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WOMEN SHOOT WOMEN: Films About The recent public television series "The Originals: Women in Art" has brought attention to this burgeoning film genre by Carrie Rickey pag e 4

NOTES FROM HOUSTON State's artist-delegate to the International Women's Year Convention in Houston, Texas in a personal report on her experiences in politics by Susan S ch w a lb pag e 9

SYLVIA SLEIGH: Portraits of Women in Art Sleigh's recent portrait series acknowledges historical roots as well as the contemporary activism of her subjects by Barbara Cavaliere ...... pag e 12

TENTH STREET REVISITED: Another look at New York’s cooperative galleries of the 1950s WOMEN ARTISTS ON FILM Interviews with women artist/co-op members produce surprising answers to questions about that era by Nancy Ungar page 15

SPECIAL REPORT: W omen’s Caucus for Art/College Art Association 1978 Annual Meetings Com plete coverage of all WCA sessions and activities, plus an exclusive interview with Lee Anne Miller, new WCA president...... pag e 19

PRIMITIVISM AND WOMEN’S ART Are primitivism and mythology answers to the need for non-male definitions of the feminine? by ...... p a g e 31

SYLVIA SLEIGH GALLERY REVIEWS pa g e 34

REPORTS An Evening with Ten Connecticut Women Artists; WAIT Becomes WCA/Florida Chapter page 42

Cover: , subject of one of the new films about women artists, in her studio. Photo: Gyorgy Beke.

WOMANART MAGAZINE Is published quarterly by Womanart Enterprises, 161 Prospect Park West, , New York 11215, (212) 499-3357. Editorial submissions and inquiries should be sent to P.O. Box 3358, Grand Central Station, New York, N.Y. 10017. Subscription rate: $6.00 for one year (individual): for multiple and institutional rates, see insert. Application to mail at second class postage rates pending in Brooklyn, N. Y. and additional mailing offices. All opinions expressed are those of the authors and do not necessarily reflect those of the editors. This publication is on file with the International Women's History Archive, Special Collections Library, Northwestern University, Evanston, IL 60201, and is abstracted by ARTbibliographies, Box 9, Oxford, England. Permission to reprint must be secured in writing from the publishers. Copyright WCA ANNUAL MEETING ® Womanart Enterprises, 1978. All rights reserved.

3 ILMS ABOUT WOMEN ARTISTU

case where wishful thinking by Carrie Rickey ings at once. prompted wish fulfillment— the Another concern of contemporary art desire for a fully documented grapher with those of the portraitist; the mirrored in the making of these movies is Afeminist art history—is one reason amongbiographer is thought to begin investiga­ the challenge of adequately representing many for the recent emergence of a body of tion empirically and to consequently as­ an art work in a format that transforms films about women artists by women semble a picture of the whole life, while time and dimension—as film and video directors. Generalizations about these the portraitist is thought to begin intuitive­ do. This is an ironic fascination something films are difficult to make. Their uncom­ ly and push toward a corroboration of on the order of trying to put three-dimen­ mon denominator is that each is as early impressions. The most energetic of sional pegs in two-dimensional holes. The distinctive as its subject. Filmmakers, these movies are both portrait and bio­ immediate visual dissemination of the artists and art historians are variously graphy and narrate these parallel mean­ unique object—altered in scale and di- involved in their production. Funding comes from corporate, gallery, federal and private sources. Target audiences vary; ...“Each woman and her art is unique, but one element is common some of these movies are made for the to all the lives portrayed: to be a woman and to choose to be general public, others for art cognoscenti. an artist is to choose to be an eccentric”... The common denominator of this body of work is that it has nothing to do with the romantic hagiography of the Lust for Life or Moulin Rouge variety. Although there are comparable num­ bers of films being made on the lives of male artists, the trend toward a women artists/women filmmakers movement has gained impetus with the WNET (public television) series “The Originals: Women in Art.” Perry Miller Adato, producer of the series and director of three of its seven programs, tells an anecdote about the catalyst of the series: “I was at a Women in the Arts conference in Racine, Wisconsin. came up to me, asked how I was and what I was working on. I told her I was planning a Cezanne movie. She asked, ‘Why don’t you do something about a woman artist?’ ” Feminist consciousness and its corollary revision of history to remember forgotten women and to identify “anonymous” is the most compelling reason behind the pro­ duction of these movies. But other con­ cerns contribute to the features of these movies. The interest in biography and autobio­ graphy is characteristic of much contem­ porary art, and it seems key that this body of work should emerge simultaneously. Whether seen as portraiture, history, or biography, these films view life as a material for artmaking. By deconstructing chronology and probing the subject and her work—as M artha Edelheit achieves by beginning her movie on Sari Dienes, Hats, Bottles, and Bones, in medias res—the directors of these movies get a dynamic expansion and compression of time. One particularly lively way these movies operate Painter Mary Cassatt, photographed in the 1920's. The film about her life in art kicked off is by colliding the methods of the bio- public television's “The Originals: Women in Art" film series.

Womanart/Spring 71 mension—de-presents rather than repre­ sents the art, juxtaposing it with other images, other sensations. The work takes on a wholly other presence; it becomes a character in a biographical drama. How else could we be privy both to Georgia O’Keeffe’s Abiquiu door and her of it as we are in Perry Miller Adato’s movie on that artist? Perhaps most compelling of the con­ cerns of these filmmakers is to use as a resource these live archives, the doyennes of American art—, and Georgia O’Keeffe—to record their spirited and partisan recollections. At no other time in the writing of art history could a perspective informed by 90 years of art practice, a mind in touch with the contemporary impact of a William Merrit Chase and a be recorded as O’Keeffe’s is in the Adato film about her. Unlike the biographer Boswell, toiling slavishly in the shadow of Betye Saar Johnson, these filmmaker/biographers are more than chroniclers, they are equals to their subjects, asking questions, juxtapos­ ing information, choosing the order of presentation. While Adato might disclaim the inten- tionality of the historiographic aspects of the films in her series (she says, “I don’t think in terms of history, but in terms of subject; I want to give people an esthetic and human experience...to give people delectation about art, about people”), it’s clear that Adato’s series is going to be germinal to a history of the 20th century. The public television screen­ ing of these seven films can’t help but contrast these vital “originals” with the musty official approach to the artifacts in­ habiting Kenneth Clark’s “Civilization.” Adato and the others involved in the making of these movies have documented the range of experience of women who make art in America. There are the comedies: movies about Lil Picard and Artist Sari Dienes in a scene from Martha Edelheit's “Hats, Bottles and Bones: A Portrait of Sari Dienes. The tragedies: and Sari Dienes. " Photo courtesy Martha Edelheit. . The histories: Anonymous Was a Woman and Mary Cassatt. Live archives: Antonia Brico, Lee Krasner, Alice Neel, Louise Nevelson, Georgia O’Keeffe and May Wilson. Each woman and her art is unique, but one element is common to all the lives portrayed: to be a woman and to choose to be an artist is to choose to be an eccentric. The woman who chooses may not be an eccentric to begin with, but the situation in which she operates obliges the outsider eccentricity demonstrated in all these movies. Eccentric does not mean unfocused. The words of Cassatt, Nevelson and O’Keeffe are nothing if not focused. Of Cassatt and her relationship with Degas: “There is love and there is work but there is but one heart.” Nevelson on her sculp­ ture: “No matter what one does in life nothing has the vitality of working.” Krasner on her : “What do you do when you’re not working?” O’Keeffe on O’Keeffe: “If you work hard enough, you can get anything.” At every moment in Helen Frankenthaler. All photos except Dienes courtesy WNET/THIRTEEN.

