiar with today differed thousands of years ago through different technology and customs.  Stereotypes are no longer applicable in today’s society and military with such strong supporting evidence that women have transcended mainstream constructs and convention.  Women from all walks of life are currently engaging in active combat and participating in combat zones around the world.

Executive Summary of Exhibition Content

Warrior Women of History and Legend is a riveting and inquisitive experience that powerfully expresses the presence of capable women in active combat and leadership all over the world spanning two thousand years through means of visual culture and new media. In addition to including areas for reflection, the exhibition is divided into seven interpretive precincts: Myth Inspired by Reality, Protecting Their People, Fighting for Spirituality, Putting Family First, America’s Story, Instruments of Fear, and The Story Continues (Fig. 5) which includes a dedicated contemporary documentary.

Fig. 5: Concept Map, 2013, Ashley Hinkle.

Myth Inspired by Reality

To begin, “Myth Inspired by Reality” tells the story of the Amazon warriors, a mythical warrior society inspired by the ancient historian Herodotus’s accounts of a female Scythian society also called the Amazons. Archeologists have recently determined the graves to be based between the Ukrainian steppes north of the Black Sea and the Altai Mountains of Mongolia. Approximately 200 female warrior graves have since been discovered in the region consisting of weapons, skulls or entire skeletons of horses, as well as makeup tools and jewelry.8 The Sauromatae tribe women, the legendary descendants of the real Amazons, would frequently hunt on horseback while wearing the same clothing as men as presented in several works (Fig. 6).9 Interestingly according to Sauromatae marriage-law, no women were allowed to marry until she has killed a man in battle.10 Greek mythology tells that the fictitious Amazons only kept their female children to be raised as warriors like themselves and would cut off their right breast for greater aim when throwing spears in battle.11

Fig. 6: Detail of Battle Between Amazons and Soldiers, 140-170 AD, marble, 40 ½ x 91 ½ x 50 ½ in., Museum of Fine Arts Boston.

The Greek obsession with the factual and fictitious Amazons stemmed from the societal fascination that women could be as fierce as men. This phenomenon led to a brief empowerment of women in Greek culture for natural rights. Consequently the mythical Amazons were later ‘killed’ due to the threatened patriarchy. The exhibition resources span one thousand years, yet portray similar content featuring the

8 Hickley, Catherine. “Lara Croft’s Amazon Forerunners Amputated Breasts, Killed Boys.” Bloomberg. September 8, 2010. Web. Accessed November 2, 2013. http://www.bloomberg.com/news/2010-09-08/lara-croft-s-amazon- forerunners-amputated-breasts-bumped-off-boys-review.html 9 Herodotus and Francis R. B. Godolphin. “Herodotus: On the Scythians.” The Metropolitan Museum of Art Bulletin, 32, No. 5, 1973 - 1974: 145. 10 Ibid. 11 “Hippolyte’s Belt.” Tufts University. Last modified September 2, 2008. Web. Accessed September 19, 2013. http://www.perseus.tufts.edu/Herakles/amazon.html

9 women in battle, sometimes with their right breast exposed but intact, riding horseback, and wearing clothing traditionally worn by ancient Greek men. In addition, the height of the female Sauromatae tribe was mythologized over time as half-giants. To debunk this myth, visitors will be able to compare their height against an interactive wall graphic element portraying the average height of an ancient Greek male (5’-6”), female (5’-0”),12 and an Amazon warrior (5’-8”).

Protecting Their People

The following warrior queen examples focus on exemplary accounts of women in power and leadership of military forces. Tomyris was the queen of central Asia in 6th century BCE. Cyrus the Great, the founder of the Persian Empire, was killed in battle against Tomyris’s forces to avenge the death of her son. She ordered Cyrus’s corpse be decapitated to dunk his head in a vat of human blood which became the subject of many commissioned paintings and illustrations as a representation of justice such as the three narrative works included in the exhibition (Fig. 7).13

Fig. 7: Tomyris holding the head of Cyrus, Printed by Heinrich Petri, 1544-1522, letterpress on woodcut, 62 x 81 mm, British Museum.

Another conqueror, Queen Zenobia of the Palmyrene Empire in Syria, led a rebellion against the Roman Empire and conquered Egypt in the third century for several years before being defeated by the Emperor Aurelian at Antioch.14 During her rule many Alexandrian coins were forged in copper or bronze as not only currency but propaganda, three examples of which are included in the exhibition. Two

12 Zevit, Ziony. The religions of ancient Israel: a synthesis of parallactic approaches. London: Continuum, 2001. 279. 13 Ibid. 14 “Queen Zenobia.” BBC Radio. May 30, 2013. Web. Accessed. November 2, 2013. http://www.bbc.co.uk/programmes/b01snjpp

10 portrait sculptures of Zenobia by Harriet Hosmer, including a full-body rendering as well as the bust study, present Zenobia in chains at the point of her capture, yet she remains strong and dignified.

Including Harriet Hosmer’s work is also significant in that her work on the sculpture at the time of completion was discredited for coming into fruition at the hands of the men in her studio, when in fact the work was entirely hers. The composition was purposeful in that male sculptors at the time were rendering submissive and sexually charged compositions, and with this evidence she earned her credit. Next, the evidence for Zenobia’s grave was significant to the field of archeology due to the researchers were placed under harsh scrutiny upon determining that the gender of the venerated Estruscan warrior was male, when in fact the body belonged to a female– Zenobia.15 The assumption was made based on the adjacent location of a spear to the body prior to bone testing which raises flags about the gendering of human remains from past archeological findings.

Archeological remains from the Boudiccan Revolt of AD 61 led by Queen Boudica, leader of the Incenian tribe, highlight the largest hoard of coins ever found in history. A small group of four jewelry stone intaglios hidden in an earthenware beaker are also evidence of the Icenian tribe’s invasion of Roman- Britain (Britannia) as well as the great London fire.16 The featured object of this section includes a one- third scale sculpture of Boudica and her daughters on a scythed chariot. The original twenty foot statue is located on Westminster Bridge in London, and remains a cultural and heroic symbol to Britain for freedom and the power of women.

Fighting for Spirituality

This segment features the famed account of Jeanne d’Arc, also known as Joan of Arc. Upon proving herself as a good Christian and convincing Charles, the dauphin of France, that the voices inside her head were messages from God, he provided her a formidable force of soldiers to successfully command against the English during the Siege of Orleans.17 Joan was later captured by the English and imprisoned. Though Joan was condemned for witchcraft for dressing as a male, she was later forgiven by the Church and even later inducted into sainthood. Large biographical paintings and representational objects aid in the storytelling of her divine visions to her later death at the stake at 19 years of age. Particular visual

15 Weingarten, Judith. Zenobia: Empress of the East. Accessed November 4, 2013. http://judithweingarten.blogspot.com/ 16 “Queen Boudica in London.” Museum of London. 2011. Accessed November 4, 2013. http://www.museumoflondon.org.uk/files/9713/7034/1262/QueenBoudicainLondon.pdf 17 “Siege of Orleans.” Jeanne D’Arc. Last modified March 2013. Accessed November 4, 2013. http://www.jeanne- darc.info/p_war/0_battles/orleans.html

11 attention will be directed at her illustrated armor and her banner, her personalized identity marker on the battlefield and around town. It is intended that by engaging audiences in creating their own banner or coat of arms, they will reflect on their own identity and how they project themselves to the public. Joan’s rumored bascinet and sword are among the highlights of this section of the exhibition (Fig. 8).

Fig. 8 Joan of Arc’s rumored sword, ca. 1419, engraved steel, l. 0.95 m, Musee des Beaux-Arts Dijon.

Putting Family First

Many legends surround Empress Jingu’s life story as popularized through illustration and theatrical production. Her portrait was also rendered with Western facial features on the one, five, and ten yen banknotes in late 19th century Japan, which provides a unique visual comparison to the far Eastern illustrations. One legend tells of Jingu catching a trout with her minister, Takenouchi, as a sign of good luck and then led an invasion of Korea. The same legend asserts that Jingu remained pregnant for three years throughout the invasion of Korea to protect her unborn child.18 Empress Jingu was also venerated in spirituality posthumously, like Joan of Arc, as a Shinto goddness of safe delivery.

In continuation through Japanese culture, 1000 years later, Tomoe Gozen’s visual representations, though similar to Jingu’s, are far more violent to reflect her historically fierce reputation. Tomoe Gozen was the warrior-wife of the Genji leader Kiso no Yoshinaka and fought alongside him in battle beheading notable figures such as Uchida Saburo Ieyoshi at the Battle of Awazu no Hara, as included several times in the exhibition.

Continuing through the Meiji and Edo Periods of Japan’s history, roughly 900 years after the death of Tomoe Gozen, the exhibition continues through an arsenal display of naginatas, short swords, and katanas alongside a rare complete female armor in the samurai style. The weapons and armor juxtaposed with the illustrations will provide a unique dimensional and physical context for the didactic experience of the section as a whole. Interestingly the Edo Period armor is not only the intended central

18 “Empress Jingū and Takenouchi no Sukune Fishing at Chikuzen.” Los Angeles County Museum of Art. Accessed October 12, 2013. http://collections.lacma.org/node/191375

12 point of the exhibition, but is fashioned in the “princess armor” style which was designed for unisex use and wear on the battlefield (Fig 9).19 This point, though invisible to visitors, provides for compelling ideological keystone moment in the exhibition. Twentieth century photographs of Japanese female fighters training in Jikishinkage-ryu Naginata-do are included to support and contextualize the continuing relevance of female fighting traditions in Japan.

Fig. 9: Female Semaki Kabuto, late Edo period, 19th century, mixed media, h. 5 ft., Bonhams.

Differentiating between the Japanese and Chinese cultures remains a challenge for the discussion of the legend of Mulan. Popularized in the late 20th century Disney animation film, the focus on this section will attribute Mulan’s cross-dressing to serve in the all-male imperial army for the protection of her aged father as told in the Legend of Mulan scrolls.

