Women's Art Registry of Minnesota: WARM 1979 Apr-Jun

Women's Rrt Registry of minnesota

Tuesday Beginning of Ribbon Exhibition. 10 Show continues to April 21. 28 17·· Tuesday, 7:30 P·~-· WARM meeting. All Wednesday, 7 p.m. Chris Marten's . members welcome. Discussion of the presentation, "Impressions of Art 'ribbon exhibition. and Life in the Soviet Union". Saturday, 7-10 p.m. Opening of the 25 Women's Photography invitational exhibition. Continued through May 26. APRIL

1 Tuesday, 7:30.p.m. Associate Members . Meeting. , Saturday, 9 a.m. Gallery Members 5 Meeting. Monday, 7:30 p.m. Shelley Rice speaking ~ 14 on "The Plight of Women Photographers in N.Y.C. 11 MCAD auditorium. Tuesday, 7:30 p.m. WARM meeting. d 15 All members welcome. Discussion of photography Invitational Exhibition. MAY zUJ ...J Saturday, 9 a.m. Gallery Members 2 Meeting. 5 Saturday, 7-10 p.m. Opening of the 2 Julia Barkley and Georgianna Kettler show. Continued through June 30. Tuesday, 7:30 p.m. Associate Members 5 Meeting. Tuesday, 7:30 p.m. WARM Meeting. All 19 members welcome. Discussion of the Barkley/Kettler exhibition. JUNE Published by SOPHIA, 2021 1 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1

MARCIA TUCKER, JANUARY 1979 Tucker excluded the artist from active participation in the curatorial and Marcia Tucker came to Minneapolis in January writing processes. Being part of a as part of WARM'S Visiting Artists Program. collective gallery, I am expected to make She shared with me some ideas which I would art, hang exhibitions and, either verbally l i ke to pass on . or in the written word, talk about art. In discussing Tucker's preparation for The latter two I con myself into viewing curating a show and writing about an as personally expanding and adding to my artist's work, Tucker said that she lives artistic development. The real reason beside the artist for a number of months. I am asked and do these tasks is that The emphasis of 11 stepping into someone there are not experts wi 11 i ng to tak·e the 11 responsibilities. Tucker has the expertise else's shoes is to understand the art in these areas and takes the responsibility. through the artist's experiences and 11 11 environment, rather than through her/his Her not consulting the artist on installa­ words: She explained this as a partic­ tion and the writing first irritated me. ipatory process, not one of mere observa­ But she persistently stated she could not tion. Tucker stressed that discussions give advice on developing or improving an during this time do not focus on the artist's output. From that standpoint, art work itself. When it is time to should an artist expect to assist the work curate and hang the exhibition, Tucker of a curator or a writer? makes the decisions without the artist As I fumbled around for words to tell at hand. In writing about the work, she Tucker about nw own work, she said it was develops relationships between the art not necessary for me to verbally explain and other disciplines such as literature, it. I felt quite relieved. If I had science and philosophy. tried a verbal translation, I probably After thinking about this process, I found would have given her my little talk on it much to my liking but unfortunately grids and linear elements and then told not very often practiced. To understand what traumas I've had lately. a certain individual's work, Tucker Tucker obviously sees and hears about the emphasizes the interrelationship between personal side of an artist's life during art, artists, observor and environment. her 11 1i fe in II process. They do not, She openly acknowledges that neith~r art however, become the basis of her writing. nor artist are housed in a vacuum, dealing She turns to other sources, a philosophical solely with the formal elements of art. theory for example, to develop an idea. In my estimation, artists today are not The art, in it's final stage, does not as concerned with 11 pure art 11 as were the stand alone, but interrelates. previous decade, but curators and writers still seem preoccupied with ·this not'ion. Beth Bergman As Tucker is part of the latter, she is unique in her concern. WARM'S Visiting Artist Program has been Now that art is no longer talked·about in made possible by grants from the Dayton art tenns exclusively, it has become Hudson Foundation, Northwestern National popular to view the work in relationship Bank's Employees' Contribution Council, to the artist's personal experiences. I General Mills Foundation and the Minnea­ don't have any problem with this except polis Foundation. hearing about them can be terribly boring and sometimes quite embarrassing. Often these events are used as a reason why a particular piece of art was made. It's a looking backwards process. (The exceptions happen when experiences are developed from an unusual perception or rise to a universal level.)

https://sophia.stkate.edu/warm_journal/vol00/iss1979/11 2 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun

ARC EXCHANGE Newsletter policy and staff The first exchange of exhibitions between The WARM newsletter is a forum for the WARM and a gallery outside the i11111ediate exchange of information and opinions of region took place this winter. ARC Gallery, W.A.R.M. members. Articles represent the a women's collective located at 6 W. Hubbard authors• own opinions, not necessarily Street in Chicago, showed the work of WARM those of the Registry. artists Harriet Bart, Hazel Belva, Joan Carlson, Cherie Doyle, Carole Fisher, Sandra The Newsletter Conmittee of WARM publishes Kraskin, Joyce Lyon, Jantje Visscher, and the Newsletter. Members include: Beth Mary Walker during January. ARC 1 s space Bergman, Susan McDonald, Susan. Pleissner, is somewhat smaller than ours, more urban, Alice Towle, and Associate member Kathryn with the pulse of the city apparent. From Lloyd. mid-February through March, WARM exhibited work by ARC members Thelma Heagstedt, The deadline for the September Newsletter Irmfriede Hogan, Priscilla Humay, Janine is July 31. Anyone wishing to submit Talat-Kelpsa, Carol McQueen, Barbara Metz, articles, announcements or advertisements Jan Miller, Chris Millon, Margaret Peterson, is invited to do so. Please leave the Gail Simpson, and Marilyn Sward. material clearly marked for the Newsletter by the deadline indicated in the gallery, In addition to the obvious benefits of or contact one of the committee members to having our work seen by a wider audience make special arrangements. and having the opportunity to see and to show work by women developing simultaneously but in a different location, many of us were able to meet and get to know members of the ARC cooperative. Harriet Bart, Mary Walker and I roared into Chicago in Mary's station-wagon cra1T111ed with work on what may have been the only non-blizzard weekend of the winter. We were met by four members of ARC, with whom there was inmediately a great deal to talk about, sharing as we do the experience of being women artists trying to sustain a cooper­ ative art organization. WARM was pleased TELEPHONY to welcome Janine Talat-Kelpsa, Barbara Metz, Thelma Heagstedt, and Marilyn Sward A poem by Anita Wallace to the opening here. I found great value just imagine in the meetings, in the experience. Which is not to deny the presence of some fuzzi­ if all the pushbutton telephones ness in initial logistics, attributable perhaps to our not knowing each other yet. got together For myself, I do hope this is the first of and played a symphony a series of exchanges. a gala technological affair Joyce Lyon dancing on fingertips through yellow pages with alexander graham bell calling watson come here