Womanart/Spring 78 5 Mary Cassatt: Impressionist from Phila­ will follow her, she even knows how to steal delphia, Georgia O'Keeffe (both directed scenes from her assistant Juan Hamilton by Adato), Louise Nevelson in Process (by by seeming to frame herself against a Susan Fanshel and Jill Godmilow) and Lee panorama inspiring one of her paintings. Krasner: The Long View (by Barbara With O’Keeffe, the act of painting or of Rose) there is the powerhouse presence of making ceramics is private—only the extraordinary women who literally had to completed works can be shown—she re­ create their own private environments in fuses to be shown at work. which to work. For Cassatt this meant a The problem with the Cassatt movie is move to Paris where she was treated as a the want of vitality. Adato constructs the peer of the Impressionist painters. For movie like a light-and-sound show with O’Keeffe, the move to New Mexico and the images of Cassatt and her contemporary’s establishment of her own territory was paintings and voice-overs of Cassatt and felicitous: “It was mine, my country, and Degas impersonators engaging in conver­ it fitted me exactly.” For Nevelson it sation about the work. This is an interest­ meant the actual creation of environment­ ing radio idea that could have good use in al . a movie, but the allusiveness of these The O’Keeffe and.Cassatt movies with voices is nil, the score, again, that - their precious ersatz music-box scores box quality, the paintings and studies very which signal when to respond meditatively, straightforwardly (and chronologically) solemnly, cheerfully, are at their most presented. No transformation, no insight, cloying when the characters of these but loads of information. women are developed in relation to their Unlike the O’Keeffe and Cassatt films, respective symbioses with Alfred Stieglitz the Nevelson movie is rawer, more active, and Edgar Degas. Like the Krasner movie, less controlled. It doesn’t try to be a they are astonishingly thorough pieces of definitive history of Nevelson, and perhaps research, but unlike the Krasner and the that’s why it is more successful; it shows Nevelson movies, they lack an urgency and Nevelson in process— as metteur-en-scene the “born to art” work-a-holia these two at Lippincott fabricators, she directs men artists convey in their nasal persuasiveness. Louise Nevelson. in the construction of one of her This disparity has a lot to do with the fact and recalls that she used to be told, that Nevelson and Krasner don’t mind “Nevelson, don’t you know you need balls being shown at work, demystifying for an her paintings fill up the whole surface of to be a sculptor?” Her various projects, audience the notion of the creative act, the canvas O’Keeffe’s austere figure fills the interior of the new Church of the Good while O’Keeffe, the New Mexico mystic, is up every available bit of movie screen; she Shepherd in New York’s Citicorp Center much more controlling of her image. As mugs, she knows if she moves the camera among them, are given equal develop­ ment. She enjoys drawing in front of the camera, is loath to discuss her spouse except for: “I married a Wall Street man...he agreed to everything because FRANCIA before you’re married they promise you anything.” Nevelson gives a comfortable impression of being caught in motion by Fanshel and Godmilow, and the movie’s Organic lack of narrative development—no cre­ Fantasy Paintings scendo, no denouement—is liberating. W hat’s very clear in all these movies about women artists is their hermitic March 3—28 attitude toward their work, their pride at being different, their pride in working GLOUCESTER COUNTY COLLEGE against the accepted realm, and these have SEWELL, NEW JERSEY many different levels of meaning. The "Sascha is Bom, " 1977, o/c, 40x48". Mon.—Fri. 10—5 image of a Cassatt, a Nevelson, or an O’Keeffe creating her own sphere of operations mirrors the outsider position of woman vis-a-vis the male mainstream. But it’s here also that the narrow frames of reference provided by the directors of the films delimits the context of the work. In these movies one would never think any­ JUANITA McNEELY thing like a World War, a Depression, the Cold War, or any aspect of social history ever ruffled the tightly constructed worlds of these women. This might have a lot to PORTRAIT PAINTINGS PAINTINGS, MONOPRINTS, do with the relative lack of worry about PAPER CUTOUTS money O’Keeffe, Nevelson and Cassatt Community College Prince Street Gallery enjoyed, their tenacity and longevity, and with the consideration that educational Jay Street 106 Prince Street television is long on information but short Brooklyn, New York New York City 10012 on analysis. How much information can be Feb. 15— March 4 March 31—April 19 developed in a one-hour or half-hour documentary? Certainly enough to show how these women were as much a product

6 Womanart/Spring ’78 of their times as they were of their tireless energy and carefully constructed worlds. A half-hour documentary can at least address the events contemporary to the cultural products an artist makes, can discuss how an artist survives in society (for example, while Nevelson and Cassatt respectively married or inherited wealth, O’Keeffe did a lot of teaching in Virginia and Texas to support herself—teaching March 25-May 4 which obviously influenced the geographic variety of the content of her paintings), can discuss the support structures for artists. Adato is closest to considering all L O U IS K. M E IS E L 0allery 141 prince street n\) 10011 these crucial issues in the Cassatt film when she carefully develops the relation­ ship of Cassatt to the Paris salon and the importance of the Impressionist move­ ment, and when she cites Cassatt as the influence on early collectors in America like the Havemeyer family. In this way Cassatt’s power as an artist and as a RECENT WORK connoisseur are developed simultaneously. It still remains the rule that male artists (cf. “Civilization”) are seen as spokesmen for their times while the artists in “The NORA SPEYER Originals” series are visionaries who work privately and practically oblivious to the outside world because that’s the space to MARCH 18 - APRIL 7 which women historically have been con­ signed. The fact remains that while the work of a Cassatt, an O’Keeffe, or a Nevelson is Landmark Gallery 469 Broome Street, N Y 10013 risky these documents on their lives don’t take too many chances. Since they are films transferred to video, a lot of images that would be successful in a movie—long shots of O’Keeffe against a New Mexico “ Texas W i n t e r 1976-77, a/c, 49x72". horizon, Nevelson and Arnold Glimcher (of Pace Gallery) in front of an enormous assemblage at the Neugerger Museum— are tiny and insignificant on a television screen. Television framing and timing is generally closer-up and more rapid than film, basically because the size of a tele­ vision screen is smaller. A tv image, there­ fore, needs to be larger to be able to be read; because television time is more closely linked with advertising pacing, images on tv are expected to change with greater frequency than those of film images. The rate of exchange between film and video is not equal, and a lot of things that may look awkward on television in these movies, may not look awkward at all on film, but I have only seen these on videocassette. The strongest point of these movies is their color, which must be the result of Adato’s painstaking efforts. The weakest point: their lack of exploration of a single art work. All the Cassatts, O’Keef­ CYNTHIA MAILMAN fes and Nevelsons are shot straight-on, no camera probes their surfaces, their declivi­ ties, their contours. Recent Paintings But these films are pioneers and under­ standably cautious. There is good reason April 1 -26 to believe from other films on women artists by women filmmakers that these biographies can be harder-hitting than the SOHO 2 0 WNET mass-audience-geared beginnings. 99 Spring Street, New York City 10012 Filmically the most exciting example is Tues.-Sat. 12-6, (212) 226-4167 Martha Edelheit’s Hats, Bottles, and

Womanart/Spring ’78 7 Bones about Sari Dienes and her world: split-screen images of Dienes captured by two cameras achieves a layered space and AN INCOMPLETE COMPILATION OF FILMS extension of time that Dienes’ work often BY WOMEN ABOUT WOMEN ARTISTS has. Here there’s an intimacy between filmmaker and subject (the WNET series Anonymous Was a Woman (American Folk Art) - by Mirra Bank seems to eliminate questions asked by the Antonia: A Portrait of the Woman (Antonia Brico) - by Judy Collins and Jill interviewers, leaving only the response from the artist) that is casual and warm, Godmilow not the proprietary distance required for Mary Cassatt: Impressionist from - by Perry Miller Adato objectivity. Like Dienes’ work, this is an Judy and the California Girls - by Judith Dancoff accretion of poetry, mementoes, stray Full Circle (Doris Chase) - by Doris Chase items. The sounds of Dienes’ sculpture are Hats, Bottles and Bones (Sari Dienes) - by Martha Edelheit heard on the track, her personality com­ Helen Frankenthaler: Toward a New Climate - by Perry Miller Adato pletely saturates the film. Another case in Eva Hesse - by Dorothy Beskind point is Barbara Rose’s Lee Krasner: The The Life and Death of Frida Kahlo - by Karen and David Crommie Long View, the rough cut of which Lee Krasner: The Long View - by Barbara Rose promises to analyze Krasner’s life in Loren Maclver - by Marian Charleton relation to the development of and the social structure of the art world in Alice Neel: Collector o f Souls - by Nancy Baer America. One sequence of the movie Louise Nevelson in Process - by Susan Fanshel and Jill Godmilow tersely demonstrates how the socially Georgia O 'Keeffe - by Perry Miller Adato engage painters in America in the ’30s A rt is a Party, the New Party is A rt (Lil Picard) - by Silvianna Goldsmith were influenced by the pre-War Surrealist Spirit Catcher: The Art of Betye Saar - by Suzanne Bauman exodus to America and the attendant Happy Birthday I ’m Forty (Alida Walsh) - by Alida Walsh objectification of women and dismissal of Woo Who? May Wilson - by Amalie Rothschild overt politics that ensued. These films are on exciting and danger­ ous ground. Their existence marks the move of women’s art from private activity Georgia O’Keeffe traversing her canyons, are not Toulouse-Lautrec humiliated by to public domain. For some 25 years the Frida Kahlo locked in the torment of her his dwarfdom, Van Gogh obsessed with picture of the American artist was for own contorted physiology, Alice Neel his madness. They are artists consumed by many that of Jackson Pollock heroically transfixed by the spirit of one of her their work, and given a context, tell us a attacking his canvas in that boxing ring of sitters, the arena for art-making is obvi­ lot about America, its art, its society and an arena that was his working space. ously changing, simultaneously domestic­ the kind of drive necessary to persevere. Contrasted with Sari Dienes in her kitchen, spaced and wide-ranging. These women • April Joan Semmel Recent Paintings