America’s Story

In continuation with the theme of disguising oneself to actively engage in warfare, Deborah Sampson Gannett’s story as an exemplary case of the societal pressures during the period of the American Revolutionary War. In 1782, Sampson enlisted to fight for eighteen months in the 4th Massachusetts Regiment under the name Robert Shurtlif. In her absence from her hometown, she was excommunicated from the First Baptist Church of Middleborough for suspicion of dressing in men’s clothing and enlisting in the army. However, Sampson had already left Massachusetts with her regiment so the town’s suspicions were never proven. She grew strong from her years as an indentured servant, and yet despite her skilled ability in hand-to-hand combat she received a head injury from a saber and was hit with a musket ball in her upper thigh. She received medical attention for her head wound, but

19 “Discovery of a Set of Extremely Unusual Female Samurai Armor.” Bonhams. Accessed August 16, 2013. http://www.bonhams.com/press_release/11545/

13 later removed the musket ball herself for fear that her identity would be discovered. On October 25, 1783, Robert Shurtlif was honorably discharged at West Point, and much later received a full US pension for service under her true name in 1804 with the help of Paul Revere.20

Margaret Cochran Corbin and Mary Ludwig Hays McCauley possess historically similar accounts of following their husbands to war. Their nickname Molly Pitcher was commonly coined for women who would haul pitchers of water to cool the cannons on the battlefield, and later served as a moniker like the term “G.I. Joe” in World War II. During the Battle at Fort Washington on November 16, 1776, Margaret accompanied her husband onto the battlefield to help him load cannons. After her husband’s partner was killed, he took over firing the cannon, and Margaret began loading the cannon. John Corbin was soon killed, but Margaret continued firing the cannon alone. She was eventually wounded with three musket balls and grapeshot. Her jaw and chest were damaged and her left arm was almost severed, an injury so horrible that she was unable to use her left arm for the rest of her life. In spite of her injuries, she was known as a bad-tempered, hard-drinking eccentric, but was nonetheless respected for her valor on the battlefield. On July 6, 1779, the Continental Congress awarded her with a lifelong pension equivalent to half of the amount a man would receive. She was the first woman to receive a military pension, followed by Sampson.21

In 1778, Mary Ludwig Hays McCauley was at the Battle of Monmouth. Similar to Corbin’s accounts, McCauley helped her husband load the cannons until his death where she continued to load the cannons over his deceased body. She later returned home to Pennsylvania and remarried. After her second husband died, she was voted an annuity for her services rather than as a veterans' widow, which served as evidence to the public that she had seen action in combat.

There are over 400 documented cases of women disguising themselves as men and fighting as soldiers on both sides during the Civil War. Women shared the same motivations as their male comrades with a desire for excitement, the promise of veteran’s wages, avid patriotism, or to distract themselves from grief. Frances Clalin Clayton’s story is one the most visually compelling examples for her strikingly recognizable facial features when dressed as a woman and in uniform as Jack Williams (Fig. 9). Though not entirely documented, she is believed to have served in the 4th Missouri Artillery at the Battle of

20 “Deborah Sampson.” National Women’s History Museum. Accessed October 12, 2013. http://nwhm.org/education-resources/biography/biographies/deborah-sampson/ 21 “Margaret Cochran Corbin.” National Women’s History Museum. Accessed Otober 12, 2013. http://www.nwhm.org/education-resources/biography/biographies/margaret-cochran-corbin/

Shiloh and again at the Battle of Stones River beside her husband, who died at the Battle of Stones River in late December 1862.22

Fig. 10: Frances Clalin Clayton, Samuel Masury, 1864-66, albumen silver print, 9.4 x 5.6 cm, Metropolitan Museum of Art.

Next, Sarah Edmonds Seelye assumed the alias of Franklin Flint Thompson in the 2nd Michigan Infantry in 1861. Thompson’s regiment participated as a field nurse, mail courier, spy, and marksman in multiple battles including the battles of First and Second Manassas, Yorktown, Williamsburg, Fredericksburg, and Antietam. Although she deserted after acquiring malaria in fear that her identity would be discovered, Franklin Thompson was cleared of desertion charges. Seelye holds the honor of being the only recognized woman of the Civil War to receive a veteran's pension after the war in 1884.23 In 1865 she published a memoir of her experiences in battle called Nurse and Spy in the Union Army.

The case of Jennie Hodgers is compelling in that she continued to live as a man after the war and was not discovered until several years before her death. On August 6, 1862, Hodgers enlisted in the 95th Illinois Infantry at the age of nineteen under the name Albert Cashier. 24 His Infantry fought approximately 40 battles, including the Siege of Vicksburg and the Atlanta and Red River Campaigns.25 After the war, Cashier returned home to Illinois and continued to masquerade as a man, and collected a

22 “Frances Clalin Clayton.” Metropolitan Museum of Art. Accessed November 23, 2013. http://www.metmuseum.org/exhibitions/view?exhibitionId={9400F95D-89A4-4920-A05E- 46EE3CEDC9C0}&oid=302391&pg=2&rpp=20&pos=33&ft=* 23 “Sarah Emma Edmonds.” Civil War Trust. Accessed November 23, 2013. http://www.civilwar.org/education/history/biographies/sarah-emma-edmonds.html 24 “Jennie Hodgers.” Civil War Trust. Accessed November 22, 2013. http://www.civilwar.org/education/history/biographies/jennie-hodgers.html 25 “Jennie Hodgers.” National Park Service. Accessed November 23, 2013. http://www.nps.gov/resources/person.htm?id=60

15 full veteran’s pension and even voted in elections, which was illegal for women at the time. His identity was discovered while being treated for a broken leg and was soon charged with fraud in order to receive a pension. His comrades of the 95th Illinois defended his honor allowing Cashier to maintain veteran status. When Hodgers died on October 10, 1915, she was buried in her full uniform and given a tombstone inscribed with her male identity and military service.26

Instruments of Fear

The phenomenon of women disguising themselves as men to join the ranks continued through World War I. However, some women were able to volunteer openly to fight in all-male units alongside their brothers or fathers. In 1917, the women were separated into all-female military units, giving rise to the 1st Russian Woman’s Battalion of Death under the command of Maria Bochkarëva, a Siberian peasant and a combat veteran of the war. Approval was given to establish two more infantry units, the 1st Petrograd Women’s Battalion and the 2nd Moscow Women’s Battalion of Death, as well as multiple communication detachments and women’s groups. Bochkarëva’s 1st Battalion was the only unit to serve in active combat due to the lack of adequate support for the other battalions. In addition, all members of each battalion were required to shave their head.

In World War II, women were allowed more freedoms in the USSR’s Red Army to train as snipers, riflewomen, and machine gunners. Roza Shanina and Lyudmila Pavlichenko were among 2,500 of Soviet female snipers, but were two of the most notorious markswomen.27 Shanina was credited with 54 confirmed kills, 12 of which were counter-sniping (sniper warfare), while Pavlichenko was credited with 309 confirmed confirmed kills, 39 of which credited to counter-sniping. Pavlichenko said, “I knew that my task was to shoot human beings. In theory that was fine, but I knew that the real thing would be completely different.” 28 Presenting these kill counts became a challenge within the exhibition setting with regards to setting the tone of the information, whether such sensitive information should be glorified or subdued. The contemporary viewpoints of these kill counts during the War elicited patriotism among the Soviets and fear among the Nazis. Pavlichenko said, “Every German who remains

26“Jennie Hodgers, aka Private Albert Cashier.” National Park Service. Accessed November 23, 2013. http://www.nps.gov/resources/story.htm?id=187 27 Reese, Roger. "Soviet Women at War." Military History 28, no. 1 (May 2011): 44-53. 28 “Eleanor Roosevelt and the Soviet Sniper.” Past Imperfect. February 21, 2013. Accessed October 8, 2013. http://blogs.smithsonianmag.com/history/2013/02/eleanor-roosevelt-and-the-soviet-sniper/

16 alive will kill women, children and old folks. Dead Germans are harmless. Therefore, if I kill a German, I am saving lives.”29

Particular attention will be given to Pavlichenko in this section with regards to her visit to the United States in late 1942 as the first citizen of the Soviet Union to be invited personally by the White House. She was 25 years of age and wounded four times in battle when Eleanor Roosevelt invited her to tour the U.S. to discuss her experiences in combat as a female soldier (Fig. 11). Despite her accomplishments as the most successful female sniper in history and her rank as Lieutenant, the American media scrutinized Pavlichenko for her appearance. Some articles reported that her uniform was not stylish and that she was overweight. Several accounts of her impatience with reporters’ tendencies to address superficial qualities became apparent as her quotes became more succinct. She would address women during her lectures by saying, “Now I am looked upon a little as a curiosity, a subject for newspaper headlines, for anecdotes. In the Soviet Union I am looked upon as a citizen, as a fighter, as a soldier for my country.” Pavlichenko was later promoted to major, commemorated on stamps (two of which included in the exhibition), and awarded the Gold Star of the Hero of the Soviet Union, the country’s highest medal for valor.30

Fig. 11: Justice Robert Jackson, Lyudmila Pavlichenko, and Eleanor Roosevelt, 1942, photograph, Library of Congress.

In 1941, another Gold Star of the Hero of the Soviet Union recipient, Marina Raskova, established and commanded three all-female USSR aviation regiments including the following: the 586th Fighter Aviation Regiment, the 587th Bomber Aviation Regiment, and the 588th Night Bomber Aviation Regiment. The 588th Regiment was referred to as “Nachthexen” (Night Witches) by the Germans for the soft airy noise

29 Ibid. 30 Ibid.

17 their Polikarpov PO-2 biplane would make in the night. The women who joined were very young – between 17 and 26 years of age – and like the Women’s Battalion of Death, the bombers were required to cut their hair short so their hair would not break during flight nor draw attention in combat zones. The night bombers were the most highly decorated female unit of all the Aviation Regiments. Almost 30,000 missions were flown over the course of four years with only two bombs per flight. In total, 23,000 tons of bombs were released on Nazi forces. The aviatrices flew with neither parachutes nor weapons, but carried compass and a map. Nazi pilots were awarded an Iron Cross if a night bomber was successfully shot down31 – proof of the bombers’ great skill and ability to elicit fear in their enemies.