Published by SOPHIA, 2021 2 3 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1 Julia Barkley WARM Associate Membership meetings are WARM Show, June, Downstairs .Gallery the first Tuesday of every month at 7:30 p.m. at the WARM Gallery, 414 First Ave, "Symbolist Art" These paintings are from North. Associate and Gallery members are mythology and the collective sub-conscious welcome to come and participate. that reveal or suggest intangible truths or states. There will be a perfonnance . The Steering Convnittee is made up of the connected with one of the paintings - "Ci r·c l es following people. They may be contacted­ of Fi-re" . . It is a mourning with point, song, for help or information about Associate dance, poetry for the deaths of the nine membership or meetings: million women* burned at the stake for - witchcraft in the middle ages. Lee Anne Dollison 871-0617 Juiia Barkley Joi Hoagland 871-4563 Kathryn Lloyd 824-8414 Cynthia Packer 822-1810 Barbara Reynolds 920-9424 *Figure given by Mary Beth Edelson in Joan Rothfuss 871-0167 lecture at St. Catherine College in 1978. Anita Wallace, 374-1986 Secretary

Georgianna Kettler WARM show, June, Upstairs Gallery "Lithographs, The Goddess Mounds Series" Associate Membership These images were developed as a result of Second Quarter Agenda - 1979 research into ancient sacred sites which were ·often chosen or constructed in such a May 1st way as to show a figural relationship with A. Orientation: New Associate members the landscape. Universal reverence for the to show slides mountain and its transfonnation into the burial mound and the temple are themes in - B. Steering Committee Report the series. C. Announcements Announcements about forthcoming exhibitions June 5th A. Continuation of slide presentations ' Clouds and Daggers B. Open Discussion: Sharing of thoughts Joi Hoagland-Mixed Media and ideas Cynthia Packer - Recent Drawings C. Steering Conmittee Report May 7th-31st The Guild of Perfonning D. Announcements Arts Gallery Opening Reception Monday, May 12th July 3rd 3:00 - 5:00 Cedar/Rive~side Music & Refreshments A. Slide/Tape Package Viewing "The American Abstract Artists: Women's Contribution Lee Anne Dollison to the Avant-garde of the '30's and '40' Kathryn Lloyd B. Open Discussion Maria Mazzara Joan Rothfuss · C. Steering Conmi ttee Report Anita Wallace D. Announcements Marilyn Zwak June 11th-25th West Bank Gallery Opening Reception Monday, June 11 3 7:30 p.m. University of Minnesota https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 4 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun Judy Chicago's Dinner Party Purposes of the Weekend A year ago, Ms. Chicago sent out letters * To provide a setting for women in all requesting women throughout the world to the visual arts and crafts to come toget­ participate in an exhibition that would her to discuss ideas, goals, and problems begin at the San Francisco Museum of Art we have in common, thereby taking the first on March 14th. A group of women, along step in establishing a women's art community. with Ms. Chicago, assisted in making approximately thirty-nine place settings * To bring long deserved exposure to women honouring thirty-nine different women working in all the visual arts. using the Los Angeles Women's Building * To explore the herstory of women in art, as their workshop. The various settings both in general and in our region. were achieved by weaving, crocheting, * To discuss the struggle of all artists ceramics and other materials. to gain recognition as vital contributors Saturday, March 10th the Associate group to society, focusing on the compounded of WARM had a dinner party at Fran Belvin's difficulties we, as women artists, house in celebration of Judy Chicago's encounter in a male-dominated culture. Dinner Party Show. Internationally, women held dinner parties and sent in photographs, * To explode myths and stereotypical roles, letters, and drawings documenting their explore our identities as women artists. events. These documents will travel with We will be involving local and regional the show throughout the year. women's organizations as well as arts/ We made a collective drawing, signed by crafts groups. Local professional artists everyone present, and sent it off to San will be invited to lead workshops and Francisco. We consumed lots of delicious discussions. food-homemade vegetable soups, vegetarian mousaka, braided cheese brioche, several We solicit your ideas for workshop and delicious fruit salads, and chocolate mint discussion topics. Some suggestions are: brownies. Fun was had by all, and it was a good night for getting to know one - female imagery another. - special concerns of Native American women artists - special concerns of Black women artists - herstory of women_in art - herstory of women of our region in art WARM Associate Steering Co1TU11ittee - women's art organizations and galleries Report - women in the crafts A Women's Art Weekend! logistics of grant writing and organizing shows Over the past two months the Steering Committee of the Associate Members of WARM strategies for changing sexism in has been meeting to plan a Women's Art college programs Weekend. This event, which will deal with - women's art projects (Women's Building, women's current involvement in art, will Palace of the Goddess, the Dinner take place in September at the Minneapolis Party, etc. ) College of Art and Design. It will be two days of discussions, workshops, slides and - individual artists talking about their films. We hope to have the participation work and lives of women from all over the region, and are currently seeking funds from corporations If you have any questions, ideas, time and private citizens to finance this and/or energy, please contact Fran Belvin project. (722-0342(, Lee Anne Dollison (871-0617), or Marg Rozycki (824-8996). 4 Published by SOPHIA, 2021 5 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1

