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Woman's Art Journal, Pp. 1-6.Pdf Woman's Art Inc. Sexual Imagery in Women's Art Author(s): Joan Semmel and April Kingsley Source: Woman's Art Journal, Vol. 1, No. 1 (Spring - Summer, 1980), pp. 1-6 Published by: Woman's Art Inc. Stable URL: http://www.jstor.org/stable/1358010 . Accessed: 31/10/2013 13:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Woman's Art Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal. http://www.jstor.org This content downloaded from 131.128.70.20 on Thu, 31 Oct 2013 13:21:39 PM All use subject to JSTOR Terms and Conditions Sexual Imagery In Women's Art JOAN SEMMEL APRIL KINGSLEY Women's sexual art tends to stress either strong posi- skillfully referring us back to other contexts. This re- tive or strong negative aspects of their experiences. ferral to a realm of experience thought to be antithetical Feelings of victimization and anger, while sometimes to "sacred" art is characteristic of Pop art in general. expressed as masochistic fantasy, often become politically However, in the case of erotic imagery the evocation of directed, especially in contemporary works. Those artists the pop culture tends to absolve the artist of any respon- whose work celebrates female sexuality as a joyous, lib- sibility for the content and its implications. The Pop erating and creative experience also seem to be consci- look thus facilitates the acceptance of the subject matter. influnced feminist ideals. ously by The sexual art of women, on the other hand, ranges In some of the earliest modern examples, sexual wide in styles and attitudes and is far more direct and themes were abstract and ambiguous subconsicous mani- concrete. Moreover, much of the imagery is disturbing festations, often denied by the artist herself. Yet power- on a subliminal level. In 1966, Allen Kaprow referred ful sexual overtones in the work of Georgia O'Keeffe, to an exhibition of Martha Edelheit's work which states Lee Bontecou, Louise Nevelson and Helen Franken- the contrast: thaler, among others, consistently evoke those readings. Abstractions the of sexual Female art in general plays no games as men's art permitted disguising explicit does; no one wins, there are no victims or content which 15 to 20 was and protagonists. years ago socially psy- It is thoughtful, but not intellectual insofar as intellec- chologically unacceptable. tuality is a game. It is not editorial either, insofar as discriminations between of moral and for whom sexual and all its rami- degrees good Women, experience bad are also a game. Female fantasy is pervasive, fications has been historically the central life experience boundless, unconcerned with definitions and measure. (other avenues having been blocked), have seldom been When sex is its primary involvement the involvement permitted to comment upon that experience. Carol is total and therefore shameless. It is for this reason Duncan out in "The Aesthetics of Power in terrifying to men, not because it implies the loss of points their but because it the loss of the Modern Erotic that Bohemian romance status, imples game Art," although (which is their life.)2 with sexuality as a liberating revolutionary force in the beginning of the century was embodied in the works of Louise Bourgeois is the classic example of an artist numerous male artists, that liberation was seldom ex- who consistently produced imagery with a high sexual tended to the women of their fantasies who were usually charge, and who, until recently, experienced near total objectified and presented as prostitutes. Duncan con- critical and public neglect as a result. It was only after tinues: ". .. the modern art that we have learned to politicization of the issue that restrictions on sexual recogni;e and respond to as erotic is frequently about content in women's art began to lift enough for her the supremacy of men over women."' Significantly, erotic work to receive the acceptance and acknowledgment it work by contemporary men often celebrates the same long deserved. From her hooded totemic personages of attitude; found in the girlie magazines, albeit with con- the late 1940s and early 1950s to the blatantly phallic siderably more style and class. Artists such as Tom object ironically titled Fillette of 1968, she has explored Wesselman, Richard Lindner, Mel Ramos, and John a wide range of possibilities for the phallic image, Kacere purposely adopt the slick, brassy look of the pop whether clustered in groups or in erect isolation, vernacular and conscious pornographic iconography, sheathed in foreskin-like coverings or dramatically ampu- This content downloaded from 131.128.70.20 on Thu, 31 Oct 2013 13:21:39 PM All