The Story Continues

Prior to the Pentagon’s lift on the combat exclusion ban in January 2013, women placed in active combat zones in Afghanistan were considered attachment support to infantry units as medical aids, community outreach, bomb disposal, or even photographers. These women were forbidden to take part in firefights despite their training, and were barred from combat branches. Female Engagement Teams (FETs) were established officially in 2009 by the Marine Corps, combining two programs titled the Lioness program and the Iraqi Women’s Engagement Program (IWE), to connect with rural Afghan women and children. These positions were still considered attachment support, but were required to utilize their combat skills in the case of an attack. In most cases of the Armed Forces, a male soldier who finds himself in a firefight would receive official recognition, a combat patch, or even a promotion; several female Army soldiers have received recognition in the form of a Bronze Star, but have often been reassigned to a different unit. Uniquely, Leigh Ann Hester, a former Army soldier in the 617th Military Police Company, was the first female soldier since World War II to be awarded a Silver Star, the third highest military decoration for valor in combat, in 2004. She and six other soldiers successfully defeated an ambush, leaving 27 insurgents dead, six wounded, and one captured.32

Tammy Duckworth (Fig. 12) is currently the U.S. Representative for Illinois’s 8th congressional district. She was a Blackhawk helicopter pilot in 2004 with over ten years of experience. Piloting a Blackhawk helicopter denotes an elite leadership skill in aviation. Duckworth’s position served as a taxi rather than

31 Garber, Megan. “Night Witches: The Female Fighter Pilots of World War II.” The Atlantic. July 15, 2013. Accessed November 1, 2013. http://www.theatlantic.com/technology/archive/2013/07/night-witches-the-female-fighter- pilots-of-world-war-ii/277779/ 32 Tyson, Ann Scott. “Soldier Earns Silver Star for Her Role in Defeating Ambush.” The Washington Post. June 17, 2005. Accessed December 1, 2013. http://www.washingtonpost.com/wp- dyn/content/article/2005/06/16/AR2005061601551.html

18 artillery, but was shot down with a rocket propelled grenade. Though she successfully landed the craft, her right leg was nearly severed at the hip, her left leg was severed below the knee, and her right arm was close to severed.33 Duckworth had always maintained an interest in politics so it was appropriate to pursue office once medically discharged. In the case of combat veterans turned politicians, this is a typical case with male soldiers with former high rank; adding an “edge” of patriotism and service towards one’s country legitimizes intentions and the safety of community to the civilian public. With women now being integrated into combat roles, participation in politics has the potential to increase over the years. Duckworth’s position on the role of women in combat is supportive and has influenced greater support toward gender equality by releasing personal statements of the living conditions and the realities of being stationed in a combat zone.

Fig. 12: Tammy Duckworth, Fellowship of Reconciliation.

In 2007, Staff Sergeant Stacy Pearsall was a combat photographer assigned to the 1st Combat Camera Squadron in Iraq. Like all women in combat zones prior to the lift on combat exclusion, she was considered attachment support and routinely patrolled with the male units. One compelling account of her exploits earned her a Bronze Star during her second deployment to Iraq. Her vehicle unit was ambushed near the city of Baquba. Pearsall rushed to the carrier’s machine gun to return fire while the other soldiers had joined the firefight on foot. After noticing an unconscious soldier in the field, Pearsall opened the rear door and crawled to the man, who was 6-foot-2, and twice her weight. “From behind,

33 Duckworth, Tammy. “Tammy Duckworth.” Women Under Fire. 2013. Accessed December 1, 2013. http://womenunderfire.net/tammy-duckworth/

19 she clasped him in a bear hug and dragged him toward the vehicle… His carotid artery had been torn by shrapnel.”34 She reportedly stuck her fingers in his wound and squeezed. Minutes later, a medic jumped into the carrier with his kit asking, “Are you a medic?” Pearsall replied. “I’m the photographer.”

Recalling the antagonistic articles of the early 1940s against Lyudmila Pavlichenko, the scrutiny of women in American media, whether in the military or sports, remains ubiquitous today. Most recently some female soldiers are considered too attractive or too effeminate to be displayed in public relations publications in favor of integrating combat units. Beautiful soldiers are considered detrimental to the competent image the Armed Forces are attempting to portray in recent media.35 Alongside the negative societal perspectives of women in combat comes the desire for the public to view beautiful soldiers, and vice versa. This tendency was exercised in the 1940s with the media’s viewpoint of Pavlichenko as unattractive and therefore incapable. Today the media capitalizes on equating beauty with success in Hollywood and sports, and inadequacy in the military.

Audience

In an e-mail correspondence with the Frazier Museum’s Director of Public Relations and Marketing, Helene Kramer, according to the Museum’s audience evaluation of 2010, 64% of visitors are college educated or degree holders, 30% consist of young families with children, and 45% of the Museum’s audience brings children and teenagers. Keeping these statistics in mind, considering the challenge of engaging children with the idea of war would be entirely inappropriate. However engaging teenagers and young adults poses a difficult challenge of maintaining undivided attention with the epidemic of consistent cell phone use. The growing popularity of social media applications including Instagram, an image-sharing outlet, has the potential to maintain visual intrigue among this demographic through the use of shocking imagery and content without the unnecessary addition of explicit violence or gore. Some exhibit epics even involve teen-aged women including Joan of Arc or particular attention to family life, and by allowing visitors to photograph exhibit materials can provide not only marketable souvenir moments to a younger demographic, but maintains a meaning-making experience.

34 Dao, James. “When the Bullets Flew, ‘They Didn’t Care That I Was a Woman.’” New York Times. Last modified January 28, 2013. Accessed September 29, 2013. http://www.nytimes.com/2013/01/25/us/from-front-lines- women-offer-evidence-on-ability-in-combat.html 35 Brannen, Kate. “Army PR push: ‘Average-looking women.’” Politico. Updated November 20, 2013. Accessed December 1, 2013. http://www.politico.com/story/2013/11/army-pr-push-average-looking-women-100065.html

Considering the violent and emotional nature of the majority of the exhibition content and visual media, I have tailored the exhibition for a minimum age of 15 years. According to the Palo Alto Medical Foundation, by this age, “Teens are better able to solve problems, think about their future, appreciate opinions of others, and understand the long-term effects of their decisions.” 36 This exhibition is shaped on the framework of identity, bravery, and persistence through thought-provoking questions designed to get visitors thinking about their beliefs and perceptions. Moreover, “In an attempt to answer the questions ‘Who am I?’ and ‘What should I be?’ teens listen to new music, try out clothing fashions, and begin to explore jobs, religion, political issues, and social causes.”37 The ‘broad stroke’ takeaways can even apply to the superficial qualities of the exhibition including the artists’ representations of the heroines and stylistic choices from antiquity.

Interpretive Strategy

In order to appeal universally to all Frazier Museum visitors as possible, I have applied the Smithsonian Institution Office of Policy and Analysis’ theory of museum experience preferences among four preference orientations referred to as IPOP. IPOP entails the following interpretive attributes: “IDEAS (an attraction to concepts, abstractions, linear thought, rational reasoning, and facts), PEOPLE (an attraction to emotion, stories, and social interactions), OBJECTS (an attraction to things, aesthetics, craftsmanship, ownership, and visual language), and PHYSICAL (an attraction to physical sensations, including movement, touch, sound, lights and smells).”38 By applying IPOP-related resources, this approach serves as a viable strategy for interpretive engagement and communication.

For Idea-centric visitors of the exhibition, the title is imaginative with subtle ambiguity which allows for open interpretation. Brief headlines announcing the seven interpretive components paired with historical associations and concise takeaway facts guide visitors through the content while simultaneously resonating with the exhibition’s overarching concepts of women, warfare, and social ethics. Not only does this exhibition feature historical, personal, and emotional accounts of memories and stories of individuals which are intended to appeal to a socially-geared audience, a docent is included as well for interpretation and social interaction towards the middle of the exhibition in the

36 “Parents & Teachers: Teen Growth & Development, Years 15 to 17.” American Medical Association. Last reviewed August 2013. Web. Accessed November 30, 2013. http://www.pamf.org/parenting-teens/health/growth- development/growth.html#Intellectual%20Characteristics 37 Ibid. 38 Office of Policy and Analysis. “How Do You Improve the Experience of Museum Visitors?” Smithsonian Institution. January, 2013. Web. Accessed October 12, 2013. http://www.si.edu/content/opanda/docs/Rpts2013/13.01.NMNHConcierge.Final.pdf

21 vintage photography station of which I will go into more detail later. Next, audiences with particular attraction to the objects have can invest time various resources also include sculpture varying in size and quantity as well as large format graphics applied throughout their respective sections.

Appealing to both object-based visitors and individuals attracted to sensorial or physical resources, straightforward non-digital interactive elements will be included focusing on texture, weight, and visual perspective. Texture and weight will be explored through the Marine infantry officer interactive by using three military combat backpacks weighing 60, 80, and 100 pounds respectively. The intention is for visitors to gain an appreciation and understanding of the strenuous struggles of both men and women participating in infantry officer training. Photographs of soldiers carrying these packs juxtaposed with the interactive will contextualize the realities of what soldiers, both male and female, endure daily in combat situations. This issue has been exhaustively discussed in the media as being a primary concern for the induction of women in active combat units. In addition, visitors can position themselves lying prone at the stock of a Soviet World War II-era Mosin-Nagant sniper rifle replica. At the end of the scope will feature a large experiential graphic of an exploding wall, the same wall of which the cannon will be aimed as well. Photographs of Lyudmila Pavlichenko lying prone with her rifle will further contextualize the activity as well as literature describing the strenuous task of camouflaging and lying still for days, sometimes weeks.

Moreover, audio-visual components are included towards the end of the exhibition experience featuring brief oral histories of contemporary Armed Forces soldiers, a passage read from a Civil War soldier’s memoir, and a brief video exploring the life of a Red Army soldier. Due to the emotional and graphic descriptions of the contemporary oral histories, the audio accounts will be directed through localizer sound domes. Similar to the careful treatment of violent imagery of various exhibitions such as the Newseum’s tribute exhibition to September 11, and the Holocaust Memorial Museum’s carefully annotated shielded graphic content, I intend to present the histories alongside photographs of the soldiers for context. Furthermore, universal opportunities for reflection and expression spurred by thought provoking questions and activities will be offered for more reflective visitors for which IPOP does not specify characteristically. Some examples include making their own coat of arms as well as opportunities for visitors to evaluate heroism in all of its forms, the ethics of a man’s requirement to join selective service, and express who they believe is a warrior in their lifetime.

Design Strategy

The design goal for this exhibition was to develop a unique military history exhibit that evolves the traditional history exhibition model. My primary inspiration came from Daniel Liebeskind’s contemporary architectural addition to the traditional Dresden Military History Museum. By translating a dynamic design juxtaposed with classical art and objects, the intention is to integrate art, history, and military history subject matter by focusing on the past but placing design emphasis on the present. Incorporating dynamic asymmetrical geometry throughout the space is also inspired by the idea of today’s asymmetrical warfare and societal perspectives.

Space Constraints

The ceiling of the temporary exhibition gallery at the Frazier Museum is constrained by low exposed ductwork reaching a minimum height of 8 feet 6 inches, and the exposed beam ceiling reaching a maximum height of 13 feet. The low ceiling heights may inhibit the intended interpretative experience of the visitor, as well as some proposed large scale objects. In addition, the freight elevator and width of the grand staircase may inhibit the inclusion of larger media as well. Furthermore there is no main entrance to the temporary gallery, but to the Royal Armouries gallery. This is perhaps not necessarily a space constraint, but a site consideration; the intended exit of the Armouries gallery leads to the connected public space adjacent to the temporary exhibition gallery.