Gallery Members Teach Courses at MCAD Impressions of Art and Life in the Soviet Union WARM Gallery members Jantje Visscher and Georgiana Kettler Cooper will be teaching Slide-Lecture Presentation: courses at the Minneapolis College of Art by Chris T. Martens, Sculptor, Assistant and Design this Sumner. Deadline for Professor, South Dakota State registration in these courses is June l, W.A.R.M. Gallery 1979. Wednesday, April 25, 1979, 7 P.M. Jantje Visscher will be conducting a class in Silkscreen printing starting July 9 Chris Martens spent Spring semester, 1976, through the 17th. Georgiana Kettler Cooper in the Soviet Union. Her lecture and slide will be teaching a Lithography course June presentation, "Impressions of Art and Life 27th to July 6th. These courses are in the Soviet Union" is based on her experi­ designed for both experienced and beginning ence as a foreign resident and artist in students. Leningrad. She presents Russian art from an historical perspective and discusses The courses may also serve as a prerequisite contemporary trends in both dissident and for the print workshops scheduled for August. government approved art. Ms. Martens Designed for people with basic printmaking collected most of her material on Russian knowledge, area artists may use the best and "official" Soviet art in the Hermitage, print facilities in the state. Visscher, the Russian Museum and at public art shows. Cooper and Bob Batten will facilitate shop Her information of dissident art was use in Silkscreen, Lithography, and Intaglio. gathered by visiting the homes and studios If this pilot program meets enrollment, it of "unofficial" artists and by attending can be continued by the college in the fall. exhibits of "unofficial II art. "I made Deadline for registration is July 16. taped interviews while sitting in a park and hiding the tape recorder in a paper bag." Georgiana Kettler Cooper is also teaching Donation at the·door. afternoon and evening courses in Water­ color Painting from June 18th to July 27th at the College. Registration deadline for these courses is June l. For more information, please contact the extension program at the Minneapolis College of Art Awards and Design 870-3065. Two Minnesota arts funding agencies have announced the winners of their awards: Bush Foundation - Visual Arts Leif Brush Steve Sorman Tom Rose LIFE DRAWING WARM members Susan McDonald Frank Gohlke and Jantje Visscher are offering a life Don Celendar drawing studio every Tuesday afternoon, l to 4. For information call 378-9169 or Minnesota State Arts Board 378-2571. They are considering starting Leif Brush - sculptor a second life drawing session - please Steve Sorman - painter, printmaker call if you are interested and have a time Keith Gunderson - poet preference. John Hassler - novelist Eric Stokes - composer 5 https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 6 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun Slide Registry Please get your slides up to date and pay your Slide Registery dues for 1979. The The Slide Registry was widely used in 1978. slides of any member whose WARM and SR Through the Registry several WARM group dues are not paid by MAY l WILL BE PULLED shows were organized, in Morris, Carleton, OUT OF THE SLIDE REGISTRY. SR dues are St. Benedicts and Winona. An exhibit in $2.50 River Falls, Wisconsin has just opened. Several individuals have gotten shows through an initial Slide Registry contact. Some co11111issions have been made - such as the Caterpiller Co. corrmissioned works. There have also been a number of contacts for direct sales. The WARM Sfide Registry was used in 1978 as a resource for the slide tape packages. At least 40 WARM artists are featured in slide tapes. There were also about 30 lectures last year for which slides were borrowed. Some of these are - a confer­ ence in Superior,Wisconsin, a lecture at Response to Slide-Tape: the Walker, Minneapolis Convnunity Education, "The Non-Objective Tradition and the Minneapolis College of Art & Design, Recent Women's ~Jork 11 University· of Minnesota Women's Studies classes. This is a resource for us and for Dear WARM, the community. You are welcome to borrow slides - follow the rules in the sign- We found the tape and slides very infor­ out book at the Gallery. mative and relevant to our Museum's The Slide Registry has now completed 6 programs. slide-tape packages. They have been shown They were shown first to our own docents to numerous groups and classes. Some 11 as an educational tool and then to the convnents: 1 have taken 2 art history participants of the Docent Forum where classes at the U and never have we dis­ 11 about 160 museum volunteers and staff cussed women artists. That was a Women's members had a chance to see them. Studies student at the U of Minnesota in 1978. 11 I was not really aware of women I found the comments about the artists artists in the past. 11 That was a first interest in relating to the expanded year MCAD student. "Women artists of the understanding of perception particularly centuries past - you tend to know a lot helpful in explaining the contemporary less about that sort of thing. I guess I art to someone who comes in and wants to didn't realize that women were that active." know where the "real pictures" are! Another first year MCAD student. WARM Thank you for sharing this excellent originally decided to make these tapes presentation with us. because of the lack of infonnation about women artists - for example, in the Sincerely, Minneapolis Public Library, about 94% of the publications about individual artists Ruth Ann Moore are about male artists. We feel that these Docent Chainnan slide tape packages are just beginning to San Jose Museum of Art fill a gap in information about historical and contemporary women's art. October 18, 1978 A "Finder's Fee" system has been started: If you make a contact which results in a slide tape package rental, you get $5. The tapes rent for $25.00. Pick up a flyer in the Gallery for more details. Jantje Visscher, the Slide Tape Coordina­ tor, will handle the mailing of the tapes. 6 PublishedYou can by claimSOPHIA, your2021 finder's fee through 7 her. W.A.R.M. Hosts National PhotographyWARM Journal, Vol. 00 [2021],She No. often1979, Art. embellishes 1 the surface with colored pencil, crayon, stitching, and Invitational - April 28 - May 26. paint. Elaine Mayes works in the black and white 35nm tradition to pursue her W.A.R.M. opens its national photography observations of ironic, often humorous invitational on Saturday, April 28 with vestiges of everyday life. Often there work by six photographers, including is a sense of human presence, although JoAnn Callis {Los Angeles), Judith physical evidence of personage is not Golden (Los Angeles), Elaine Mayes (Amherst, included. Joyce Neimanas makes cultural, Mass~), Joyce Neimanas (Chicago), Marcia sometimes sexual references which inte- · Resnick (N.Y.C.), and Ruth Thorne-Thomsen grate words and language into the context (Chicago). All of the artists teach at of photographic images. Her layers of institutions in their respective cities, meaning are enhanced by strokes of color, are well known in their geographic areas, gestural drawing, photographs within photo- and exhibit their work nationally. Neimanas,graphs. Resnick works conceptually and Golden, and Resnick are recent NEA recipi- autobiographically. In Re-Visions girlhood ents; Callis was awarded this year's ·fantasies are absurd, humorous, witty. In Friends of Photography Ferguson grant. one image, for example, a female head bends Resnick has published several books of over to deliver a lascivious kiss to a her images, including most recently Howdy Doody puppet; the caption reads 11 She Re-Visions, and has exhibited in book art secretly lusted for her television heroes." shows in France, Gennany, Japan, and the Ruth Thorne-Thomsen works with a pinhole U.S. Ealine Mayes, who teaches filrrmaking camera using 411 x5 11 film to create- fantasy and photography at Hampshire College in situations out-of-doo.rs that distort and Amherst, taught photography a few years play with space and scale. She uses the ago at the University of Minnesota. ·information in tha real landscape or skyline The photographers were selected for their {often Chicago) juxtaposed with objects that diversity in approach to the medium, and are singularly strong or referential to to materials, concepts, and content. another time. Often antiquity {as in Gre2k statuary and Roman architecture). The images Although a few of their images have been 11 seen in this area (most at M.I.A.), their - are printed both .4 x5 11 contact prints and work is unfamiliar to most viewers in this large mural size. · area. Because very little of this very Linda GamneZZ contemporary work has been published or written about, much less seen in this area, it is difficult and probably unfair to make generalizations about the work itself, but perhaps a few introductory Women in Photography remarks about each artists' work would Photography for the past five years has help to characterize the exhibition. ~xperienced a tremendous upsurge in Color is essential to JoAnn Callis' images interest, partly due to artists' interest for their sensual, sometimes erotic connota in drawing from and using photographic tions. Her interior images are tense, images, and in willingness on the part of impending, and non-verbal. To describe galleries to show photographs. In an them is to lessen an essentially intuitive, almost desperate desire to define what is emotive visual response. Judith Golden's going on in the medium (since it is so images, also in color, are drawn from mass diverse), a few healthy controversies culture and its media. In a recent series have been stirred up, particularly by on People magazine she uses herself as the : Susan Sontag's book ON PHOTOGRAPHY and by people on the covers. Her past work, in John Szarkowski's (MOMA photography its autobiographical transformation of curator) attempt to codify photography's roles, she says is about ·"the kind of direction in the last 20 years in the ' masks we all wear and the kind of roles exhibit "Mirrors and Windows" which is we -- especially women -- play in society. touring 7 cities in the U.S. and just finished a tour at the Walker Art Center. (Both Szarkowski's critical thesis and 7 his choice of images were severely https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 8 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun

Ruth Thorne-Thomseri, untitled, pinhole photograph ( 4"x5") criticized). One of the issues that is was one of the few societies open to both kicked around, with no terrifically men and "ladies." In its beginnings, cogent conclusions, is why women as photography was defined more by economics photographers fail sufficient representation and class than by sex; those who could in exhibitions (13% representation in · afford to pursue photography as a leisure "Mirrors and Windows"). Rationalizations activity did so. Although photography run the gamut from the (worn) cliche that was intended to aid art production, it women produce intellectually weak, emotion­ never was intended as art in and of itself. ally mushy work in the perceptions of Most of the publication literature of the male curators and tastemakers in positions late 19th century was scientific in nature. of power, to a suggestion that there is a (Not until George Eastman introduced the lack of aggressive insistance by women that Kodak camera in the 1890's could the middle their work be seen by the public (see class afford photography.) Shelley Rice's article "Feminism & Photo­ Many women photographers in the 20th graphy: Trouble in Paradise") Afterimage, century either owned photography portrait March 1979). studios or assisted their husbands in Women have enjoyed quite a secure place similar enterprises. Some had photo­ in photography since its beginnings in 1893 journalistic jobs, or taught. Most photo­ when Constance Fox Talbot helped her. famous graphy societies, artistic and hobby, had husband (& fathrer of photography) William high percentage of women members. The Henry Fox Talbot. In the introduction to tradition continues: most students in the book Women see Women Annie Gottlieb photography ciricula are women. (In fact, notes that the first Women's Rights Conven­ research done by the Matte 1 Toy Co. found tion in Seneca Falls in 1848 coincided recently that becoming a photographer is historically with photography's rise in one of young girls most frequent career popularity and in the Royal Photographic fantasies . ) Society of London's founding in 1853 which Linda GammeZZ Published by SOPHIA, 2021 8 9 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1 Shelley Rice to Speak May 14 Minnesota Artists Exhibition Program In conjunction with the photography exhibi­ This year the MAEP will be selecting tion at WARM, art historian and photography three shows to be shown outside of the critic,Shelley Rice will speak on "The Plight Institute. Please send proposals for of Women Photographers in New York Ci ty 11 these. Get together with other artists with a discussion on the dominent esthetic whose work is good and is compatible trends in New York and the ways in which with yours. Think about unusual sites, they affect the acceptance of female imagery. or unusual art mediums. For example, a It will be held in cooperation with the small magazine. Billboards. A mural Minneapolis College of Art and Design in around a bus - an Art Bus. A video tape the MCAD auditorium on Monday, May 14 at running in a Greyhound bus to Park Rapids. 7:30 p.m. (free to WARM members). Shelley The windows at Daytons. Sculpture on an graduated from Smith College, received an empty field. The side of a building on M.A. in modern a rt f ram N. Y. University, 194. An Art Park idea. The center fold Institute of Fine Arts, and did doctoral in Mpls. Magazine. If you have some work in the history of photography with friends in Duluth, propose an exchange Peter Bunnell at Princeton University. She show with the Tweed Museum. A page or two has taught art history and criticism at in Picture Magazine. A warehouse show. Brooklyn College, Queens College, the Of course, there will still be six shows School of the Visual Arts, and currently in the Institute. Make proposals for these teaches at Tyler School of Art, Temple also. You are much more likely to be University. She is a founding and contri­ considered for an exhibit if you send a buting editor of Photograph magazine and proposal. has written photograJ't,y criticism for And --- have your best work on your slides. major magazines, including the Village Voice, Get good slides. Keep in mind that your Art in America, Arts Magazine, Soho News, slides should show a consistent line of Afterimage~ Ms. Magazine, and the Dumb Ox . . development (Do not show work in different She currently is working on a book styles - choose one type of work and go entitled The Masculine Image: Tradition with it. Take old slides out when you put of Taboo?, a scholarly/critical study of in slides of a new type of work.) The slides images of males throughout the history should show the panel members that you are of photography. She and Sandi Fellman capable of putting on a show of consistent are guest curators of a women's photo­ work - at least 5 slides, preferably 10. graphy show for the New Museum to open WARM members on the MAEP panel are Mary next year. Walker, Hazel Belva and Jantje Visscher. Grants for the exhibition have been Contact one of them or Stewart Turnquist awarded by the Metropolitan Council from for advice on writing proposals. funds af)f)t'"Opriated to the Minnesota State Arts Board, and by the Minneapolis Founda­ tion, Pro Color, Inc., and Artsign.