956 MADISON NEWYORK

Womanart/Spring ’78 n a recent New York Times article on the International Women’s Year Convention, held in Houston, Texas I this past November, the writer indicates her difficulty in describing what attending the convention meant to her. I know the feeling. Coming back from Houston in a daze—having had little sleep over the weekend and a hectic preceding three months, I was initially unable to talk, write or even think about the experience. Now, over two months later, after reading all that has been written, I am going to try and describe some of my reactions and feelings about the convention. It all began last July (1977) when a group of New York artists from the newly emerging Coalition of Women’s Art Or­ ganizations (CWAO) naively decided to try and elect an artist from New York State to go to Houston as a delegate. When we went to the New York State Women’s Meeting, there were rumors abounding of the problems that feminists had faced in other states, i.e., the Right-to-Life domi­ nation of other delegations. Despite the madness and confusion at Albany (over 15,000 women attended the state meeting), the CWAO was able to have a voice among ,u s a o ^ all the special interest groups—Coalition of Labor Women (CLUW), NOW, Lesbi- the fall we began to organize committees an-Feminist Coalition, Black Caucus, Co­ to follow up on all my initial contacts: alition of Grass Roots Women, Democrats, Ellouise Schoettler-Special Events, Jackie Republicans, etc. In all, over 26 different Skiles-Publications Booth, and Linda Cun­ established among many groups which can groups were represented on a final coali­ ningham and Karen Johnson-Issues. A support change and growth. As a result of tion slate for delegate election. number of other women worked on events CWAO’s efforts, many who had never I left Albany not knowing the results of so that in fact we were responsible for a thought about the problems of women the election. It took over two weeks, what large part of the entertainment at the artists are currently aware of our situation. with the New York City blackout and convention. (CWAO ran panels, slide Leaving for Houston late Thursday meeting mismanagement (only 32 voting shows of artists’ work from around the night, November 17, many thoughts ran machines), for the votes to be tallied. I was country, films, readings and informal dis­ through my mind, ranging from possible quietly in retreat, house-sitting in Peter­ cussions.) speeches I might give to snatches of borough, New Hampshire. After a con­ thoughts and ideas about future art works. firming phone call, I, alone in the woods, The responsibility I felt as the only elected ...“As a result of CWAO’s efforts, leaped with joy and excitement. I called to visual artist seemed enormous. Every time many who had never thought share this news with my family; my Dad, I said that the coalition represented over about the problems of women active in politics most of his life, was 50,000 women it was as if I could feel that artists are currently aware enthusiastic about my election. It meant I presence and responsibility. It was often of our situation”... was the only elected visual artist-delegate difficult within the intensity of Houston from New York, and one of the very few and the goals of the moment to keep track arts delegates at the convention. Meetings amongst New York State of one’s individual self and a perspective Perhaps the scale in Albany (simpler delegates started in the summer, and on the whole event. political structure and all meetings and finally in late September Carol Bellamy We arrived in Houston—I came with the booths in one location) enabled us to work (now president of the New York City hope that I, along with the other artists with all of the key groups and leaders, Council) was elected chair of New York attending, could in some way affect the although we were politically inexperienced. State along with additional officers and other women at the convention, to change I believe this gave many of us a false sense committees. The state delegates were an and amend the Arts and Humanities reso­ of security about what we might encounter extraordinary group of women. Though lution. All delegates had received a copy of in Houston. their politics were often frought with para­ the “Plan of Action” at the beginning of All during August I attempted to gather noia, I thoroughly enjoyed meeting and November. I was astounded to find that information, to try and grasp what it working with them. Our meetings were none of the New York State resolutions so would be like in Houston. Calling the New often tense, though, due to inner power carefully hammered out in Albany were York State and Washington offices was struggles. The New York State Women’s included. I still haven’t been able to find like pulling teeth. I believe that about half Committee was often accused of running out what arts resolutions existed in other the women I talked with truly didn’t know things in a secretive as well as unethical state meetings, but was told that there anything and the others were evasive, manner. Yet, as in most political situa­ were very few—thus the limited arts whether the subject was delegates-at-large, tions, just as I came to believe one person’s resolution in the national plan. One must information about space possibilities for story, someone else contradicted it. Many question the validity of this national view. events, or the all-important resolutions to state delegates gave our group invaluable New Jersey art workshops had accom­ be passed. advice, encouragement and assistance. I plished a great deal, but voting at the end At the first meeting of the Coalition in find that today a network has been of the state meeting had failed to include

Womanart/Spring '78 9 their resolutions. We’ll never know how It seemed fitting to meet there since it was this compared to situations in other states. with Elizabeth years ago that I had my In addition, I was told off the record that first discussions on . The arts when the commissioners met to devise that caucus voted to try and add just one Plan of Action it was difficult to find amendment from our long list of proposals. someone to speak and work on arts issues. [See box.] This is not surprising since at the commis­ I went to bed late Friday night feeling sioner level we had no representation. Jean quite discouraged: after what I thought Stapleton, with her Edith Bunker image, was a stirring speech, Pro-Plan voted to was the only arts related commissioner, a support no amendments. All seemed lost. poor joke on all artists. Arriving Saturday morning to the first I had never been to a political conven­ plenary session I was met by NOW women tion before—and frankly had not expected from New York State who told me that late Houston to be like a Democratic Party that night they had voted to support our Artist-delegate Schwalb at convention micro­ amendment. It was an incredible feeling to convention complete with planned demon­ phone. All photos courtesy Women Artists strations and flag waving. Thinking of the News. find that support; it reminded me of the convention a collage of images crosses my elation I felt in Albany. Quickly with the mind—a cavernous arena with hot lights Regency was so backed up with an help of several CWAO members a strong where the delegates sat (I wore sunglasses oilmen’s convention that it confused the speech was prepared for the convention all the time), Linda Cunningham who rooms, so that most were not available until floor. As I approached the microphones I watched out for me and slept on the floor 4 p.m. Friday evening I attended first the was informed that Pro-Plan after much of my hotel room; visions of the strange New York State Caucus, then coordinated persuasion had also agreed to support our architecture; lines of women waiting to the Arts and Humanities Caucus, and then amendment, as had the New York State eat, or get hotel rooms or even to use went on to the Pro-Plan Caucus. This delegation. elevators to get to their rooms at the Hyatt; final, all-important caucus controlled by I never got to give my speech as written. identity badges and buttons which covered chairs of state delegations was determined Once at the microphone the chair asked if some delegates from head to toe; banners to pass the Plan of Action as written with I had a question—as I said, “ ...amend­ and signs and a quick visit to the Rothko little or no discussion or amendments. ment” my mike went dead. From another Chapel. The Arts Caucus was surprisingly well part of the room the question was called. Three different hotel rooms were as­ attended. Cynthia Navaretta, president Arts and Humanities passed as written. signed to me but there was very little time pro tem of the CWAO, and I met the only Stunned and in disbelief I stayed at the to sleep. Friday was a strange day. After other arts delegate, Madeline Estabrook of microphone. I was finally allowed to speak registering and helping to set up the Virginia, for the first time. A personal under the category of Women in Business, CWAO booth at the Seneca Falls South delight for me at the caucus was the ap­ and spoke about the importance of art in area for exhibits, I wandered about trying pearance of Elizabeth Fisher, writer and public places. New York State delegates, to figure out what to do next. The nap I editor of Aphra, a feminist literary maga­ who before Albany and Houston had never needed was far away since the Hyatt zine, whom I had not seen for some time. considered the problems faced by women

Goddard Summer ARTS AND HUMANITIES RESOLUTION Arts Community The President should take steps to require that women: JUNE 3 - AUGUST 23, 1978 Are assured equal opportunities for appointment to Painting, Sculpture, Hand Wood­ managerial and upper level posts in Federally-funded working, Drawing, Printmaking cultural institutions, such as libraries, museums, univer­ sities and public radio and TV. • Al Blaustein • Patricia Mainardi Are more equitably represented on grant-awarding • Gretna Campbell • Richard Martin boards, commissions, and panels. • Lucien Day • Clare Romano • Patricia de Gogorza • John Ross Benefit more fairly from government grants, whether as • • Irving Sabo individual grant applicants or as members of cultural • James Gahagan • Rob Tarule institutions receiving Federal or state funding. • Sidney Geist Judging agencies and review boards should use blind • Patricia Mainardi, Director judging for musicians, including singers, in appraising The Goddard College Arts Complex and them for employment, awards, and fellowships as well as 425-acre campus, set in the foothills of the for all articles and papers being considered for Green Mountains of Vermont, offers excel­ publication or delivery and for all exhibits and grant ap­ lent indoor and outdoor facilities for artists. plications, wherever possible. One Semester Credit. Options for Degree Study at B.A./M.A. Levels. AMENDMENT For detailed information, write: That Title VI of the Civil Rights Act of 1964 which pro­ Summer Programs Office hibits discrimination on the grounds of race, color or Box A -8 national origin in federally assisted programs be Goddard College, amended to bar discrimination on the basis of sex. Plainfield, Vermont 05667 Equal Opportunity Admissions