use subject to JSTOR Terms and Conditions 2 Woman's Art Journal tated by diagonal slices. The phallus, a symbol of cut and 1950s style sunglasses masturbating with a double aggression, is at the same time excruciatingly vulnerable. dildo similar to the object reproduced on her announce- ment card, which was included in the show. Thus, she wood or Bourgeois' surfaces, be they marble, latex, forced us to read her work on her terms, lest we mis- plaster, often have a flesh-like slipperiness, especially understand her intentions. when she uses the female anatomy-wombs, slashed vulval openings or wet, vaginal interiors, but when she de- Many figurative artists also disguised the content in velops breast forms they may be baggy with matte, dull their early work only to explode in recent years with an surfaces. Her work is dominated by an obsession with open attack on the sexual cliches. The work of Marisol, sexuality, but the forms she creates carry numerous other for instance, always seemed somewhat uneasy and out connotations and implications as well. Sexuality is so of place in the company of other Pop art. In the context crucial to the life process that images of nurturing, of her recent highly charged sexual imagery, it is diffi- germination, driving force, dependence, fertility, defense cult even to see her doll-like early pieces as the light- and defenselessness are all subsumed beneath its hearted, humorous "popular" icons we thought they umbrella. were. Now these boxed-in figures seem like trapped mummified victims as well as wry commentaries on In the women who wished to be taken past, seriously sexual role-playing and the nuclear family. as artists did their best to leave their femaleness behind when they entered the studio. The price for acceptance From the disconcerting life casts of her own body in the cathedral of "high art" was conformity to pre- parts and face to the masturbation fantasies with their vailing male modes. Today, for the first time, women sense of fearing/feeling the inside of self to the more have begun to develop a unique iconography, which, recent work, Marisol has continuously raised the level while fitting into more or less accepted stylistic cate- of psychic tension. Bodily invasion and exploitation are gories, is radically different in intent and content. graphically depicted as woman becomes the helpless victim of innumerable atrocities. She is walked on; Miriam and were the first to Schapiro Judy Chicago hands invade secret of her; fetuses in the sources of their abstract every part grow openly explore imagery various within her and fall, aborted between and insist on a feminist of their art. de- places body reading They her legs. Her vulva her heart in Fuck a Heart, the of "central core" which replaces veloped concept imagery while remaining open to penetration as usual. relates the use of a central image to female body identi- fication. Schapiro often speaks of her excitement in Women's anger and feelings of sexual victimization choosing the colors for her Big Ox so as to deliberately are seen in a great deal of figurative art. The angry point out its sexual implications. Abstraction, in this tension that simmers beneath the surface in Marisol's case, provided the possibility for women to express their work bursts out in Nancy Grossman's leather men and sexuality without entering into the "subject-object" becomes an indictment of the macho male. Her figures dichotomy. seem to be prisoners of their own physical power and aggressiveness. Leather encased heads that become Many abstract artists have subsequently insisted on that become the use of the sexual of their abstract work. penises, penises pistols, bindings meanings Joan Snyder, and masks-all denote loss of self and consequent de- whose earlier dripping slashes were simply accepted as humanization. She treats the male as a en- another Abstract has be- sex-object, Expressionist variant, recently him in a sheath, to to introduce and written al- casing completely bondage zippered gun explicit vaginal images allow the mistress access to her slave. A leather girdle lusions to sexual experiences and feminist ideas into her feminizes his waist while his arms are bound above his work. These new elements a of her encourage reading head in a of total, fearful submission. Man's earlier within this context. position paintings face is covered because it, like his penis, is a threatening The obsession with the male In the sculpture of Lynda Benglis the sexual content weapon (Fig. 1). taming devil a fascination with his as was largely ignored, despite the fact that the artist spoke implies power something to be emulated.
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