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9 https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 10 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun THE AMERICAN ABSTRACT ARTISTS: which explored the concepts of modern WOMEN'S CONTRIBUTION TO THE art. AVANT-GARDE OF THE 1930 1 s and 40's Artists met each other through the WPA, thus creating an artistic community which by also fun~tioned as a focus for the develop­ Sandra Kraski n ment of ideas. The establishment of this artistic milieu encouraged the formation This paper has been adapted from a slide­ of numerous artists organizations. One tape presentation written by Sandra of the most vital of these groups was the Kraskin for W.A.R.M. Gallery. It was American Abstract Artists, formed in New produced with funding from the Minnesota York City in 1936 to promote and exhibit State Arts Board and C.E.T.A. Joyce Lyon abstract. art. Of the 28 charter members , provided editorial and production assist­ six were women: Rosalind Bengelsdorf, ance. The paper was presented at the Mercedes Carles, Gertrude Greene, Marie College Art Association's 1979 Conference Kennedy, Alice Mason and Esphyr Slobodkina. in Washington D.C. The slide-tape is The major issue of the group and the available for viewing or rental at W.A.R.M. impetus for its formation was abstract art, and women played an important role in the dialogue of abstraction as they The challenge of the 30's was social, had in the vital issues of the WPA. political and artistic. The Depression, the rise of Fascism and radical politics The previous generation of American artists created an atmosphere of social conscious­ ~ad learned about modern art while studying ness. Roosevelt's New Deal included in Eur?pe. Influenced by European develop­ artists in a nationwide federal relief ments in abstraction, American artists had program. This program, the Work Progress explored cubism, fauvism, and Futurism. Administration's Federal Art Project, hired Morgan Russell and Stanton MacDonald-Wright were Ame~icans who met in Paris and developec artists to use their skills for public Synchromism, a style of painting based on projects such as creating murals in color rhythms. This was the "first American hospitals, post offices, and schools. avant-garde painting to attract attention Community art centers were organized and 1 sculpture was created for parks and public in Europe." buildings. In the United States, Alfred Stieglitz had been showing European and American modernism Co~sistent with John Dewey's philosophy, in his gallery since 1908. Encouraged by this program, the WPA, made art a signifi­ Stieglitz, Georgia O'Keeffe and Arthur Dove cant part of corrmunity life in America. were among the early abstractionists in Marion Greenwood's mural "Blueprint for America. However, it was the Armory show Living" which decorated the lobby ·of the of 1913 that introduced the American public corrmunity center building in a Brooklyn, to abstract art. · · New York housing project, was characteristic of WPA murals. The promotion and defense of abstract art Although many of the nations' WPA.murals was crucial to the American Abstract Artists reflect social and political concerns, and in the 30's. The Depression and other much of the subject matter deals with local economic and political events of the late history, industry or social commentary,- the 20's and early 30's had turned the emphasis government did not impose official restric­ away from European modernism and fostered tions on the style or subject matter of an interest in an art expressive of the works of art. In fact, Burgoyne Diller, an American experience. The Museum of Modern abstract artist and a division supervisor of Art was founded in 1929 and directly the New York City mural project encouraged reflected this nationalistic interest in the experimentation and the development of American scene. Although the Museum abstract ideas. Under his direction exhibited European abstractionists like artists like Arshile Gorky painted m~rals Picasso, the American artists that they advocated were predominately realistic.

Published by SOPHIA, 2021 10 11 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1

Rosalind Bengelsdorf, Final sketch for the mural for Central Nurses Home, Welfare Island, N.Y.

' Alice Mason, Untitled lithograph from ·1937 AAA portfolio.