10 Womanart/Spring '78 artists, applauded. I sat down and cried from Mrs. Abzug, Presiding Officer: from the tension. How I wished I was a “I regret that the National Wom­ parliamentarian. I had studied Roberts en’s Conference adjourned without Rules before coming but it wasn’t until having an opportunity to consider late Sunday that I grasped their meaning. your Arts and Humanities proposal. CWAO then attempted to introduce our “More than 90 resolutions were not amendment under the category of New acted upon by the Conference. The Business scheduled for Monday morning. National Commission at its post- Timing at the convention prevented New Houston December 14 meeting voted Business from ever coming to the floor. to include in its final report a listing Thus our resolution never gained the and summary of all resolutions sub­ attention of the full convention. What mitted to the Conference. The CWAO progress was made came as the result of resolution will thus be included in the personal contacts. report and we also hope to make All through Saturday and Sunday as I CWAO president pro tem and delegate at large certain that your implementation voted on the resolutions and saw groups Cynthia Navaretta waits with other delegates to point on Title VI will be included rewrite and amend their resolutions I address convention. elsewhere in the report.” realized how different it might have been thing quite extraordinary. For that one In New York State, delegates have for us if arts had appeared in some other weekend as we passed resolutions on ERA, formed committees to keep the faith alive position on the platform. I fantasized abortion, gay rights, etc. it seemed for that and to attempt to continue friendships and about women from all arts disciplines moment that the platforms were a reality alliances we made in Houston. It should be sitting down together to write a resolution (as if they had been passed by Congress). I noted that although the establishment that would speak to the problems facing experienced what one might hope to be a structure of the convention treated the arts individual women artists. I became more glimpse of a future society of equality. We much the way women are normally treated firmly convinced of the need for an arts were all sisters and all equal. Petty in our male-dominated culture, women coalition and for artists to involve them­ jealousies and society’s inequities disap­ from all parts of the country had expressed selves in the political process, for it had peared. I now try to keep some of that dismay over the inability to get our amend­ occurred to me that if we had not gone to spirit inside of myself as I go about my ment passed. Many of the delegates and Texas there would have been no voice for daily life. It isn’t easy. I had talked with feminist groups took a strong interest in women artists. It is quite a shock after in Houston and here in New our issues. spending so much time in the insular York City recently at her reading at the world of women artists to come out to the Woman’s Salon. How I wished that she, as real world at large, where the rights of well as any number of other artists, had UPDATE artists are not a priority, where our care­ been delegates able to speak for the rights A t presstime, W omanart was informed fully structured star system and our argu­ of women in art. that historian Linda Nochlin, WCA presi­ ments over a woman’s sensibility have little It seems from the outset that art and dent Lee Anne Miller and artist Susan meaning to most women and (surprisingly) politics are a strange combination. Cer­ Schwalb (author of the above) had been to the women’s movement in general. This tainly as an artist I am drained by large named arts members of the Continuing is not to say that these things are irrele­ meetings and events, but the power to Committee of the Conference. This com­ vant. But deciding whether or not vaginal make changes for artists must come from mittee, created by the last resolution imagery is important has little to do with working in this political arena. Until we passed at the convention, will be the our economic survival. It is time to educate have laws which can be enforced, discrimi­ “mechanism to consider steps to achieve our government of our needs. We must nation in museums and educational facili­ the recommendations ” of the Conference. attempt to relate our struggles with those ties will remain. As artists we are often These include the Plan of Action passed at of other women’s groups. I believe that asked by politicians to donate our services the Houston meeting, and a possible Houston has helped acquaint many wom­ and art works. These same politicians second conference in two years. en with our existence, and that now we must start to take our interests seriously. The committee members are chosen by must take a strong place along with other Each political figure one affects, brings us the National Commission (headed by Bella women’s groups to gain and give support. closer to this goal. Although there were a great many Abzug), and include the heads of national women's organizations and the state chairs artists’ events and openings during the POSTSCRIPT convention I was only able to catch a forming a group representative of women glimpse of them. On Sunday morning I Following the convention CWAO sent in the . took a short breather away from the letters of protest to Bella Abzug and the clamor to visit the famed Rothko Chapel federal commissioners. I received a letter • (something I had always wanted to visit and found well worth seeing) and made a brief appearance at the opening of a show of Texas women artists. The women seemed so interesting that I was sorry to Emily Stedman have such limited time. Sunday night after the longest day on the floor I went out to Paintings celebrate with the issues committee and Gretchen Cryer and Nancy Ford. Though what had happened in the arts and humanities had dampened my spirits, I May 16 - June 5,1978 still felt elated about passing the other resolutions. We talked about problems facing all artists and our determination Sixth Estate Gallery not to be just window dressings at similar 85 Atlantic Avenue, Brooklyn, New York 624-8900 conventions. Amidst the confusion and frustration Tues.-Fri. 2-6 PM, Sat. & Sun. 12-6 PM that I felt in Texas I did experience some-

Womanart/Spring ’78 11 F ull length male nudes reclining as Venus or Odalisque had in the female forms of past masters; fe­ male nudes as modern counterparts of historical or mythological figures who acted outside the strictures of their expect­ SYLVIA SLEIGH ed roles as women; triple heads of both sexes which scrutinize the varied sides of personality in a manner similar to Van Portraits of Women in Art Dyck (for example in his Triple Head of Charles 7); model Paul Rosano standing majestically suggesting the Gabriel of so by Barbara Cavaliere many other Annunciations painted throughout the history of art, gazing out in dreamy, Rossetti-like mood, his foil a meticulously rendered Flemish/Pre- Raphaelite garden. Whether they are art. Sleigh finds kinship with the great When she came to New York in 1962, delineating these or other related and English portraitists; with Gainsborough, Sleigh suddenly found herself “part of a interconnecting blends of past and pres­ for example, whose ability to capture his wave” of figuration which was posing ent, Sylvia Sleigh’s paintings have always sitters’ unique characteristics in striking important questions regarding the validity been a synthesis, communicating both her “slice-of-life” attitudes and to communi­ of exclusionist ideas which scorned the commitment to portraiture as depiction of cate through a glance or physiognomical value of representational art • for the individual personality done from life and idiosyncrasy his rapport with them is very present. Even as she became a leading her aim to recontextualize and reinterpret much to her liking. As with all the most figure in this resurgence of figurative art, elements and ideas from various historical successful portraitists, Sleigh sees her Sleigh also found significant reinforce­ styles and iconographic contents, making work as a “cooperative relationship” in ment for expansion of her ideas through them into pertinent, optimistic statements which “the rapport of the artist and sitter her relationships with other women whc of non-traditional, very contemporary is­ is as much a part of the structure of a were working for equal recognition as sues, both artistic and social. painting as its formal qualities.” It is this serious artists. It was the combination ol Even during the ’50s, when she was reciprocal exchange which animates her these two factors which encouraged her— quite alone in her artistic preferences in depictions of both men and women. It is one might even say, which “allowed” her native England, where Pop and also one of the major reasons she holds in her—to further pursue new areas ol abstraction dominated the art scene, deep regard the anti-academic painting of content in her unique genre of contempo­ Sleigh continually worked at developing the Pre-Raphaelites, who over a hundred rary historical portraiture. the mode of figuration which she firmly years ago ascribed to the romantic ideal of In 1863, Henri Fantin-Latour, an artist knew was right for her. Over the years, she portraiture as non-commissioned work whom Sleigh highly admires, painted his has made a careful study of the history of done by choice, and who had used friends Hommage To Delacroix, grouping togeth­ art, finding parallels to her own personal and fellow artists as subjects (as Sleigh er a number of his artist friends whc and artistic sensibility in many of the great does) for their new forms and colors, exemplified the current move into new masters of the and in certain treating the portrait as an expression of artistic direction. It was not until over £ elements prominent in English artists from personal love as well as making it a vehicle hundred years later, however, that the Hogarth to the Pre-Raphaelites, artists for commentary on current artistic and time became ripe for a woman artist tc who figured in her earliest experiences of social attitudes. paint her hommage to a group of womer

Rosalind Shaffer (1978). A ll paintings oil on Rosemary M ayer (1978). Diana Kurz (1978). canvas. 36x24".

12 Womanart/Spring '7 Gloria Orenstein U977). Howardena Pindell (1978). Marjorie Strider (1977). artists who had come together and formed tastes. Rosemary Mayer is surrounded by of giving material and pattern a rich, cooperatives in order to make their work a plethora of flowers which are actually luxuriant textural quality lend just the visible to a wider audience. Sleigh’s SOHO taken from the lower comer of Sleigh’s right touch for loving tributes of friend to 20 and A.I.R. Group Portraits are her Annunciation and which serve also as a friend, woman to woman, artist to artist hommage to, as well as her personal re­ reminder of Mayer’s work involving a such as these are. Although there are a membrance and historical documentation different kind of flower symbolism. The number of subtle and cryptic allusions to of, the women who have participated in strip of William Morris wallpaper on the the artists’ works (which, after all, cannot this effort with her. They are her assertion left edge of the portrait of Diana Kurz is be separated from their personalities), of the relevance in contemporary art of used for compositional balance and also Sleigh’s attention is mainly given to sug­ representational portraiture, and at the serves as a link between subject and artist gestions of unique, emotive personalities same time, her statement recording the from whose studio wall it originates. which come through from her intense social and political issues which have acted Viewed together as a group, the paint­ personal interaction with her subjects and as the binding force behind this phenome­ ings’ equality of size and the singular which come to life for the viewer in the non of group effort that rests outside of intensity given to each image evoke Sleigh’s subjects’ positions and expressions as well any particular artistic dogma or stylistic feelings of equal respect and friendship for as in their intent gazes emanating outward unity. each of these women whom she has chosen from the canvas. In 1976, Sylvia Sleigh began an ongoing to paint primarily out of deep personal An investigation into the iconography of series of modestly-sized, relatively formal esteem rather than out of any thought to the subjects reveals that the wide variety portraits of individual women artists. It is their social or artistic status. Her master­ in their appearances is matched by the wide variety in their art, while it also a move which, coming after her more ful use of clear, vibrant color and her way complex and monumental historical group portraits constitutes a still more daring reversal and re-evaluation of the forms and themes of traditional portraiture. The nine works produced so far are a tribute to Sleigh’s astute abilities in portraying indi­ vidual personalities in a form which combines formal dignity with the immedi­ DEE SHAPIRO acy to communicate both respect and lively active contact with the viewer. These paintings also demonstrate, both separate­ ly and as a series, interesting questions of equality/unity and differentiation through "Black and White to Color" the syntheses active in various aspects of their form and subject matter. Within each work, first of all, there is the blend of March 1-April2 styles which animates all of Sleigh’s art. There is also a mixture of Sleigh’s personality and background and that of the sitter. Cecile Abish, dressed in a striped pullover very appropriate to her a s p l l l / modernist tastes, is seated on a ca. 1870s 0 Aesthetic Movement couch in the artist’s m iimI T I I I ! studio, an item directly suggestive of 52 Main Street, Port Washington, New York 11050 / 516-883-9700 Sleigh’s strongly English background and