Look and Feel

The interpretive design will be channeled through the audience’s visual, tactile, and auditory senses. Overall, the look and feel of the exhibition will be dynamic in terms of using reflective surfaces and utilizing angular shapes throughout wall treatments and exhibit furniture such as freestanding casework (Fig. 13). In keeping with a neutral color palette with the grey representing the reality between the black and white beliefs, darker shades of grey will be applied for more violent and emotionally intense content with higher contrast lighting while lighter shades will be used alongside comparatively neutral content. Bold red accents with be included throughout the exhibition in exhibit furniture and floor to ceiling graphic panels and wall text. These colors and applications provide for a dramatic design while maintaining a modern feel. The general design and color palette is also inspired by Russian Constructivist poster designs, in particular works by El Lissitzky whose posters are fittingly saturated with ideas of equality and the spreading of knowledge through self-guided experiences. Most of the exhibition’s photographed and small printed assets will be printed as large format graphics, sometimes

23 juxtaposed with the actual works. These treatments will be applied for dramatic effect or to draw attention to less noticeable details due to the initial age or size of the photographs and prints. All of the works from antiquity to the recent photography will be presented in a modern, non-thematic way so that the design is continuous and appealing to modern culture. As previously stated, the subject matter will focus on the past while the design emphasis will be maintained in the present.

Fig. 13 Object and wall graphic interaction, 2013, Ashley Hinkle

Highlights

Marketable objects in the exhibition include Joan of Arc’s rumored bascinet and sword, a rare complete female Japanese armor set, an arsenal of various Japanese weapons, the scroll of the legend of Mulan, and a siege cannon from the American Revolutionary War. One particular noteworthy interactive experience includes a Japanese kimono and armor try-on station. Visitors will interact with a docent who will discuss the logic and cultural significance of the various pieces and details of the kimono and samurai uniform design. When visitors have the kimono and armor on, their portraits will be taken in a vintage style to emulate the anonymous 19th century warrior whom served as the initial inspiration for the exhibition concept. This interactive is not only unique for its conversational opportunities, but its marketability, and will be universally open to both men and women due to the unique style qualities of the “princess armor” which was designed for unisex use on the battlefield. The premise of the entire exhibition is built around the framework of tolerance and equality, and this particular interactive serves as a capstone for those qualities.

Conclusion

In the case of discussing women in warfare in the future within an exhibition setting, developers can draw from the proposed inspirations and ideas of juxtaposing content rooted in antiquity with progressive viewpoints and dynamic architectural treatments as a unifying thread to connect aesthetics, ethics, and history. The topic of female soldiers and women in active combat will remain a prominent and controversial topic as the military finalizes officially implementing women in combat roles by 2016. Discussing these matters in the form of a comprehensive exhibition is necessary for an exhibition’s function as programming, and a platform for the spreading and accumulation of ideas, and meaning making. By integrating historical and representational art with historical objects and new media, Warrior Women of History and Legend provides an entirely unique approach to presenting military history.

Appendix 1: Design Plans and Drawings

Fig. 4: Concept Map, 2013, Ashley Hinkle

Interactive Map, 2013, Ashley Hinkle

Object ‘Intensity’ Diagram, 2013, Ashley Hinkle

Fig. 2: Ceiling installation concept sketch, 2013, Ashley Hinkle

Fig. 8 Object and wall graphic interaction, 2013, Ashley Hinkle

Frazier History Museum Third Floor Plan, 2013, Ashley Hinkle

Temporary Exhibition Gallery, 2013, Ashley Hinkle

Appendix 2: Exhibition Assets

Paintings + Prints >> 16 Sculpture/3D Objects >> 29 Photographs >> 5 A/V Components >> 5 Large format graphics >> 47 Total >> 102 assets

Myth Inspired by Reality

Amazons (c. 8th- 6th century BCE)

Sarcophagus Depicting a Battle between Soldiers and Amazons 140-170 AD Roman 40 ½ x 91 ½ x 50 ½ inches Museum of Fine Arts Houston

Slabs from the Amazonomachy frieze from the Mausoleum at Halikarnassos c. 350 BC marble Greek w. 2.830 m (combined)

Terracotta volute-krater (bowl for mixing wine and water) Attributed to the Painter of Woolly Satyrs c. 450 BCE Terracotta; red-figure Greek h. 25 in. (63.5 cm) Metropolitan Museum of Art

Claude Déruet (French c. 1588–1660) Departure of the Amazons c. 1620s oil on canvas 20 x 26 in. (50.8 x 66 cm) Metropolitan Museum of Art

Franz von Stuck (German, 1863–1928) Mounted Amazon 19th century Bronze German h. 25-1/4 in. (64.1 cm.) Metropolitan Museum of Art

Scythian warrior tomb found in the Altai region of Mongolia Universitat Autònoma de Barcelona http://www.upf.edu/enoticies-recerca/1213/1111.html

Protecting Their People

Tomyris fl. c. 530 BCE

Tomyris holding the head of Cyrus Illustration to Latin edition of ‘Cosmographia’ Printed by Heinrich Petri Swiss, 1544-1552 Letterpress on woodcut 62 x 81 mm British Museum

Zenobia 240-274 AD

Alexandrian coins depicting Zenobia 272 AD approx. 20-22mm copper or bronze Roman Numismatic Gallery

Zenobia, Queen of Palmyra Harriet Hosmer, American, 1830-1908 modeled c. 1859, carved after 1859 marble 86.4 x 57.2 x 31.8 cm (34 x 22 1/2 x 12 1/2 in.) Art Institute of Chicago

Zenobia in Chains Harriet Hosmer (American, 1830-1908) Marble h. 82 in. The Huntington Library, Art Collection, and Botanical Gardens

Archeological findings of Zenobia’s body clasping spear denoting status as a revered warrior Alessandro Mandolesi, Professor of Etruscology and Italic Antiquity at the University of Torino

Harriet Hosmer and her workshop assistants at her Rome studio 1861 http://www.historyproject.org/exhibits/public_faces/1 5.php

Boudica d. 61 AD

Hoard of Iceni silver coins Terracotta and silver d. 14.500 cm (pot) Roman Britain deposited about AD 60-61 The British Museum

Beaker with four stone seals (listed below) Ceramic, earthenware h. 106 mm, dia. 120 mm Roman AD 36-60 Museum of London

Intaglio Onyx Roman 43-60 AD l. 14 mm, w. 13 mm, T 1.5 mm Museum of London

This stone shows united hands 'dextrum iunctio', which are a symbol of betrothal (engagement). A girl’s name, Alba, had been added, but was later scratched out.

Intaglio Agate Roman 43-60 AD l. 11.5 mm, w. 13.5 mm, T 2 mm Museum of London

This stone shows the mythical horse Pegasus, a symbol of immortality.

Intaglio Onyx Roman 43-60 AD l. 16 mm, w. 14 mm, T 3 mm Museum of London

This stone has a helmeted head engraved on it, representing Roma, the female personification of Rome.

Intaglio Onyx Roman 43-60 AD l. 12 mm, w. 11 mm, T 3 mm Museum of London

This stone shows a nude discus thrower. In his left hand is a discus, in his right a palm of victory.

Fighting for Spirituality

Joan of Arc 1412-1431

Joan of Arc’s Rumored Bascinet French ca. 1375-1425 steel 11 7/8 x 7 ¼ in, diam. at top face opening, 8 ¼ in. wt. 5 lb. Metropolitan Museum of Art

Joan of Arc Rumored Sword French ca. 1419, heavily restored in 1832 engraved steel l. 0.95 m Musee des Beaux-Arts Dijon

Associated graphic with sword Musee des Beaux-Arts Dijon http://mba.dijon.fr/sites/default/files/Collections/Renai ssance/lepee_dite_de_jeanne_darc.pdf

Joan of Arc in Battle Stilke, Hermann Anton Germany, 1843 Oil on canvas 135 x 146 cm State Hermitage Museum

Anonymous illustration of Joan of Arc’s armor http://www.jeanne-darc.info/p_jeanne/armor.html

Putting Family First

Empress Jingu 169-269 AD

Shinto goddess personifying the Empress Jingu 9th century, 800–899, Heian Period Wood h. approx. 35.80 cm Ohio State University

Empress Jingu and Her Minister Takenouchi no Sukune Katsukawa Shun’ei (Japanese, 1762-1819) Japan Late 1780s Color woodblock print; koban 16.7 x 24.8 cm Art Institute of Chicago

Empress Jingū and Takenouchi no Sukune Fishing at Chikuzen Series: A Mirror of Great Warriors of Japan Tsukioka Yoshitoshi (Japan, 1839-1892) Japan circa 1876 Color woodblock print Image: 12 3/4 x 9 in. (32.3 x 22.8 cm) Sheet: 14 1/8 x 9 7/8 in. (35.8 x 25 cm) Los Angeles County Museum of Art

Empress Jingū 1879 (Meiji era) Drawing Japan 350 x 738 mm British Museum

Tomoe Gozen 1157-1247

Tomoe Gozen Killing Uchida Saburo Ieyoshi at the Battle of Awazu no Hara Ishikawa Toyonobu (Japanese, 1711–1785) c. 1750, Edo Period Polychrome woodblock print, ink and color on paper h. 7 1/4 in. (18.4 cm); w. 11 3/8 in. (28.9 cm) Metropolitan Museum of Art

Actor Iwai Kumesaburo as Tomoe Gozen Utagawa Kunimasa (Japanese, 1773-1810) Japanese, Edo Period 1797 Ukiyo-e woodblock print, ink and color on paper Vertical oban 28.2 x 25.5 cm Museum of Fine Arts Boston

The Actor Segawa Kikunojo III as Lady Tomoe (Tomoe Gozen) in the Play Yasa Gumbai Miyako no Jindori Katsukawa Shun'ei (Japanese, 1762-1819) c. 1793 Color woodblock print hosoban, 32.4 x 14.5 cm (12 3/4 x 5 11/16 in.) Art Institute of Chicago

Katsukawa Shun'ei (Japanese, 1762-1819) Female warrior Tomoe Gozen overcoming Uchida at Awazu-no-hara Woodblock print 21.6 x 15.8 cm British Museum

Tomoe Gozen and Fan Kuai Yashima Gakutei (Japan, 1786 (?)-1868) 1824 woodblock print; surimono, brass, mica, silver, and gold 8 5/16 x 7 3/8 in. (21.2 x 18.8 cm) Los Angeles County Museum of Art

Tomoe Gozen strangling Ieyoshi as they wrestle together on horseback Katsukawa Shunsho (Japanese, 1726-1792) Japan For dimensions; use ruler for scale British Museum