Charmion von Wiegand, · 11 The Ka Door 1949-50. I. Rice Perreira, ObZique FTogression 1948. https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 12 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun American Abstract Artistis (continued) which should be promoted in spite of the opinions of museums and critics, they Museum directors, gallery dealers and art had great difficulty defining the term critics generally felt that abstraction abstraction. In the introduction to the in America had been a development of the catalogue for their 1938 exhibition, they 11 1920's and was no longer important. Even emphasized that the group ••• place[c1] some abstract artists such as Stuart Davis a liberal inter~retation upon the word 11 felt, 11 The period of greatest activity in 'abstraction'. abstract [art] in America ~robably [had Rosalind Bengelsdorf, a founding member of been] about 1915 to 1927. 11 the AAA, preferred to call abstract painting The art critics Royal Cortissoz and Thomas 11 the new realism 116 because of_its direct Craven criticized abstract art as being approach to nature. A~straction, she felt, "alien 11 and un-American because of its expressed what the artist knows and feels European ·influences. Other critics were about n~ture a~d ~ot just what the artist against all abstraction and even attacked s:es. •·· Painting expresse~ the lo~e of the paintings of Picasso Kandinsky and life, the form and color of life--a vibrat- Mondrian. Emily Genauer ' who wrote for ing. response t o i't s power f ul energy. 117 I n the New York World Teleg;am, felt that her still life p~int~ng entitled Comp?tier abstraction was merely decoration and U, the abstraction is a new reality in compared Mondrian's paintings to" itself,_not a copy of the ~atura~ world. 11 patterns for bathroom tiles. 113 She believed that ... To investigate the abstract painting is to study the laws of In reviewing the 1936 exhibition "Cubism nature, 118 rather than to record its and Abstract Art" in the New York Times, appearance. critic Edward Alden Jewell expressed his frustration with abstract art. "But we, . Bengelsdorf studied at the Art Students the anxious, the harrassed spectators -­ League in New York City and with Hans we who go about trying so hard to under­ Hofmann. She was employed on the mural stand abstraction as presented to us in division of the WPA Federal Art Project terms of color and line and plastic form __ from 1936 to 1939 and she painted a mural are we uniquely at fault when failure for the Central Nurses Home on Welfare crowns our efforts? No, I am inclined to Isl and. think that the artists themselves should The sketches for her mural document the be asked to shoulder their just share of development of her musical theme and the the blame. Too.often they who ou~ht to changes in its design. Influenced by be bearers of light, have walked in darkne Picasso, her style reflects a conceptual or flown in such a fog as would keep any approach to the objects found in nature sensible aviator on the ground." 4 an expression of the artist 1 s understanding In this atmosphere, with attitudes general of the world. The ex~ber~nc: of the against abstraction, the American Abstract ~rabesque~ of her_design_indicates h:r Artists rented the Squibb Gallery in New i~te~est_in the biomorphic shapes which York City for their first exhibition in distinguish the natural w~rld from the April of 1937. Their organization and world of geom~try. The final sketch for. exhibitions provided a focus for the debat the mural ach~eve~ ~rea~er energy and unity about abstract art. thro~gh the simplification of forms and the opening up of the spaces between them. The Even within the group there was much rhythm of the line of the objects is echoed controversy and discussion about abstrac- by the curves of the surrounding spaces, tion. Some members, like Rosal~nd creating a visual analogy to the sound of Bengelsdorf, felt t~at ~bstraction the musical theme. Although the earlier developed from stylization of nature and sketches contain musical references the others like Balcolm Greene advocated "pure final sketch resolves this theme in' a abstraction with no reference whatsoever t harmony of line, shape and color. This the real world. Although_the members ~grevisual harmony presents the sound as that abstract art was a viable expression dynamically as does the central image of the mural: the piano keyboard. 12 Published by SOPHIA, 2021 13 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1 American Abstract Artists (continued) born in Boston in 1907 and studied at the Art Students League in New York City. Due to Like Rosalind Bengelsdorf, Alice Trumbull financial difficulties, she worked as a Mason was an active member of the American dress designer during the day and studied Abstract Artists. In fact, she served as art at night. Later she joined the easel treasurer, secretary and president of the painting division of the WPA and worked at group. Her interest in abstract art was the project's Design Laboratory. She began stimulated by the work of Arshile Gorky, painting linear abstract compositions in her teacher at the Grand Central Art the mid-thirties and exhibited with the Galleries. Alice Trumbull Mason felt that American Abstract Artists in 1939. Pereira 11 artists should be ••• free from representa­ began using unusual materials such as glass, tional limits ... to explore more fully the marble dust and sand to create a luminous potential factors within [their] medium surface texture. Light and luminosity 119 In exploring this new "experimental became a major concern in her exploration world, 1110 Alice Mason created energetic of the "Poetics of the Form of Space, rhythms of biomorphic form in paintings Light and the Infinite. 1115 In Undulating such as Free White Spacing of 1939. She Arrangement of 1947, she has painted on believed that "descriptions ... [of the several transparent planes which project natural world] only detract[ed] from the from the surface and transmit light and importance of ... [what is] actually color. Pereira's search was for new fonns happening [in a painting]. 1111 Later her to express the modern revolution of math work deve 1oped into a mo,re severe geometry, and science. The interlocking shapes and which still retains some of her feeling of vibrating colors of her painting Oblique forms floating on an abstract ground. Progression create a dynamic interpretation Joining the group in the late 40's, Charmion of space. Her philosophy combines science van Wiegand had also developed a very and poetry and her paintings extend the austere goemetric style. Her painting was visual possibilities of abstraction. based on the nee-plastic philosophy of Gertrude Greene was also an active member Mondrian. Among the artists who had left of the American Abstract Artists. On Europe because of World War II, Mondrian April 3, 1937 when their first exhibit had come to the United States in 1940. He opened to the public, Gertrude Green was joined the American Abstract Artists and sitting behind the desk. The galleries participated in their exhibitions. His were divided almost equally between pure belief that abstraction was " ... a purer formal abstraction and abstraction derived expression of reality 1112 was a decisive from nature. George L.K. Morris recalled influence on Charmion van Wiegand. the excitement of opening day: in fact, 11 She was painting landscapes when she first he said, ••• elation was so high among met Mondrian in 1941, and she recalls: the exhibitors that it couldn't be dampened "From the first moment I met Mondrain, I even by the critical wet-blankets ..•. Only was a total convert to his way to thinking McBride in the Sun found any merit to the and seeing. And from that first meeting, show at all ... :-n- However, over 1500 my eyes were transformed. When I went out people attended the show and many of them into the street again, I saw everything answered the questionnaire which the group differently ... : the streets, the buildings, had prepared. The last question asked if 1113 the visitor liked abstract art or not. Of my total environment. those polled who answered no, about half Mondrian's painting had a great impact on wrote, " ... that they found abs tract art several other members of the American comprised too much emotion and not enough Abstract Artists including Ilya Bolotowsky, intellect; the others that it was all Harry Holtzman and Burgoyne Diller. intellect and not enough emotion." 17 Although her work is geometric, Irene Rice Gertrude Greene's relief constructions were Pereira was not concerned with the pure fonnal, intellectual interpretations of reality of Mondrian. For her, geometric abstraction. Although the first work she symbols were "qualities and quantities exhibited with the American Abstract Artists of phenomena of nature .... "14 She was 13 https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 14 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun American Abstract Artists (continued) Modern Museum was not serving its purpose 1119 In protest, the group picketed combined curves with right angles, by the the museum in 1940 and passed out pamph­ early 40 1 s her work was severely geometric. lets asking 11 How Modern is the Museum of Influenced by the Russian constructivists, Modern Art? 11 Gertrude Greene used simplified geometric forms which were constructed out of pieces The AAA wrote another pamphlet in June, of wood. Her exploration of abstract space 1940 which they distributed at their with relief forms parallelled the two annual exhibition. This twelve page pamphlet was titled: 11 The Art Critics--! dimentional shapes of other members of How do They Serve the Public? What Do the group. They Say? How Much Do They Know? Let's Until recently, the achievements of the Look at the Record. 11 The text quoted American Abstract Artists and of many of critics in an effort to embarrass them the artists who composed this group, have and to point out contradictions in their been exlipsed by the dramatic success and statements about abstract art. dominance of Abstract Expressionism. In addition to these political actions, Unlike Abstract Expressionism, the American the individual artists of the AAA partici­ Abstract Artists had no powerful advocates pated in many of the socially conscious among critics or museums. Although critical groups of the 1930's, such as the Artists• attention has not improved a great deal in Union, the Artists• Congress and the WPA. the 1970 1 s, museums and galleries have had major exhibitions of some of the members of The American Abstract Artists also made an this group and art historians are beginning important contribution to the development to document the impact of the AAA. However, of abstraction through their publications. the most thorough source of information on These books and exhibition catalogues the group is still Susan Larsen's unpublish­ functioned as a forum for avant-garde ed dissertation of 1975. 18 ideas about abstract art and included The contribution of the group needs to be articles by group members as well as noted reassessed. Not only is the abstract art European abstractionists. created by many of the members important, The pioneering efforts of the American but also the group was vital as an avant­ Abstract Artists helped to create the garde force in the 1930 1 s. The American artistic milieu of the 1930 1 s and the Abstract Artists prepared the way for the 1940 1 s from which the Abstract Expres­ acceptance of later abstraction. Their sionists emerged. Larsen, in fact, public demonstrations, exhibitions, and considers this group the first phase of publications were in the forefront of the the New York School. 20 Although the work artistic activities which made America the of the American Abstract Artists has seldom world leader of modern art. Their major been mentioned in connection with the hard­ public confrontation was with the Museum edge painters of the 1960 1 s, it did of Modern Art. Alfred Barr, as director establish a geometric tradition in America. of the museum, consistently refused to sponsor the AAA exhibition. Ilya Bolotowsky, Kenneth Noland's painting Under Color of a charter member of the American Abstract 1973 developed from this American geometric Artists recalls the group's frustration with tradition. The painting reveals the influ­ the Museum of Modern Art: 11 In 1940 the ence of the work of AAA member Ilya Modern Museum would not show us--but was Bolotowsky, particularly his painting showing the work of Eugene Speicher, a Arctic Diamond of 1948. Bolotowsky was society portrait painter. And also the working on this painting when Kenneth Noland work of George L-uks, who was a very nice was a student of his at Black Mountain Col­ fellow, a retired prize fighter and not such lege. a bad painter for a prize fighter. But Frank Stella's paintings are also a recent still it was all realism--second and fourth development which have precedents in the rate-- ... and yet, they never had any wall work of the American Abstract Artists. His space for us. And so we felt that the shaped canvases are reminiscent of the shapes 14 Published by SOPHIA, 2021 15 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1 American Abstract Artists (continued) FOOTNOTES of the wooden relief constructions created 1 Gail Levin, Synchromism and American by Gertrude Greene and others in the 1930 1 s Color Abstraction 1910-1925 (New York: and 40's. George Braziller in association with The Joseph Albers, another member of the-Ameri­ Whitney Museum of American Art, 1978), p. 9. can Abstract Artists, was one of the pro­ 2 Stuart Davis, "Abstract Paining in genitors of minimal art. His reductive America," Preface to Exhibition Catalogue square format has been expanded and further (New York: Whitney Museum of American explored in the 60's and 70's by Sol Lewitt, Art, February 12-March 22, 1935), p. l. Tony Smith, Ellsworth Kelly and Ann Truitt. Cited by Susan Larsen, The American Abstract Although the membership has changed, the Artists Group: A History and Evaluation American Abstract Artists have continued of its Impact Upon American Art. Unpub­ to exhibit as a group into the 1970's. lished Ph.D. dissertation, Northwestern However, the period of their greatest University, 1975, p. 44. activity was from 1936 through World War 3 Emily Genauer, "Cubism Exhibit at II and throughout this time they made a Modern Museum," The World-Telegram, March significant contribution to the develop­ 7, 1936, p. 12B. Cited by Larsen, p. 48. ment of modern art. '+ Edward Alden Jewell, "The Realm of Individually, as artists, only a few female Art: Abstract Pennants Flying," New York members of the AAA have become well known. Times, March 8, 1936, Section 9, p. 9 • However, within the structure of the group, Cited by La~sen, p. 47-48. women held important offices and partici­ 5 pated as equals. The women interviewed American Abstract Artists, "Organiza­ felt that they were taken seriously as tion," American Abstract Artists 1938 artists and as group members. In fact, (New York: Privately Printed, 1938), there was some feeling that there was less unpaged. discrimination against all women artists 6 Rosalind Bengelsdorf Browne, "The in the 30's than after World War II. New Realism, 11 American Abs tract Artis ts The major issue within the group was 1938 (New York: Privately Printed, 1938), whether abstraction should evolve from VII. nature or be completely non-objective. On 7 Ibid. this issue the women were divided in their 8 position as were the men. Ibid. 9 Influenced by Picasso, Miro, Mondrian, and Alice Mason, "Concerning Plastic the Russian constructivists, the women Significance," American Abstract Artists created abstractions that are not easily 1938 (New York: Privately Printed, 1938), distinguished from the work of the male vr:- members in either concept or imagery. And lO Ibid. in fact, all of the members of the group 11 were criticized for being "too decorative." Ibid. 12 Historical surveys of 20th century art Piet Mondrian, "A New Realism," have given only brief mention to the Ameri­ American Abstract Artists 1946 .(New York: can Abstract Artists and have not seriously Ram Press, 1946), unpaged. considered the impact of their work. The 13 Margit Rowell, "An Interview With importance of the contribution of this Charmion van Weigand, June 20, 1971, 11 group and its women members can be dis­ Piet Mondrian Centennial Exhibition (New covered only if one questions the litany. York: The Solomon R. Guggenheim Museum, 1971), p. 78.