Womanart/Spring '78 13 reiterates the role of the women’s move­ ment in bringing Sylvia Sleigh and numer­ ous other women artists into close and meaningful contact with such a rich SANDY GELLIS variety of artistic styles. Cecile Abish is a 55 MERCER GALLERY APRIL 4-22,1978 sculptor who, using particle boards and 55 MERCER ST. NYC. 10013 marbles, creates installations which find rich possibilities from her essentially re­ ductive mode. Helene Aylon is a New York painter currently living in California; using bleaches and oil stained through RACHEL BAS-COHAIN paper under plexiglass, she makes paint­ A.I.R. GALLERY APRIL 8-MAY 3,1978 ings that change slowly through time. Diana Kurz paints vibrantly hued and 97 WOOSTER ST. NYC. 10012 painterly studio nudes which reveal her background in gestural abstraction. Rose­ mary Mayer is a sculptor, watercolorist and maker of illustrated, one-of-a-kind books with texts whose complex artistic production deals with interweaving ideas which connect elements of past and present art and life. Gloria Feman Oren- CYNTHIA MOLLOD stein is an assistant professor of English at Douglass College, Rutgers University, where she is chairperson of the Women’s Paintings—Collages Studies Program; a co-founder of the Woman’s Salon, she is an astute and penetrating writer on the arts whose ac­ March 2 8 -April 16 complishments include one of the first comprehensive essays on women in past and present art history, published in Signs PLEIADES GALLERY magazine in 1975. Howardena Pindell is a 152 Wooster Street multi-media artist best known for her ",Solitude. ” 1977, a/c, 54x60". New York City 10012 delicate and mysterious works of relief- collage; she also works as Associate Curator for the Museum of Modem Art’s Department of Prints and Illustrated Books. Lucy Sallick is a Connecticut- based painter of strong and meticulous still-lifes in which she utilizes her own past Illlll *111 works and objects of her painter’s equip­ v m i j s i i ment as both formal elements and content. Rosalind Shaffer makes environmental wood cut-outs which are a little over life- sized; they are comedic/expressionist dis­ tortions of various types of city women Elena Borstein Noreen Bumby from housewife to shopping bag lady to Diane Churchill flashy prostitute, and are a complete Maureen Connor contrast with her personality as revealed in Mary Ann Gillies Sleigh’s painting of her with her infant. Joan Glueckman Marjorie Strider’s brightly colored ure­ Eunice Golden thane foam sculpture is somewhere out of Shirley Gorelick Pop; she incorporates real objects such as Diane Kaiser a washing machine, window, or stepladder Cynthia Mailman into her free-form poured works. Vemita Nemec This list of the nine single portraits of Brenda Price women completed so far by Sylvia Sleigh Marion Ranyak describes a group of very active and very Kate Resek different women artists who could never Rachel Rolon de Clet have been documented as individuals in Halina Rusak serious portraiture or be brought together Lucy Sallick as a series before the present time. Rosalind Shaffer Combining her understanding of past art Eileen Spikol and of present people with her unceasing Sharon Wybrants energy and sincere penchant for giving of self as both friend and artist, Sylvia Sleigh has created these artistic records of personal insight and feminist commitment which are a sheer delight to the eye and to the fancy alike. 99 Spring Street New York, N.Y. 10012 (212)226-4167 Hours: Tues.—Sat. 12:00—6:00 p.m.

14 Womanart/Spring ’78 sk women artists about the 1950s and you are sure to see some fire­ works. In connection with the Bmulti-gallery show in New York, “Tenth Street Days: Co-ops of the 50s,” I inter­ viewed nine women artists who had been members of these New York cooperative galleries. There was a full spectrum of ex­ perience among them and their fireworks tended to change in color with their con­ versation. At one moment they were masked behind smoldering eyes speaking of Freud and penis-envy; at the next moment they sparkled with excitement at the promise and newness of ’50s painting. But when they spoke of the cooperative galleries and what their membership did for them, they most often settled into nostalgic praise. There was much wrong with the era of the ’50s for women artists: they struggled with a triple burden—societal prejudice 1957: Alice Buber posing in front o f one o f her paintings. against artists, their own feminine up­ bringing, and a general prejudice against career women. Within this struggling world, the cooperative galleries were oases where women were treated as professional artists and dealings were largely with other artists in similarly powerless and therefore IEI1IH STREET uncompetitive positions. “...machismo, which was the ‘lay of the land’ in the ’50s, was even stronger among male artists REVISITED than in the general populace.” A great deal of the mood of the art world ANOTHER LOOK AT of the ’50s derived from the social styles of the abstract expressionists. These artists NEW YORK’S COOPERATIVE GALLERIES had developed their style in the 1940s as a reaction to the mythical Parisian “artiste OF THE 1950’S Boheme” with his beret, his intellectual- ism, his finish, and his ability to move in polite society. By distinguishing them­ selves from this European mode American by Nancy Ungar artists were freed to create an artistic milieu and an image of their own. I950's: Pat Passlof. However, as is usually the case with reactions, artists in New York went to the opposite extreme. In the words of Pat Passlof, who frequented the scene as a student of Willem De Kooning’s, “they assumed the dress, the mannerisms and some of the attitudes of longshoremen.” “These guys were tough,” reports Na­ dine Valenti, who came upon the scene as a very young artist. Their attitude toward women was longshoreman machismo: “They wanted to lay you...that’s the way they talked and that’s the way they talked in front of you...l was scared.” In fact, machismo, which was the ‘lay of the land’ in the '50s, was perhaps even stronger among male artists than in the general populace. Jean Cohen, a former member of the Area Gallery, roots this phenomenon in the double rejection which male artists suffered at the hands of society—in order to be considered “a real m an” a man had to prove himself with wordly success. If he was an artist, he was

Womanart/Spring '78 15 probably not financially successful (he was begins to share the contempt felt by men for a sex which is the lesser in so important often supported by his wife or his girl­ ...“Women who married artists a respect.” (2) friend). He therefore suffered not only often brought the competition Therefore, a woman who chooses to from feelings of general inferiority, but home and were flatly told to rebel against her upbringing and the also from feelings of threatened masculin­ stop painting.” ity. He compensated by becoming doubly demands of society that she be wife and macho and thereby affirming his maleness. mother and instead becomes a profession­ Freudian dogma, the 1950s rage among al artist is, by Freud’s definition, malad­ obvious superiority of penises; they suffer intellectuals, also added fuel to the chau­ justed, sick. In order to paint, she has to “penis-envy.” The maladjusted woman vinist fire. According to Freud, a man’s have a penis or pretend that she does. “may refuse to accept the fact of being attitude toward women is first developed Male artists in the ’50s at times even spoke castrated, may harden herself in the in childhood. A boy notes a girl’s lack of a of “painting with their penises.” Valenti conviction that she does possess a penis penis and is struck with an intense fear of remembers being told by one man, and may subsequently be compelled to castration; after some thought this fear “ ‘Women can be very creative but they behave as though she were a man...she lessens and then develops into either a don’t have the ability to stick it out.’ Men “horror of the mutilated creature or a couldn’t say,” she retorts, “ ‘she can’t stick 1. Freud, Sigmund. Sexuality and the Psychology of triumphant contempt for her.” (l) Wom­ Love. C ollier Books, New York, 1963. p. 187. it out because I’ve loaded the whole damn en, on their part, equally recognize the 2. Ibid. p. 188. world on her.’ It was because ‘she doesn’t have a penis,’ because ‘she is not built that way.’” Female artists had to behave like men in “a man’s world” where their competition was not always welcomed. They even had to behave like men in their attitude toward CLAIRE JEANINE SATIN other women: “I was trying to be a serious artist and all my models were male,” states Passlof. “So I had the same chauvinist attitude the men had.” Women feared Sculpture & Works On Paper being professionally associated with too many other women. It shouted of dilet­ April 28—May 19 tantism. For the most part these attitudes were undertones. was not an issue, nor THE GALLERY AT 24 was it a conscious set of behaviors; it was THE 24 COLLECTION simply the way the world worked. Because 2399 N.E. 2nd Avenue Miami, Florida 33137 of this, some women artists feel that they escaped a serious scathing. Being almost totally oblivious to the discrimination around them, striving first and foremost to become artists, they assumed that the odds against them were those common to all artists and blindly blundered their way to success. For these women the realization rosemary cove they now have of the additional handicap of discrimination would have been crush­ sculpture ing to them then. Evidence exists, for these and other women artists, in words remembered, an march 4-29 uneasiness recalled, and in a sometimes clearer hindsight, that the woman artist was indeed fighting more than one battle. One of her major battles was within herself. Raised in a society which expected its women to sacrifice themselves for its men, to care for them, help advance their gretna Campbell careers, and raise their children, women who became artists had to learn to shift paintings their focus back to themselves; they had to maintain their inner focus despite pres­ april 1-26 sures to conform, to take a back seat to their men, to their children and to their fellow professionals who happened to be male. For some women, a complete rejection of marriage and especially moth­ erhood resulted. Says Jean Cohen: “We had not committed ourselves to the mid­ dle-class track of husbands who would take care of us and children...we knew □ ingber gallery 3 east 78 nyc better.” The discrimination against women art­ ists was often subtle, but it was also occa­ sionally overt: “On the surface,” asserts Valenti, “we were living a different kind of