Tomoe onna / Kokon hime kagami 古今日女鏡 (Mirror of Beauties Past and Present) Tsukioka Toshitoshi Japan, Meiji Era 1875-1876 woodblock print For dimensions; use ruler for scale British Museum

Female Samurai (fl. Meiji and Edo Period)

Halberd Training Chikanobu, Toyohara (Japanese, 1838-1912) Series: Ladies of Chiyoda Palace Meiji period, 1896 Ukiyo-e woodblock-printed oban triptych, ink and color on paper

13 7/8 x 27 7/8 in. Jordan Schnitzer Museum of Art, University of Oregon

Female Semaki Kabuto, Hime Yoroi (princess armour) late Edo Period, 19th century h. approx. 5 ft., armour box (base) 55cm x 44cm x 42 Private Collection

Anonymous Japanese warrior Late 19th century - Early 20th century dimensions unknown Private Collection

Quiver-stand, quiver, purse, bow, arrow Japan, 19th century, Edo Period Wood, textile, rattan, metal, leather, lacquer, gold, feather h. 86.8 cm (total), l. 220.5 cm (bow), l. 92 cm (arrow) British Museum

Mulan (b. uncertain)

Mulan Becomes a Soldier Xu Cao (1899-1961) 1934 hanging scroll, ink and colors on silk 134.9 x 43.1 cm National Palace Museum, China

Legend of Mulan (Mokuran) Hashimoto Kansetsu (Japanese, 1883–1945) 1929 Handscroll, ink and light color on paper image: 36.7 x 408.5 cm (14 7/16 x 160 13/16 in.) Museum of Fine Arts, Boston

Mulan Zhou Wenju (Chinese) 19th cent. ink and color on silk h: 156.0 W: 61.1 cm Freer and Sackler Galleries of Asian Art

America’s Story

Deborah Sampson Gannett (1760-1827)

Deborah Sampson / Robert Shurtliff Published by H. Mann 1797 Stephen A. Schwarzman Building / Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs

Margaret Cochran Corbin (1751 – 1800)

Illustration by Herbert Knotel http://greensleeves.typepad.com/berkshires/2009/02/ captain-molly-corbin.html

Molly Pitcher, after a painting by C.Y. Turner. http://greensleeves.typepad.com/berkshires/2009/02/ say-it-doesnt-make-it-so-on-the-trail-of-john-corbins- military-service-in-the-revolution.html

Mary Ludwig Hays McCauley (1754-1832)

Battle of Monmouth – Photo of a painting by Ferris in 1892.

Siege Cannon, 24-pounder http://www.nps.gov/york/historyculture/revolutionary- war-artillery.htm

Frances Clalin Clayton (b. 1830s)

Frances Clalin Clayton, 4 mo. heavy artillery Co. I, 13 mo. Calvary Co. A. 22 months Samuel Masury (American, 1818-1874) Albumen silver print from glass negative 10 x 6 cm (mount) c. 1865 Library of Congress

Frances Clalin Clayton Samuel Masury (American, 1818-1874) Alumen silver print from glass negative 1864-66 Image: 9.4 x 5.6 cm Mount: 10.2 x 6.4 cm Private collection

Posing as Jack Williams and suggestively holds the handle of a cavalry sword between her crossed legs

Miss F. L. Clayton, 4th Mis. Arty [i.e. Missouri Artillery], wounded in the battles of Shiloh and Stone River Samuel Masury (American, 1818-1874) Albumen silver print from glass negative c. 1865 Mount: 10.2 x 6.4 cm Library of Congress

Jack Williams and Fraces Clalin Clayton (respectively) Samuel Masury (American, 1818-1874) Albumen silver print from glass negative 1864-66 Mount: 10.2 x 6.4 cm Private collection

Sarah Emma Edmonds Seelye (1841-1898)

Sarah Edmonds Seelye served two years in the Second Michigan Infantry as Franklin Thompson. In 1886, she received a military pension. Courtesy of the State Archives of Michigan http://www.archives.gov/publications/prologue/1993/s pring/women-in-the-civil-war-2.html

Nurse and Spy in the Union Army: Comprising The Adventures and Experiences of a Woman in Hospitals, Camps, and Battle-Fields Sarah Emma Edmonds Seelye First Edition Published 1865 by W.S. Williams & Co., Hartford, CT 9 3/4 x 7 ¾ in. Private Collection

Battle Hymn of the Republic http://www.heritage- history.com/?c=read&author=pratt&book=ahs4&story= battlehymn

Jennie Hodgers (1843-1915)

Albert D. J. Cashier Illinois State Historical Library http://www.archives.gov/publications/prologue/1993/s pring/women-in-the-civil-war-2.html

Instruments of Fear

Women’s Battalion of Death (est. 1917)

Women’s Battalion of Death recruits getting their heads shaved USSR 1917

Maria Bochkareva, also known as the Russian Joan of Arc, founder and leader of the Women’s Battalion of Death USSR 1917

1st Russian Women’s Battalion of Death, being reviewed by the commander of the Petrograd Military District, General Petr Polovstev, with battalion commander Maria Bochkareva 1917 Donald Thompson, Blood Stained Russia

Detachment of the Women’s Battalion of Death resting in the field 1917 Russian

Petrograd unit at camp 1917

Women’s Battalion of Death in the ranks, summer 1917

Women soldiers of the 2nd Moscow Battalion of Death in Training 1917 Museum of the Revolution, Moscow

Lyudmila Pavlichenko (1916-1974)

Pavlichenko with fellow USSR soldiers http://www.todayifoundout.com/index.php/2012/06/d uring-wwii-lyudmila-pavlichenko-sniped-a-confirmed- 309-axis-soldiers-including-36-german-snipers/

http://army-news.ru/2012/02/snajpery-pyat-vekov- metkosti/

http://www.flickr.com/photos/36919288@N08/503530 9243/

Lyudmila Pavlichenko touring America with Eleanor Roosevelt 1942 http://blogs.smithsonianmag.com/history/2013/02/ele anor-roosevelt-and-the-soviet-sniper/

Roza Shanina (1924-1945)

Sklobovskaya, Natalie “Roza Shanina: Story of the Girl-Sniper” Video http://vimeo.com/22152368

Roza Shanina and her spotter (left) 3rd Belorussian Front 1945 http://www.ww2incolor.com/colorizations/FJK.html

Roza was killed in action 8 days after this photo was taken

Roza Shanina http://mixstuff.ru/wp- content/uploads/2013/10/pU3i5IJ.jpg

All-female Soviet Aviation Regiments (est. 1941)

Nadezhda Popova (standing) and other female soviet pilots of the 46th Guards Air Force Regiment relax between missions against Germany during World War II

USSR, 1941

Action stations: 588th Night Bomber Regiment “Night Witches” receive orders before a raid on the Byelorussian front 1944

Soviet Fighter Aces from the Russian 586th Women's Fighter Regiment L-R : Lilya Litvyak, 12 kills (KIA), Ekaterina (Katya) Budanova, 11 kills (KIA) and Mariya Kuznetsova USSR, 1942

Fighter aces, Lilya Litvyak and Ekaterina Budanova later joined the all-male 73rd Fighter Regiment and fought in the battles over Stalingrad

The women of the 588th Night Bomber Regiment “Night Witches” with their PO-2 aircraft in the background

Polikarpov PO-2 8 m wingspan wt. 773 kg engine power: 115 HP top speed: 134 km/h

The Night Witches flew ancient Polikarpov PO-2 bi- planes that were neither equipped with guns nor parachutes, and were only able to carry two bombs.

588th Night Bomber Regiment “Night Witches” with PO-2 aircraft http://www.flyingheritage.com/TemplateMain.aspx?co ntentId=24

USSR Adrianova Wrist Compass by Workshop of the Artillery's Administration of the Workers' and Peasants' Red Army dia. 50 mm d. 20 mm wt. 60 grams

1940

USSR Aviator Goggles by Workshop of the Artillery’s Administration of the Workers’ and Peasants’ Red Army w. approx. 26 cm c. 1940

The Story Continues

Female Engagement Teams (est. 2009)

U.S. Marines from 3rd Marine Aircraft Wing listen to a brief as they begin training as part of the Lioness Team on Camp Korean Village, Iraq, July 31, 2006. (U.S. Marine Corps photo by Sgt. Jennifer L. Jones) (Released)

Female Engagement Team (FET) = Lioness Program +

Iraqi Women’s Engagement Program (IWE)

Stacy Pearsall (b. 1980)

Staff Sgt. Stacy Pearsall, who was a photographer in Iraq, in a self-portrait over Baghdad during her first deployment in 2003.

Retired Staff Sgt. Stacy Pearsall is a former combat photographer who was assigned to the 1st Combat Camera Squadron at Charleston Air Force Base, S.C.

Sergeant Pearsall deployed to Iraq twice. As a photographer, she routinely patrolled with men. http://www.nytimes.com/imagepages/2013/01/25/us/ JP-COMBAT.html

Tammy Duckworth (b. 1968)

Tammy Duckworth, while serving with the Illinois Army National Guard, during her tour of duty in Iraq. http://www.usnews.com/news/articles/2012/05/25/ira q-war-veteran-tammy-duckworth-the-comeback-artist

Tammy Duckworth http://www.pekintimes.com/article/20130830/blogs/1 30839985

Leigh Ann Hester

http://www.npr.org/2011/02/22/133847765/silver- star-recipient-a-reluctant-hero

This Silver Star was awarded to Hester in 2005 for her action during a firefight in Iraq. It is the third highest decoration in the U.S. military after the Distinguished Service Cross and the Medal of Honor. http://www.npr.org/2011/02/22/133847765/silver- star-recipient-a-reluctant-hero

Veronica Alfaro

Specialist Veronica Alfaro Medic and convoy vehicle driver in Iraq Oral history http://www.nytimes.com/interactive/2009/08/16/us/2 0090816_women_feature.html?ref=womenatarms

Theresa Lynn Flannery

Sgt. Theresa Lynn Flannery Driver to a deputy commander in Iraq “I was no longer a female; I was a soldier.” Oral history http://www.nytimes.com/interactive/2009/08/16/us/2 0090816_women_feature.html?ref=womenatarms

Paigh Bumgarner

Sgt. Paigh Bumgarner Assistant convoy commander, gunner, driver in Iraq Oral history http://www.nytimes.com/interactive/2009/08/16/us/2 0090816_women_feature.html?ref=womenatarms

Interactive Assets

MOLLE Combat-load carrying backpack Fill with 60, 80, 100 lb.