15 https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 16 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun Footnotes (continued) "How Modern Is the Museum of Modern Art?" New York: Privately Printed, 1 ~ Irene Rice Pereira, The Nature of April 15, 1940. One-page broadside Space, (Washington, D.C.: The Corcoran with typography by A.D.F. Reinhardt. Gallery of Art, 1968), reprint of manu­ "The Art Critics--! How Do They script originally published in 1956, p. 5. Serve the Public? What Do They Say? Cited in Larsen, p. 179. How Much Do They Know? Let's Look at 15 Irene Rice Pereira, The Poetics of the Record!" New York: Privately the Form of S ace, Li ht and the Infinite Printed, June, 1940. Twelve-page New York: Published by I. Rice Pereira, pamphlet written by members of the 1969). Cited in Larsen, p. 647. group with typography designed by 16 George L.K. Morris, "The American A.D.F. Reinhardt. Abstract Artists: A Chronicle 1936-56," . The World of Abstract Art. Edited The World of Abstract Art. Edited by the -~b-y the American Abstract Artists. New American Abstract Artists (New York: York: George Wittenborn Inc., 1957. George Wittenborn Inc., 1957),p. 136. Browne, Rosalind Bengelsdorf. "The 17 Ibid. American Abstract Artists and the 11 18 Susan Larsen, The American Abstract W.P.A. Fed-eral Art Project. In The Artists Group: A History and Evaluation of New Deal Art Projects: An Anthology°"of its Impact Upon American Art. Unpublished Memoirs. Edited by Francis O'Connor. Ph.D. dissertation, Northwestern University, Washington, D.C.: Smithsonian Institu­ 1975. tion, 1972, pp. 222-44. 11 19 Genauer, Emily. Cubi sm Exhibit at Modern Larsen, p. 511. Museum." New York World-Telegram, 20 Larsen, p. 429. March 7, 1936, p. 12B. Harris, Ann Sutherland and Linda Nochlin. Women Artists: 1550-1950. New York: Alfred A. Knopf, 1976. SELECTED BI_BLIOGRAPHY Harrison, Helen A. and-Karal Ann Marling, 7 American Women: The Depression Decade. New York: Hamilton Reproduc­ Agee, William C. The 1930 1 s: Painting tions, Inc. 1976. Catalogue from and Sculpture in America. New York: Exhibition at Vassar College Art Whitney Museum of American Art, 1968. Gallery sponsored by A.I.R. Gallery. American Abstract Artists. American Jewell, Edward Alden. 11 The Realm of Art: Abstract Art.ists 1938. New York: Abstract Pennants Flying" New York Times, Privately Printed, 1938. March 8, 1936, Section 9, p. 9. . American Abstract Artists 1939. Kraskin, Sandra. "An Interview with Rosalind --New York: Privately Printed, 1939. Bengelsdorf Browne. 11 New York City, 1977. Unpublished . . American Abstract Artists 1946. _ __,.,.New York: The Ram Press, 1946. __. "An Interview with Esphyr Sl obodki na. 11 New York City, November 13, 1978 . . American Abstract Artists 1936- Unpublished. --1966. With Introduction by Ruth Gurin. New York: The Ram Press, Kraski n, Sandra and Susan Larsen. "An 1966. Interview with Charmion von Wiegand." New York City, September 3, 1978. Unpublished.