16 Womanart/Spring '78 life—the Bohemian life. In reality we were unable to put ourselves first. We were always being called ballbreakers—when­ ever a woman became assertive. She was a ballbreaker whenever she did anything of significance for her own career. And you went around wondering if you were really a ballbreaker, whether you really had penis- envy. Whenever you tried to assert your­ self, you’d hesitate.” Women who married artists often there­ by brought the competition home and were flatly told to stop painting. Those who married businessmen were usually re­ moved entirely from the art world to the suburbs where they raised their children. Ruth Abrams married a prominent man and remained with her husband in a Greenwich Village townhouse. Neverthe­ less, she was delegated the role of house­ wife, required to cook, clean and care for the children. Her role as artist was not taken seriously by her husband. This 1950’s: Ruth Abrams and daughter walk toward her barn studio on New Jersey farm. "While I worked. I supervised Judy as well since she howled outside the door if kept outside my studio. ” situation changed slowly during the 1960s as art became associated with big business and her husband was eventually able to say to her, “You know, I didn’t realize you’re out there in a real world trying to get somewhere the way men do.” As Ruth Abrams found, if you were to be an artist, it was necessary to rise above these attitudes. If you could not, “you didn’t have the presence, you didn’t have the self-confidence to present yourself or your work or make the kind of impression as a person to be taken seriously as an artist.” Were women artists taken seriously by their peers? They frequented the same circles as the men—the Cedar Bar, a Tenth Street artists’ watering hole, and the Club, an association founded by abstract expressionist artists which met regularly in a loft to discuss art theories. And when the co-ops were formed, they numbered among the charter members. But did they have similar experiences within these struc­ tures? It seems not. 1958: Jean Cohen. Gatherings for the Club usually began at the Cedar Bar. Since proper behavior for women in the ’50s excluded entering a bar without an escort, some women found it difficult to do so. Reactions to this situation varied tremendously. Marcia Marcus, of the March Gallery, reports feeling completely at home at the Cedar; Alice Baber of the March and Lois Dodd of the Tanager Gallery went only on occasion, feeling somewhat uncomfortable there. “I’ve never gone into any bar in my life by myself except the Cedar,” states Joann Gedney, of the March. “There was no reason why the girls couldn’t go there and they did,” but “it took a little bit of guts to walk in.” The Cedar was more of an artists’ hangout than a corner bar. Yet Marcus recalls that there were women around who did not feel free to walk into any bar. “They were almost like secret artists...and I think in a sense they were resentful of the fact that we were able to do that.” If you didn’t go to the Cedar Bar, the Today: Pat Passlof in classroom.

Womanart/Spring ’78 17 chances were good that you did not often frequent the Club. Yet it was in these two locales that important and influential acquaintances were made and where, in time, critics, dealers and collectors were ANN CHERNOW primed. Unfortunately, it was also in the Club where women sensed most that it was a “man’s art world.” Women were wel­ come at the Club, but more often than not Paintings and as second class citizens. A number of them were the wives and girlfriends of artist- Papetworks members and not artists themselves. The official policy of the Club, from its inception, was stated by sculptor Philip Pavia and overheard by Pat Passlof—there were to be three exclusions from member­ March 18- ship: “homosexuals, Communists, and women.” In the frequent panel discussions April 11 organized at the Club there was a sparsity of women out of proportion to their attendance. Although a few powerful AARON BERMAN GALLERY women made their presence felt, most 50 West 57 Street accepted the fact that they were expected to New York, New York 10019 remain in the background. “The women “ There, I ’ve Said it Again’’, 1977, o/c, 50x40’’ that went there,’’Dodd maintains, “were either kind of erotic, rather powerful, or somebody’s girlfriend. I would think twice about going over there by myself because they were trying to keep up a serious attitude. They wanted women all right, but I would say theirs was a less valued NANCYUNGAR quality.” A major hurdle in the art world was entry into a commercial gallery. During the 1950s, there were very few galleries in Wall Constructions New York which showed contemporary art work; these generally showed the work of March 14—April 2 older artists. It had, until then, been understood that an artist must work THE SIXTH ESTATE GALLERY many years in order to arrive at a statement worthy of being exhibited. 85 Atlantic Avenue Artists who had reached their middle years Brooklyn, N.Y. 11201, (212) 624-8900 after struggling with the Parisian Schools Tu.-Fri. 2-6 p.m.; Sat. & Sun. 1-6 p.m. and the WPA, indulging in lengthy, weighty discussions at the Waldorf Cafete­ ria were first beginning to show in the 1950s. The art world was small and tight; younger artists were expected to get in line behind the older generation. But younger artists were beginning to have different ideas; they wanted to show, and the situation was difficult. It was even more difficult for the women artists among them as the policy in com­ mercial galleries was to show no more than one or two token women. The Sam Kootz and Grace Borgenicht Galleries, Passlof Wall Hangings recalls, went so far as to publicly state a policy of “no women.” The impetus behind this discrimination was often from the collectors; for a dealer, no matter how Mag 13-June 11 sympathetic to a woman’s work, would often have a difficult time selling it. Women’s art had the unspoken onus of a bad investment since the “lady artist” might very well get married, have children and never paint again; the pressures were such that many did. Therefore, as trends changed and young­ GLORIA CORTELLA INC. er artists competed for the very limited 41 EAST 57 ST.. NEW YORK. N.Y. 10022 (212) 832-2355 uptown gallery space, what was difficult for the men was nearly impossible for the continued on page 27

18 Womanart/Spring ’78 Photo: E. Lubell as apr HamoyHa n, ae Kelder, iane D Paula ond, m am H Pindell, Tucker. ony arm ardena arcia H M ow H Harper, Lipton, Hays Eunice Cooper, womanart tion pervaded the room, as the well- well- the as room, the pervaded tion ald e "lu ntn eprec: a experience:" she inating hat w "illum describe her to on called ent profes­ w and the history art sion, the ff in o led continued sexism College, Hunter at teaches events. ith w crammed days five Linda Nochlins around," to question and and question to around," Nochlins Linda that fact the despite ," n inordinate e m an o w still is of absence "there said, she self," that ent statem flat the ith w discussion ff o kick to slowly arrived panelists known expecta- of air An fields. n ow their ithin w art history classes are filled w ith wom en. en. wom ith w filled are classes y­ history m art deluded had "I females papers. no which presented at symposium Cezanne Paula : . r o t I. ," e n e c S rt A . .Y N the View en om "W experiences their and the discuss women to of orld w art status York aspects all New gath­ from the of panel professionals this seven ered discussions, conference oaatSrn ’78 Womanart/Spring girls, good be to not e "tim it's that and o t b s p ie." lite po so be to status, not en's more om w be about to statements make "have there stated Lipton Museum, continued Lipton's unencour- unencour- Lipton's continued Museum, Society of North America) and the Hilton Hotel (courtesy of the College Art Association). This special special This Association). Art College Librarians the Art of the of (courtesy (courtesy Hotel Hotel Hilton Barbizon-Plaza the the and at 1978, 28, America) North January of Society Saturday, to 24 January Tuesday, from report documents each Women’s Caucus panel and activity as well as the sole College Art panel to highlight women. highlight to panel Art College sole the as well as activity and panel Caucus Women’s each documents report In the snow and sleet of the worst New York winter, the W omen’s Caucus for Art Annual Conference was conducted conducted was Conference Annual Art for Caucus omen’s W the winter, York New worst the of sleet and snow the In 9 8 ANA MEETINGS 1978ANNUAL Eunice Lipton, an art historian w ho ho w historian art an Lipton, Eunice CA W of series the to beginning apt An Marcia Tucker, director of the New New the of director Tucker, Marcia NEW YORK ART SCENE ART YORK NEW WOMEN VIEW THE VIEW WOMEN otiud n ae 24 page on corttinued