Female Marines Participate In Marine Combat Training February 22, 2013 Pfc. Tiernie Gayle (C) of Wyandotte, Oklahoma trains with male and female Marines as she learns patrolling techniques at Marine Combat Training (MCT) on at Camp Lejeune, North Carolina. Since 1988 all non- infantry enlisted male Marines have been required to complete 29 days of basic combat skills training at MCT after graduating from boot camp. MCT has been required for all enlisted female Marines since 1997. About six percent of enlisted Marines are female.

http://www.indiatimes.com/news/americas/tough- women-in-uniform-marine-boot-camp-shows-girl- power-67899-8.html

Soviet Mosin Nagant sniper rifle model M1891/30 World War II era

Some snipers would average 15-72 hours in the same position without moving

Appendix 3: Bibliography

1. Abramson, Larry. “Women In Combat: Obstacles Remain As Exclusion Policy Ends.” NPR. May 15, 2013. Accessed October 15, 2013. http://www.npr.org/2013/05/15/184042652/women-in- combat-obstacles-remain-as-exclusion-policy-ends 2. Alfonso, Kristal L. "Femme Fatale 2010." Air & Space Power Journal 24, no. 3 (Fall, 2010): 59-73. 3. Alfonso, Kristal L., “Femme Fatale 2010.” Air & Space Power Journal. (Fall 2010): 59-73. 4. Balakhvantsev, Archil S. and Leonid T. Yablonskii. “A Silver Bowl from the New Excavations of the Early Sarmation Burial-Ground Near the Village of Prokhorovka.” Ancient Civilizations from Scythia to Siberia, 15 (2009): 167-182. 5. Baldor, Lolita. “Six Female Sailors Expected To Join Combat Naval Unit.” Business Insider. November 7, 2013. Accessed November 23, 2013. http://www.businessinsider.com/female- sailors-to-join-naval-combat-unit-2013-11 6. Barton C. Hacker. Review of Jones, David E., Women Warriors: A History. H-Minerva, H-Net Reviews. December, 1997. Accessed September 28, 2013. http://www.h- net.org/reviews/showrev.php?id=1537 7. Benedict, Helen, et al. “Women and War.” Blog posts, PBS, 2010. Accessed September 29, 2013. http://www.pbs.org/pov/regardingwar/conversations/women-and-war 8. Black, Jeff. “Women in the infantry? Forget about it, says female Marine officer.” NBC News. July 12, 2012. Accessed November 11, 2013. http://usnews.nbcnews.com/_news/2012/07/12/12684555-women-in-the-infantry-forget- about-it-says-female-marine-officer 9. Brannen, Kate. “Army PR push: ‘Average-looking women.’” Politico. Updated November 20, 2013. Accessed December 1, 2013. http://www.politico.com/story/2013/11/army-pr-push- average-looking-women-100065.html 10. Browder, Laura , and Sascha Pflaeging. When Janey Comes Marching Home: Portraits of Women Combat Veterans. Chapel Hill: University of North Carolina Press, 2010. 11. Castle, M. Christine. “Teaching History in Museums.” Ontario History, 94, no. 1 (Spring 2002). 12. Cross, Robin, and Rosalind Miles. “Sammu-ramat.” Warrior Women: 3000 Years of Courage and Heroism. London: Quercus Publishing Plc., 2011. 13. D’Amico, Francine. “Feminist perspectives on women warriors.” Peace Review 8, no. 3 (September 1996): 379. 14. D'Amico, Francine. 1996. "Feminist perspectives on women warriors". Peace Review. 8 (3): 379- 384. 15. Dao, James. “When the Bullets Flew, ‘They Didn’t Care That I Was a Woman,’” New York Times. Last modified Janurary 28, 2013. Accessed September 29, 2013. http://www.nytimes.com/2013/01/25/us/from-front-lines-women-offer-evidence-on-ability-in- combat.html 16. Davis, Joshua. “Beauty or Beast? The Woman Warrior in the German Imagination from the Renaissance to the Present.” German Studies Review, 35, no. 1 (February, 2012): 147-149. 17. Davis-Soylu, Heidi Jo. "Pretty Fierce: Amazon Women and Art Education." Visual Arts Research 37, no. 2 (Winter, 2011): 113-127.

18. “Deborah Sampson.” National Women’s History Museum. Accessed October 12, 2013. http://nwhm.org/education-resources/biography/biographies/deborah-sampson/ 19. “Deborah Sampson.” National Women’s History Museum. Accessed October 12, 2013. http://nwhm.org/education-resources/biography/biographies/deborah-sampson/ 20. “Discovery of a Set of Extremely Unusual Female Samurai Armor.” Bonhams. Accessed August 16, 2013. http://www.bonhams.com/press_release/11545/ 21. Duckworth, Tammy. “Tammy Duckworth.” Women Under Fire. 2013. Accessed December 1, 2013. http://womenunderfire.net/tammy-duckworth/ 22. “Eleanor Roosevelt and the Soviet Sniper.” Past Imperfect. February 21, 2013. Accessed October 8, 2013. http://blogs.smithsonianmag.com/history/2013/02/eleanor-roosevelt-and-the-soviet- sniper/ 23. Erickson, John. “Night Witches Snipers and Laundresses.” History Today, 40, no. 7 (July 1990): 29-35. 24. “Empress Jingū and Takenouchi no Sukune Fishing at Chikuzen.” Los Angeles County Museum of Art. Accessed October 12, 2013. http://collections.lacma.org/node/191375 25. Ferdinando, Lisa, A. “Army women honor past, look to future.” ARNEWS. March 28, 2013. Accessed October 4, 2013. http://www.army.mil/article/99760/ 26. “Frances Clalin Clayton.” Metropolitan Museum of Art. Accessed November 23, 2013. http://www.metmuseum.org/exhibitions/view?exhibitionId={9400F95D-89A4-4920-A05E- 46EE3CEDC9C0}&oid=302391&pg=2&rpp=20&pos=33&ft=* 27. Garber, Megan. “Night Witches: The Female Fighter Pilots of World War II.” The Atlantic, July 15, 2013. Accessed November 1, 2013. http://www.theatlantic.com/technology/archive/2013/07/night-witches-the-female-fighter- pilots-of-world-war-ii/277779/ 28. Graft, Conny. “Incorporating Evaluation Into the Interpretive Planning Process at Colonial Williamsburg.” Accessed October 2, 2013. http://archive.informalscience.org/researches/VSA- a0a5f5-a_5730.pdf 29. Grossman, Lisa. "The right to fight: women at war." New Scientist 217, no. 2902 (February 2, 2013): 6-7. 30. Gusterson, Hugh. “Feminist Militarism.” PoLAR, 22, no. 2 (November 1999): 17-26 31. Harris, Adrienne Marie. “The Myth of the Woman Warrior and World War II in Soviet Culture.” PhD diss., University of Kansas, 2008. 32. Herodotus and Francis R. B. Godolphin. “Herodotus: On the Scythians.” The Metropolitan Museum of Art Bulletin, 32, no. 5 (1973 – 1974): 145. 33. Herrmann, Irene and Daniel Palmieri. “Between Amazons and Sabines: a historical approach to women and war.” International Review of the Red Cross, 92, no. 877 (March 2010): 19-30. 34. Herrmann, Irène, and Daniel Palmieri. "Between Amazons and Sabines: a historical approach to women and war." International Review Of The Red Cross 92, no. 877 (March 2010): 19-30. 35. Hickley, Catherine. “Lara Croft’s Amazon Forerunners Amputated Breasts, Killed Boys.” Bloomberg. September 8, 2010. Web. Accessed November 2, 2013. http://www.bloomberg.com/news/2010-09-08/lara-croft-s-amazon-forerunners-amputated- breasts-bumped-off-boys-review.html

36. “Hippolyte’s Belt.” Tufts University. Last modified September 2, 2008. Accessed September 29, 2013. http://www.perseus.tufts.edu/Herakles/amazon.html 37. “Jennie Hodgers, aka Private Albert Cashier.” National Park Service. Accessed November 23, 2013. http://www.nps.gov/resources/story.htm?id=187 38. “Jennie Hodgers.” Civil War Trust. Accessed November 22, 2013. http://www.civilwar.org/education/history/biographies/jennie-hodgers.html 39. “Jennie Hodgers.” National Park Service. Accessed November 23, 2013. http://www.nps.gov/resources/person.htm?id=60 40. Korn, Randi. “Men and Women: Do They Experience Exhibits Differently?” October 5, 1991. pp. 256-262. Web. October 2, 2013. http://informalscience.org/research/ic-000-000-008-272 41. Lamothe, Dan. “Female officer: Infantry is no place for women.” Marine Corps Times. Last Updated July 22, 2012. Accessed November 11, 2013. http://www.marinecorpstimes.com/article/20120722/NEWS/207220312/ 42. LIONESS. 82 mins. (56-min. version also available). 2008 (deluxe edition DVD, 2010). Directed by Meg McLagan & Daria Sommers. 43. Lubar, Steven. “Timelines in Exhibitions.” The Museum Journal, 56, no. 2 (April 2013): 169-188. 44. Macias, Amanda. “Here Are The First 4 Women In History To Complete Marine Infantry Training.” Business Insider. November 19, 2013. Accessed November 23, 2013. http://www.businessinsider.com/four-female-marines-pass-infantry-training-2013-11 45. “Margaret Cochran Corbin.” National Women’s History Museum. Accessed Otober 12, 2013. http://www.nwhm.org/education-resources/biography/biographies/margaret-cochran-corbin/ 46. Martin, Rachel. “Silver Star Recipient A Reluctant Hero.” NPR. February 22, 2011. Accessed October 15, 2013. http://www.npr.org/2011/02/22/133847765/silver-star-recipient-a-reluctant- hero 47. Martin, Rachel. “Women In War: ‘I’ve Lived Out There With The Guys.’” NPR. February 21, 2011. Accessed October 15, 2013. http://www.npr.org/2011/02/21/133818218/women-in-war-ive- lived-out-there-with-the-guys 48. McLean, Kathleen. Planning for People in Museum Exhibitions. (Washington, DC: Association of Science- Technology Centers. 1993). 49. McSally, Martha E. "Defending America in Mixed Company: Gender in the U. S. Armed Forces." Daedalus 140, no. 3 (Summer 2011): 148-164. 50. Miller, Daniel. “The ‘Night Witch’ who carried out hundreds of bombing raids as part of Russia’s elite all-women World War Two air squad.” Mail Online. July 11, 2013. Web. November 1, 2013. http://www.dailymail.co.uk/news/article-2360652/The-Night-Witch-carried-hundreds-bombing- raids-Russia-s-elite-women-World-War-Two-air-squad.html 51. “Mongolia I la serralada de l’Altai: els erigens de la barreja genetrica entre europeus i asiatics.” Universitat Pompeu Fabra, Barcelona. November 12, 2012. Accessed November 2, 2013. http://www.upf.edu/enoticies-recerca/1213/1111.html 52. “Museum Mission.” Accessed October 29, 2013. http://www.fraziermuseum.org/about/ 53. Newman, Rick. “Iraq War Veteran Tammy Duckworth, the Comeback Artist.” U.S. News. May 12, 2012. Accessed October 28, 2013. http://www.usnews.com/news/articles/2012/05/25/iraq- war-veteran-tammy-duckworth-the-comeback-artist