16 Published by SOPHIA, 2021 17 WARM Journal, Vol. 00 [2021], No. 1979, Art. 1

BIBLIOGRAPHY (continued) No More Free-Bees The next issue of the Newsletter comes out Larsen, Susan. The American Abstract in September and will be mailed to paid Artists Group: A History and Evaluation members only. Use this handy form and of its Impact upon American Art. Unpub­ mail it in by August 1, to be on the next lished Ph.D. dissertation, Northwestern Newsletter mailing list. We have some University, 1975. ambitious plans for the Newsletter, and Levin, Gail. Synchromism and American Color you won't want to miss a single issue. Abstraction 1910-1925. New York: · So you don't forget, mail before midnight George Braziller in association with tonight! The Whitney Museum of American Art, 1978. If you are neither a member nor a woman visual artist in Minnesota but would like McKinzie, Richard D. The New Deal for to receive the Newsletter, you may become Artists. Princeton: Princeton Univer­ a supporting member for an annual fee of sity Press, 1973. $8. 00. ( See form at back.) Supporting· McNeil, George. "American Abstract Artists members will receive announcements as Venerable at Twenty. 11 Art News, V. 55 well as quarterly issues of the Newsletter. (May, 1956), pp. 34-35. If you are a 1979 paid member and are not O'Connor, Francis V., ed. Art For the receiving the newsletter or announcements, Millions, Essays from the 1930 1 s by please fill in your address below and Artists and Administrators of the WPA return to WARM, attn. mailing list. Federal Art Project. Boston: New York Graphic Society, 1973. ---=-· The New Deal Art Projects, An Anthology of Memoirs. Washington, D.C.: Smithsonian Institution Press, 1972. Pereira, Irene Rice. The Nature of Space: A Metaphysical and Aesthetic Inquiry. Washington, D.C.: The Corcoran Gallery of Art, 1968. Newsletter Accepts Advertising The Poetics of the Form of Space, Light and the Infinite. New York: Beginning with our next issue in September, Published by I. Rice Pereira, 1969. the Newsletter will be running paid advertisements at the following rates: Richie, Andrew C. Abstract Painting·and $50. full page Sculpture in America. New York: $25. half page Museum of Mogern Art, 1951. $13. quarter page Rowel 1, Margit. "Interview With ·Charmion $ 7. eighth page von Wiegand, June 20, 1971. 11 In Piet This is something new for the Newsletter, Mondrian Centennial Exhibition. New and since we publish quarterly, rates must York: Solomon R. Guggenheim Museum, be subject to change without notice. Ads 1971. pp. 77-86. must be submitted by regular Newsletter Whitney Museum of American Art. Abstract deadline. If interested, please contact Painting in America. New York: Whitney the newsletter corrmittee for more infor­ Museum of American Art, 1935. Catalogue mation. Essay by Stuart Davis . . Geometric Abstraction in America. ---New York: Whitney Museum of American Art, 1962. Catalogue Essay by John Gordon. 17 https://sophia.stkate.edu/warm_journal/vol00/iss1979/1 18 Women's Art Registry of Minnesota: WARM 1979 Apr-Jun

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