s rt Isiue A ete n Agree­ ent Settlem A Institute: Pratt vs ie president. vice sex of interpretation current courts' the departm ent] will be more careful in the the in careful the [of more be Chairman will the ent] not, heth­ departm W or con­ litigation win against. you otherwise er the discriminated be ould w to of ho tinue w many success oc­ fact affects The in is ination curring. discrim that gathered pending. suits of action both class have Gerson, Paula whom and State York Joost-Gaugier New the in General Broff Attorney Du Ms. ith w who book Kyle, entitled a alter W Institute, co-authored Justice D. Diana tising Fund, Defense Legal and tional eemn i yu r big discriminated being are you if determine new its and A C W of officer action ative of standards identify to and ination discrim initiating a class action once you have have you once action of class a portance im the about initiating talked and t" en m Christianne and office, General's ttorney A Dilemma, Ellen of: in consisted still are panel or The ination on w discrim been progress. sex have of you that if cases do examples to and hat w are sex, of because against most part w ith inform ation on how to to how on ation inform ith w part most ­ The affirm cases. Fifield, Mary by ination discrim chaired was sex panel in proof u rf, one ad en te Prac­ the f o dean and founder Broff, Du rsehi, rsdn o WEL Educa­ EAL W of president Dresselhuis, The panelists' discussion dealt for the the for dealt discussion panelists' The clarify to was panel this of purpose The Kramer presented "L ou is J. Lefkowitz Lefkowitz J. is ou "L presented Kramer COURTS: A LEGAL OVERVIEW LEGAL A COURTS: SEX DISCRIMINATION IN THE IN DISCRIMINATION SEX who are in professional fields fields professional in are who euldsrmiain ... ination” discrim sexual ...“ 50% of the women women the of 50% ...“ e ici nto:An merican Am n A ination: Discrim Sex Judith T. Kramer, Assistant Assistant Kramer, T. Judith will encounter encounter will otne o pg 25 page on continued special

ground. paig wihsieofhrwokprt t i back­ b in d cte rote p ork w her f o slide ith w speaking, Wome n te ionment: uih Peck Judith t": n e m n viro n E the and en m o "W etnne o h tpc t hand. at topic the to the unofficial pertinence exposing uncontrolled, an in about art to public primarily cussion, (i.e., non-museum) situation, had little little had situation, non-museum) (i.e., structured presentation (accompanied by by (accompanied presentation structured wom en, according to Sm ith, and the new new the and by ith, Sm made to a­ easily according most transform en, be the wom ill on w and cities therein levels), tions salvaging at unity m if­ d (aimed com atically future "dram this future a warned of Center, inously om Development and search art at Ramapo College (N .J.), opened the the opened .J.), (N College Ramapo de­ at art validity their have sant. to only sions, h priiae. fruaey hr dis­ her nfortunately, U rt participated. A an she ith w experiences her about slides) paradigm that w ill be operative in this new new this in operative be ill w that paradigm to transitions The past. the from t" n re fe ain pit md i te aiu discus­ various the in made points salient in the Park project in New Jersey in which which in Jersey New in project Park the in ment? W e found out, gradually, through through gradually, out, found e W ment? panel w ith her "A rtis t at W ork —Please —Please ork W at t rtis "A her ith w panel discus­ (male) a by end the in nounced Do Not Throw Peanuts," a lively and well- well- and lively a Peanuts," Throw Not Do WOMEN AND THE ENVIRONMENT: THE AND WOMEN hat W Judith Peck, sculptor and professor of of professor and sculptor Peck, Judith aly mih o te issip Re- Mississippi the of ith, Sm Hadley ARCHITECTURE AND DESIGN AND ARCHITECTURE bu wo n n te environ­ the and en om w about ___ otne o pg 25 page on continued Womanart

19

ht: . Lubell E. Photo: FILM NIGHT THE ART IN CRAFTS WCA CONVOCATION & COALITION CONFERENCE On Tuesday night January 24, Women The panel on "The Art in Crafts" began Artist Filmmakers presented a benefit film on a challenging note. The moderator, The first formal meeting of the Coali­ show for the Women's Caucus for Art. Sigrid Weltge of Beaver College, opened tion of Women's Art Organizations Members of Women Artist Filmmakers with quotes from Pl.W. Janson's H istory (CWAO), held as part of the WCA each donated a film and invited five other o f A n in which Janson distinguishes the conference at the Barbizon Plaza, was artists to contribute a screening to the craftsman who "...attempts what he awash with the buzz of excitement that cause. Alida Walsh, outgoing president of knows is possible," from the artist who television cameras and corps of press Women Artist Filmmakers, curated the "...only attempts what is impossible." photographers bring with them. Though show. FHer program included a diverse Another distinction claimed by Janson is active since the previous Fall, the CWAO group of films, including documentaries was convening officially here, with each on Lil Picard (by Silvianna Goldsmith), of the 60 member organizations repre­ Flans Richter (Cecile Starr), and Sari sented by a delegate. Dienes (Martha Edelheit). Many of the films had funding from New York State The reason for the excitement, of Council on the Arts, the National Endow­ course, was the appearance of the guest ment for the Arts, or some other institu­ speaker, Joan Mondale, presidential ad­ tion, though those that did not have such visor and wife of the Vice President. Ac­ backing were also fine works. cording to Cynthia Navaretta, chair pro In spite of the length of the program, tern of the CWAO, "Our numbers were which was aggravated by technical prob­ able to bring Mrs. Mondale here." (The lems blamed on the full moon, the estimated combined membership of audience was very responsive. The in­ CWAO is over 50,000.) Indeed, this step into public and political consciousness tense program maintained their interest "The Art in Crafts": Panelists against projection till almost midnight. of work under discussion. L. to r.: Lois Moran, was significant for the usually insulated An animation by Maria Lassnig, A n Noma Copley, Sigrid Weltge. women artists' movement, engendering Education, inspired belly laughs in fanta­ the possibility of awareness on many that artists see the patron as audience, sized conversations between the men and levels of the plight of women artists and whereas the craftsman sees the patron as women found in art masterpieces. Vickie other women art professionals. a customer. It was also pointed out that Z. Petersen's Parallels is a film about Anni Albers said, "when work is made meditation, with images silently invoking with threads (it is) considered craft, when made with paper (it is) considered art." Despite this somewhat negative begin­ ning the panel moved to a more positive note as it proceeded to make the case that crafts are indeed art. Martin Eidelberg of Rutgers University Nemec V. Photo: spoke about "Feminine Art, Feminine Crafts" and gave a brief background about the craft movement and the impor­ tance of the role of women in its develop­ ment. In the mid-19th century a revival of Film Night: Scene from Alida Walsh's Happy Coalition Conference: Carol Bellamy, Cynthia Birthday I’m Forty. interest in crafts and design occurred as a reaction to industrialization. The decora­ Navaretta, Joan Mondale pose for photographers before Ms. Mondale's address. landscape. Susan Brockman's H o t House tive artist, who applied art to decorative Flow er builds a sinister enigma around the objects was born. The decorative arts A business meeting preceded the cere­ simple acts of making slides, and typing. became suitable, although restrictive, monial portion of the conference. Judith A guest from , employment for women. Women could Brodsky, former president of the WCA Muriel Magenta, presented the surreal decorate clay, but weren't permitted to and originator of the idea of the CWAO, Bride, featuring a chocolate chewing wedge or fire it. It became easier for spoke first, explaining that the coalition bride on a wedding cake of sand. The women to achieve limited success eco­ was formed to achieve "full equality for grand finale was a multi-media production nomically as well as artistically. women in the arts by uniting the efforts of of Alida Walsh's Women: B ound and Un­ Tiffany employed wom en in his decora­ organizations working across the United bound. A breathtakingly beautiful climax tive glassworks because we have "nimble States." Cynthia Navaretta, who is also to the film night, the three screens flashed fingers and worked for less money." editor o f W omen A n ists News, noted that images of women as they have been Wayne Fligby of NYS College of the CWAO could use the "established depicted in art throughout history. In Ceramics, Alfred University, speaking on infrastructure of women's galleries, or­ front of the center screen a woman slowly "Pottery as a Pure Aesthetic Form" ganizations, spaces and presses to bring danced the bondage and freedom of asked, rhetorically, what we associate art about real change." Linda Cunningham, women. with and answered the question himself: who formulated the new organization's — Carla Sanders museums, money and collectors. Fligby by-laws, (for which the delegates present Vol.2 No.3/Spring 1978 ------feels that the art in crafts is not neces­ voted their approval), spoke next, discus­ sarily realized in traditional art concepts. sing the rules and procedures, and was Convention Reporters: Ellen Lubell, The status of crafts has been improved by followed by Ellouise Schoettler, director Vernita Nemec, Carla Sanders what he calls the "metaphysical object" of the Washington, D.C. office of CWAO. Special Contributors: Anne Healy, Lenore Malen which carries the qualities of traditional She spoke about HJ Res 600 (or HJ Res objects but with more creative form. Fie 649), a Congressional bill introduced by Published by Womanart Enterprises, 161 Prospect Park West, Brooklyn, N.Y. 11215. commented that a wealth of ideas have Rep. Brademus that calls for the establish­ ©Womanart Enterprises, 1978. All rights been opened up by crafts but have not ment of a White Plouse conference on the reserved. continued on page 25 continued on page 25