54. Office of Policy and Analysis. “How Do You Improve the Experience of Museum Visitors?” Smithsonian Institution. January, 2013. Web. Accessed October 12, 2013. http://www.si.edu/content/opanda/docs/Rpts2013/13.01.NMNHConcierge.Final.pdf 55. “On the Front Lines: Women in War.” Morning Edition, NPR, February 2011. Accessed September 29, 2013. http://www.npr.org/series/133869535/women-in-combat 56. Panourgiá, Neni. Review of "Arms and the Woman: Just Warriors and Greek Feminist Identity," by Margaret Poulos. American Historical Review 116, no. 5 (December, 2011): 1593. 57. “Parents & Teachers: Teen Growth & Development, Years 15 to 17.” American Medical Association. Last reviewed August 2013. Web. Accessed November 30, 2013. http://www.pamf.org/parenting-teens/health/growth- development/growth.html#Intellectual%20Characteristics 58. Petronio, Katie. “Get Over It! We Are Not All Created Equal.” The Marine Corps Gazette. 2012. Accessed November 11, 2013. http://www.mca-marines.org/gazette/article/get-over-it-we-are- not-all-created-equal 59. Prisco R. Hernández, “Jung’s Archetypes as Sources for Female Leadership,” Leadership Review, 9 (Spring, 2009): 49-59. 60. Pruegl, Elisabeth. “Gender and War: Causes, Constructions, and Critique.” Review of War and Gender: How Gender Shapes the War System and Vice Versa, by Joshua S. Goldstein. (Cambridge, U.K.: Cambridge University Press, 2001.) 61. “Queen Boudica in London.” Museum of London. 2011. Accessed November 4, 2013. http://www.museumoflondon.org.uk/files/9713/7034/1262/QueenBoudicainLondon.pdf 62. Reese, Roger. "Soviet Women at War." Military History 28, no. 1 (May 2011): 44-53. 63. Ritchhart, Ron. “Cultivating a Culture of Thinking in Museums.” Journal of Museum Education, 32, no. 2 (Summer 2007): 137-154. 64. “Sarah Emma Edmonds.” Civil War Trust. Accessed November 23, 2013. http://www.civilwar.org/education/history/biographies/sarah-emma-edmonds.html 65. Schreibersdorf, Lisa. "WOMEN AT WAR: CHANGING ROLES IN THE U.S. MILITARY." Feminist Collections: A Quarterly Of Women's Studies Resources 32, no. 3/4 (Fall2011 2011): 18-22. 66. Segal, Lynne. “Gender, War, and Militarism: Making and Questioning the Links.” Feminist Review, 88 (2008): 21-35. 67. “Siege of Orleans.” Jeanne D’Arc. Last modified March 2013. Accessed November 4, 2013. http://www.jeanne-darc.info/p_war/0_battles/orleans.html 68. Smith, Roberta. “For a Paean to Heroic Women, a Place at History’s Table.” New York Times. September 20, 2002. Accessed September 23, 2013. http://www.nytimes.com/2002/09/20/arts/art-review-for-a-paean-to-heroic-women-a-place- at-history-s-table.html?pagewanted=all&src=pm 69. Tonomura, Hitomi. “Women and Inheritance in Japan’s Early Warrior Society.” Comparative Studies in Society and History, 32, no. 3 (July 1990): 592-623. 70. Tyson, Ann Scott. “Soldier Earns Silver Star for Her Role in Defeating Ambush.” The Washington Post. June 17, 2005. Accessed December 1, 2013. http://www.washingtonpost.com/wp- dyn/content/article/2005/06/16/AR2005061601551.html

71. Wallace, Anna. “A Wild Schieldmaiden of the North: Eowyn of Rohan and Old Norse Literature.” Philament, no. 17 (August 2011):23-43. 72. “Women at Arms.” Produced by Kassie Bracken & Diana Oliva Cave, New York Times, August– December 2009. Accessed September 29, 2013. http://topics.nytimes.com/top/news/us/series/women_at_arms/index.html?ref=us 73. Zenor-Lafond, Holly. "Women and Combat: Why They Serve." Inquiry (University Of New Hampshire) (Spring 2008): 32-38.

Appendix 4: List of Illustrations

Fig. 1: Anonymous, c. late 19th century, photograph, unknown size. Page 1.

Fig. 2: Ceiling installation concept sketch, 2013, Ashley Hinkle. Page 5.

Fig. 3: The Dinner Party “Heritage Panels,” photograph, Brooklyn Museum. Page 6.

Fig. 4: Exhibition concept graphic, 2013, Ashley Hinkle. Page 7.

Fig. 5: Concept Map, 2013, Ashley Hinkle. Page 8.

Fig. 6: Detail of Battle Between Amazons and Soldiers, 140-170 AD, marble, 40 ½ x 91 ½ x 50 ½ in., Museum of Fine Arts Boston. Page 9.

Fig. 7: Tomyris holding the head of Cyrus, Printed by Heinrich Petri, 1544-1522, letterpress on woodcut, 62 x 81 mm, British Museum. Page 11.

Fig. 8 Joan of Arc’s rumored sword, ca. 1419, engraved steel, l. 0.95 m, Musee des Beaux-Arts Dijon. Page 12.

Fig. 9: Female Semaki Kabuto, late Edo period, 19th century, mixed media, h. 5 ft., Bonhams. Page 14.

Fig. 10: Frances Clalin Clayton, Samuel Masury, 1864-66, albumen silver print, 9.4 x 5.6 cm, Metropolitan Museum of Art. Page 16.

Fig. 11: Justice Robert Jackson, Lyudmila Pavlichenko, and Eleanor Roosevelt, 1942, photograph, Library of Congress. Page 18.

Fig. 12: Tammy Duckworth, Fellowship of Reconciliation. Page 20.

Fig. 13 Object and wall graphic interaction, 2013, Ashley Hinkle. Page 25.

Warrior Women of History + Legend

Ashley Hinkle | MA Thesis | Spring 2014 | Exhibition Design Document Warrior Women of History + Legend Table of Contents

Exhibition Overview 3-6 - Site Analysis // Exhibition Venue 7-11 Illustrated Intensity Diagram 12 Interpretive Strategies for Visitors 13-14 Inspirational Reference Imagery 15-16 Materials + Colors 17 - Visitor Experience Floor Plan w/ Traffic 19 Exhibition Entrance 20-28 Myth Inspired by Reality 29-32 Protecting Their People 33-37 Fighting for Spirituality 38-42 Putting Family First 43-47 Instruments of Fear 48-57 America’s Story 58-62 The Story Continues 63-70 _ Exhibition Graphics 71-72 Concluding Remarks 73

2 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Exhibition Overview

Warrior Women of History and Legend is an eye-opening experiential exhibition that powerfully expresses the multinational and historical presence of capable women in combat and military leadership.

This exhibition explores compelling stories of twenty-five women and women’s groups with prominent ties to combat roles spanning two thousand years. By integrating visual culture and new media with representational objects, the intention of the exhibition narrative is to emphasize a holistic chrono-thematic and multinational perspective.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 3 Warrior Women of History + Legend

4 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Why now?

On January 23, 2013 the Pentagon lifted its ban on combat exclusion for women. The United States Armed Forces are not required to integrate women into combat units until 2016. Millions of Americans dispute this integration by relying heavily on feeble stereotypes.

I’m not in the military so what does this mean for me?

As defenders of the United States Constitution, the Armed Forces represent justice, equality, and protection. The discriminatory treatment of women in these Armed Forces branches functions as a paradoxical model of order in our society. Furthermore the scrutiny of women in contemporary media and politics continues to remain ubiquitous today.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 5 Warrior Women of History + Legend

The Big Picture >> Women today are just as capable of fighting alongside men in battle as the thousands of women throughout history who have participated in warfare before them.

>> The military combat we are familiar with today differed hundreds of years ago through different technology and customs.

>> Stereotypes are no longer applicable in today’s society and military with such strong supporting evidence that women have transcended mainstream constructs and convention.

>> Women and female leaders from all walks of life are currently engaging in active combat and participating in war zones around the world.

6 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Site Analysis Venue Location + Exterior

Frazier History Museum Louisville, Kentucky

W. Main Street (Museum Row) Attractions Interstate 64 Frazier History Museum Misc. Buildings Museum Row Parking Kentucky Science Center Bus Stops Muhammad Ali Center Kentucky Museum of Art Louisville Slugger W. Main St. Museum and Factory and Craft

Other Attractions within 5 miles of the Museum: - KFC Yum! Center (0.6 mi.) - Louisville Slugger Field (1.4 mi.) - Louisville Waterfront Park (1.4 mi.) - Speed Art Museum (3.3 mi.) - Churchill Downs (4.3 mi.) - Kentucky Derby Museum (4.5 mi.)

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 7 Site Analysis Venue Interior

Frazier History Museum nd 2 Permanent collection + exhibition galleries

rd 3Royal Armouries USA + st temporary exhibition 1 Interpretative gallery acting + permanent exhibition gallery

8 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Typical Frazier Audience as of ‘09 Intended Exhibition Audience

45% Audience who Bring Children and Teenagers

30% Young Families 64% College Educated with Children or Degree Holders

This exhibition is tailored for a minimum exhibition, the Frazier would provide a to considering relationships between age of 15 years and is shaped on the unique platform for local and traveling politics, art, and war. framework of identity. by hosting this visitors who may not be accustomed

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 9 Site Analysis Third Level Floor Plan

Existing brick structure Exhibition gallery Royal Armouries Exit Structure + Utilities Freight Public space elevator

Restrooms HVAC

Grand staircase

Entrance to gallery

Entrance to Royal Armouries Gallery

10 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Site Analysis Reflected Ceiling Plan

Challenges with the ceiling plan:

The ceiling of the temporary exhibition gallery is constrained by low exposed ductwork reaching a minimum height of 8 feet 6 inches. The exposed beam ceiling reaches a maximum height of 13 feet, but in very select areas of the space.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 11 Illustrated Intensity Diagram

12 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Interpretive Strategy for Visitors

Armor + Kimono Sauromatae Tribe Warrior Burial, Photography Station The Real Amazons FOR THE IDEA-CENTRIC >> Brief headlines announcing the seven interpretive components paired with historical associations >> Concise takeaway facts

FOR THE PEOPLE PERSON >> Historical, personal, and emotional accounts of memories Hoard of Iceni Silver Coins, and stories of featured individuals c. 61 AD, The Boudiccan Revolt >> Docent-led interactive armor and photography station

OBJECT LOVERS >> 150 two-dimensional and three-dimensional resources Make Your Own Coat of Arms >> Dramatic large scale sculpture and noteworthy imagery SENSORY INTERACTIONS >> Intuitive non-digital interactive elements focusing How long does it take until you leave your post? on texture, weight, and visual perspective One week? Two weeks? >> Audio-visual components featuring brief oral histories

SOMETHING FOR EVERYONE >> Universal opportunities for reflection and expression spurred by thought provoking questions and activities

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 13 Warrior Women of History + Legend

Design Strategy >> Develop a unique military history exhibition that evolves the traditional history exhibition model

>> Integrate art, history, and military history subject matter by focusing on the past, but placing design emphasis on the present

>> Translate a dynamic design that juxtaposes classical artifacts and new media

>> Incorporate dynamic asymmetrical geometry to elicit today’s asymmetrical warfare and Studio Daniel Liebeskind’s work at the Dresden History Museum served as a primary societal perspectives. inspiration for integrating art, history, and military history artifacts and content.

14 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Graphic Design + Color Reference Imagery

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 15 Spatial Design Look + Feel Reference Images

DYNAMIC BOLD ASYMMETRICAL exhibition furniture use of color with large artifacts architecture + graphic + reflective surfaces + large photographic murals wall treatments

16 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Benjamin Moore Paint Colors Exhibition Materials

BM 1603 Graphite BM 1610 French Beret BM 2086-10 Exotic Red BM RM25 Heritage Red Rustic Brick Walls Powder Coated Steel

BM HC-87 Ashley GrayBM 2140-60 Moonshine BM 1417 Baltic Gray BM 679 Olympus Green Unfinished White Oak PVC-free Vinyl Decal

BM 2140-50 Gray Horse BM AC2 Berkshire Beige BM 2143-40 Camouflage BM 2143-10 Sage Iron Pipe Black Wooden Frames

CMYK for Graphics

25, 26, 40, 0 72, 67, 59, 62 12, 99, 100, 3

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 17 “That we even need to talk about ‘women and war’ underscores the gendering of our construct of war. War has been perceived as men’s domain, a masculine endeavor for which women may serve as victim, spectator, or prize. Women are denied agency, made present but silenced.”

-Francine D’Amico

“Feminist perspectives on women warriors.” Peace Review 8, no. 3 (September 1996): 379.

18 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Visitor Experience Floor Plan

PUTTING FAMILY FIRST • Kimono + Armor Photo Station

THE STORY CONTINUES FIGHTING FOR SPIRITUALITY • AV Components • Make Your Own Coat of Arms • Backpack Interactive PROTECTING THEIR PEOPLE EXIT / ‘OUTRO’ • Large Format Graphics

MYTH INSPIRED BY REALITY INSTRUMENTS OF FEAR • Amazon Size Comparison • Sniper Interactive • Leaning Walls EXTENDED INTRO • AV Components • Large Format Graphics • Quotes • ‘Bloodline’ Wayfinding System AMERICA’S STORY • Cannon Gallery • AV Component

>> Traffic Flow

>> Localizer Sound Domes ENTRANCE / INTRO • ‘Bloodline’ Graphic >> Bench seating Wayfinding System

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 19 Warrior Women of History + Legend

20 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Exhibition Entrance This graphic treatment is one of the first vistas coming up the Armouries main entrance which displays a beefeater gesturing grand staircase to the third floor of the Museum. Featuring the toward the entrance (pictured left). This logo also functions as exhibition logo, the treatment competes directly with the Royal way-finding prior to engaging with exhibition content.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 21 Warrior Women Warrior Women of of History + Legend History + Legend

22 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Exhibition Entrance The main entrance of the temporary exhibition gallery is adjacent Once through the entrance visitors will walk through the long to the central staircase where visitors that choose not to utilize corridor which functions as a threshold separating the Museum’s the elevator must u-turn to get to the entrance of the exhibition. aesthetic from the exhibition message.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 23 Warrior Women of History + Legend

Entrance Corridor This graphic treatment along the walls are representative of the in combat, the bloodline is the link between the, multinational, idea of a bloodline. Since this exhibition spans 2000 years with historical, and contemporary accounts of women as warriors. no evidence that women have been incapable of participating

24 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 25 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

26 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 27 Warrior Women of History + Legend Myth Inspired by Reality

28 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 29 Warrior Women of History + Legend

‘How do you size up?’ The average height of the Amazons was mythologized over time average height of an ancient Greek male (5’-6”), female (5’-0”), and as half-giants. To debunk this myth, it is intended that visitors an Amazon warrior (5’-8”). will compare their height or wall graphic element portraying the

30 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 31 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

32 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend Protecting Their People

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 33 Warrior Women of History + Legend

34 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 35 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

36 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Zenobia in Chains Including Harriet Hosmer’s work is significant in that her work on work was entirely hers. The composition was purposeful in that male the sculpture at the time of completion was discredited for coming sculptors at the time were rendering submissive and sexually charged into fruition at the hands of the men in her studio, when in fact the compositions, and with this evidence she earned her credit.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 37 Warrior Women of History + Legend Fighting for Spirituality

38 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 39 Warrior Women of History + Legend

Sample Interface Progression The ‘Make Your Own Coat of Arms’ digital activity allows for is intended to be intuitive for users of all ages and may also be visitors to consider the qualities and values of their identity that shared through social networking media. they project to the public, as Joan did in battle. The interface

40 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 41 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

42 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Putting Family First

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 43 Warrior Women of History + Legend

44 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 45 Warrior Women of History + Legend

Kimono || Samurai Station Visitors will interact with a docent who will discuss the logic kimono and armor on, their portraits will be taken in a vintage and cultural significance of the various pieces and details of style to emulate the anonymous 19th century warrior across the the kimono and samurai uniform design. When visitors have the gallery.

46 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Interactive Purpose The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 47 Warrior Women of History + Legend Instruments of Fear

48 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Red Army Snipers The sniper activity is intended for visitors to lie prone behind the for hours, sometimes up to two weeks. By ‘aiming’ the rifle, visitors barrel of a mounted replica Soviet-era Mosin Nagant sniper rifle aimed can feel the texture of the replica rifle and scope and get a feel for at an exploding wall to get a sense of the strenuous task of lying still the perspective function of the scope.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 49 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

50 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 51 Warrior Women of History + Legend

52 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 53 Warrior Women of History + Legend

54 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Red Army Aviation The 588th Night Bomber Regiment flew with neither parachutes within the wall case. In addition the respective kill counts are nor weapons, but carried a compass and a map. The large format included but are intentionally neither subdued nor glorified. graphics provide context to the flight goggles and wrist compass

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 55 Warrior Women of History + Legend

56 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 57 Warrior Women of History + Legend America’s Story

58 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

The American Revolutionary War The cannon gallery features an American Revolutionary War Pitchers are intended to establish the object’s context of function siege cannon which is intended as a highlight object of the and impressive scale. The cannon is also aimed at the central exhibition. The adjacent large format graphics featuring Molly exploding wall.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 59 Warrior Women of History + Legend

60 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

The Civil War The keynote story in this particular section includes Sarah section of her memoir featuring her interaction with a dying Edmonds Seelye’s personal accounts of her participation and soldier whose last words were a confession that he was actually service during the Civil War. The Sound Dome narrates a brief a female in disguise.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 61 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

62 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document The Story Continues

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 63 Warrior Women of History + Legend

America’s Armed Forces The intention of the combat pack activity is for visitors to gain Photographs of soldiers carrying these packs juxtaposed with an appreciation and understanding of the strenuous struggles the interactive contextualize the realities and struggles of what of both men and women participating in infantry officer training. soldiers, both male and female, endure daily in combat situations.

64 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 65 Warrior Women of History + Legend

Contemporary Accounts The large format graphics of this gallery are juxtaposed with the 2013. Their stories are very animated and sometimes graphic so the soldiers’ respective personal accounts of their service in 2010 in localizer sound domes function as a shield for visitors who do not Afghanistan, prior to the Pentagon’s combat exclusion ban in January, wish to hear the stories emanate from the gallery.

66 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 67 Warrior Women of History + Legend

Contemporary Accounts The large format graphic of Tammy Duckworth was an intentional Harriet Hosmer’s sculpture of Zenobia in Chains which ideologically vista graphic that is intended to resonate with visitors the powerful emphasizes the concept of the bloodlines from the first several reality and asymmetry of war today. Her stance is reminiscent like galleries of the exhibition.

68 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Warrior Women of History + Legend

The Story Continues The intention of the Post-It activity is to function as a place of answer to the question ‘Who is a warrior in your life?’ followed by reflection and/or expression for visitors. Considering the ambiguity a series of definitions to consider that may influence or inspire of the word ‘warrior’ this area allows for visitors to express their their answer.

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 69 Warrior Women of History + Legend

Notes The ‘Make Your Own Coat of Arms’ digital activity allows for visitors to consider the qualities and values of their identity that they project to the public, as Joan did in battle.

70 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Exhibition Graphics Object Labels

1st Russian Women's Battalion of Death USSR 1917 Feature photograph

Bochkarëva’s 1st Battalion was the only unit to serve in active combat due to Title - AUdimat Bold 24 pt. the lack of adequate support Origin - AUdimat Bold 18 pt. for the other battalions. Date - AUDimat Bold 18 pt. Description - AUdimat Regular 18 pt.

actual size Marina Bochkarëva USSR 1917 Photograph, biography, or artwork

Title - AUdimat Bold 24 pt. Bochkarëva was a Siberian peasant and a combat Origin - AUdimat Bold 18 pt. veteran of the war. Her 1st Battalion was the only Date - AUDimat Bold 18 pt. unit to serve in active combat due to the lack of Description - AUdimat Regular 18 pt. adequate support for the other battalions.

actual size

Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document 71 Exhibition Graphics Section Panels

Section panels actual size Header - Mensch 136 pt. Description - AUdimat Regular 29 pt.

actual size

72 Ashley Hinkle | Spring 2014 | MA Thesis | Exhibition Design Document Now I’m looked upon a little as a curiosity, a subject for newspaper headlines, for anecdotes. In the Soviet Union I am looked upon as a citizen, as a fighter, as a soldier for my country.

Lyudmila Pavlichenko, Red Army Sniper