20 Womanart/Spring ’78 QUESTIONING THE LITANY: FEMINIST VIEWS OF ART HISTORY INTERVIEW: LEE ANNE MILLER, NEW WCA PRESIDENT This panel, the first held on College Art Association turf (the Hilton Hotel), was In the hustle and bustle of the last day packed to overflowing; dozens of stand­ of the conference, the new Caucus ees developed keen night vision as they president and I managed to find a short scoured the large, darkened room for non­ period of time in which we could talk and I existent seats. Here, at last, was theory in could get an idea of her plans for the action: the application of feminist con­ future. Lee Anne Miller, the fourth Cau­ sciousness to a body of thought (art cus president, was born in Utah, and history) so established as to be dogma. educated at Cranbrook Academy of Art, Claire Richter Sherman's "Taking a Pratt's Graphic Art Center, and the Slade Second Look: Observations on the Icon­ ography of a French Queen (Jeanne de School of Art in , among other Bourbon, 1338-1378)" was an example of places. She is currently associate profes­ Miller observed, and her new programs how a feminist viewpoint led to a re-exam­ sor and chair of the Department of Art will grow out of the existing structure of ination of a familiar body of work. She and Art History at the University of Mis- the successful conference meetings and went back to this queen's cycle in the souri- City, and was responsible other programs. She plans to make the medieval manuscript, the Coronation for the formation of the first regional quarterly WCA N ew sletter a "livelier and Book o f Charles V o f , to see if she chapter of the W C A (there are now 17) in enlarged vehicle of communication." could discover the queen's social and Kansas City in 1975. Miller is an artist Regarding the Coalition of Women's political importance from the images; involved with graphics and large size Art Organizations, the new president sees while confirming Jeanne de Bourbon's watercolor paintings. In our talk, she the WCA as- a major participant. Using lack of political authority, the images seemed not only deeply involved person­ the strength of the numbers in the appeared to show a popular queen, ally in the movement, but eager to CWAO, and noting the strong affirmation though the total cycle yielded ambiguity. assume her duties as new president. from Mrs. Mondale, Miller feels we can Miller doesn't believe that a few all Svetlana Alpers of the University of influence legislation and affirm rights for women's shows have evened the score or California at Berkeley was "disappointed" wom en. created opportunities for women artists, in the "Women Artists: 1550-1950" show, "I think the organization [WCA] has so and that a major effort on the part of the because the paintings didn't look "dis­ much potential, and has already contri­ Women's Caucus for Art (has been and) tinctly different" from their male counter­ buted so much in concrete activities, an in will be to provide opportunities and com­ parts. Instead of inserting art by women recognition of what the WCA is achieving munications links, and to promote the into the established art history structures, nationally, I see a very strong future for concepts and work of women artists. she claimed in "Art History and Its it," she said, also noting that the initial Women are still forced into alternative Exclusions," we should let more a rt- meetings for next year's conference in structures or into making a "new pie" for more kinds of art —in, deal with the plural­ Washington, D.C. have already begun themselves —"the numbers are still ism of art, and remove the facade of and that the hope is to have another stacked against us." Through regional objectivity from art history to better un­ national invitational exhibition at that chapters, through the regional and na­ derstand creative modes. She stated that time. To wind up, she noted "I'm pleased tional conventions, the WCA will contin­ our way of dealing with painting is based to follow' three such excellent leaders ue to provide opportunities for exhibitions on Italian Renaissance ideas. She noted (Ann Sutherland Harris, Mary Garrard, and panels for artists, art historians, and that this methodology did not apply to Judith Brodsky), and I feel a debt to the other professionals, as well as moral sup­ northern European art, which the Italians contributions they have made." port for publications, she stated. had dubbed "art for women," because it -Ellen Lube/I These WCA activities form a solid base, lacked "all reason and measure," i.e., scale based on human (male) proportions. Explaining the differences between the two modes with ample illustrations, she emphasized the importance of the crea­ were listed as members and founders of tive process rather than the gender of the the London art institution. While this CONTEMPORARY WOMEN’S ART: artist. would seem to be an occasion where ICONOGRAPHY AND SENSIBILITY "Matrilineal Reinterpretation of Some deserving women finally got their due, Egyptian Sacred Cows," by Nancy Luo- historians 100 years later had all but dis­ The room was hot and stifling with the mala of Mankato State University, Min­ missed them and their work, and made it audience, for the most part women, over­ nesota, was a title with a double meaning: seem that their marriages to prominent flowing to the floor. Occasionally some­ images of sacred cows (or, cow god­ artists of the day had brought them to the one would stumble out to get a breath of desses) formed part of her subject matter, Royal Academy. Garfield re-examined air. The panelists, far in the distant front as did a new look at lines of descent and these artists and the Academy, conclud­ of the room, were bathed in darkness and power in ancient Egypt. Luomala claims ing that Kauffman and Moser, in addition kept asking if they could be heard. that Egyptians determined the line of to artistic worth, actually did influence Isabel Case Borgatta, of the Frank power through the queen and her proge­ their colleagues at that institution. Rehn Gallery, speaking on the topic of ny. Egyptologists, however, assumed Mary D. Garrard of The American Uni­ "The Sexual Role in Artistic Sensibility" patriarchy as the norm and the matriar­ versity, and H. Diane Russell of the stated that the current tendency to ask if chal power line a corruption. Her illustra­ - co-chaired this male and female sensibilities are as tions from the reigns of various queens panel, which, with its strong academic important as the sensibility of an individu­ illustrated the matriarchal view. orientation, was a useful demonstration al artist is the result o f the w om en's move­ Alan Garfield of Creighton University of a disciplined application of feminist ment. The courage of some women discussed "The Founding Mothers of the perspectives. artists today to show with only women Royal Academy," Angelica Kauffman and — Ellen Lubell and deal with primarily feminist issues has Mary Moser, who in the 18th century continued on page 26

Womanart/Spring ’78 21 22 Photo: E. Lubell iw ofehbto at rn Muem. useum M Bronx t a exhibition f o view Wo nAri s: ly Fbr Met " Installation l": ta e M Fiber, Clay, : ts rtis A en om "W tive group, departing from the traditional­ the from departing group, tive ie n o h oeig night. ex­ opening general the of the ent pierce citem did specifics some technical craft, of excellence widespread in­ An ithing. metalsm and clay, textiles, to coverage ­ o give W to was the show the by of tives sponsored exhibit tational ter befell Lisbeth Stew art's exquisite exquisite art's Stew Lisbeth befell porcelain ter her ith w teased artists mu­ Becotte fiber the Diane the traverse rank. by and rank seum platform exhibition stoneware do n't even think I saw everything. But But everything. saw I think even n't do today. en wom be of to art the material in to found sensitivity and the expertise celebrates en om show w these the of ork w The country, the ener­ over all creative from textured of gy richly crafts of the gathering art, fine of be to outskirts considered the fields on in ork w ho w artists try wallhanging, wallhanging, try of lot a saw I capacity. expressive their to . platform a of edge the on stumbled one ith w clay of expressions functional ly 24) February includes the w ork of 120 wom en artists. artists. en wom 120 of ork w the includes objec­ the f o One rt. A for Caucus men's combined a flat chevron design w ith the the ith w design chevron flat a combined i Calte uk hs peie tapes­ precise as whose medium, Munk Charlotte abstract or did illusionistic an as employed were textiles the though media, the chanting tape cassette a by mocked some­ when sculpture talc-bodied ighi's Hands Porcelain disas­ as violence featured night Opening giant oody's W Elsbeth humor. unabashed 25- January Arts, the f o Museum (Bronx ie, tl s h scn ntoa invi­ national second the is etal” M Fiber, illusion of cubes. One of the most most the was of show entire One the in cubes. works impressive of illusion fibers the forms used organic weavers many into as just but woven fibers natural their to approach traditional more a have — ents a fragm lay floor earthenware the hite w On of of heap demise. sound the by crashing its followed was plate a of accident name the corner opposite the In Mary Holt's Holt's Mary hr ws uh n bnac ta I that abundance an such was There h crmcss ee h ms innova­ most the were ceramicists The The weavers seemed on the whole to to whole the on seemed weavers The LY FBR METAL” FIBER, CLAY, “WOMEN ARTISTS: “WOMEN Loops rkn lt Piece. Plate Broken "W om en Artists: Clay, Clay, Artists: en om "W threatened to leave their their leave to threatened and Christine Freder- Freder- Christine and meia Diptych, D erican Am

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a hpy to. happy was r: eee yo, lc Bbr Isabel Baber, Alice Aylon, Helene are: set. in whole bound all are sketch­ books The each of biographies. of copies o tw were table me, intrigued visitor a of eyes the through red and made me wish you could buy the the buy could you wish me made and red origi­ The Center. Interart of en's women archives om 50 W historical the the the in of are 20 ho w of artists sketchbooks the CWAO the riting w in force driving in the see to try to much too was it tunately that on trip College a ount arym M began from places idwest, M extended other the and from etc. riters, w cators, oe hs set f h WCA rga, I program, A C W the of aspect this cover so when when it so see to pting attem and ent environm daily en's om W the to thanks My together. street. the in crushed shimmering new object is Rosalie Rosalie in is seen as object, object a found make new to the metals from precious shimmering departure of fresh ithing A sm pearls. ith w book, five books of statements and tw o o tw and statements of books long a five On book, choosing. a artists' to the open and of wall point the on framed are nals features it Gillespie, a Dorothy of artist by ized reminiscent is which the ridden elevator has one freight once spectacular quite I bus the for guide tour the so hours, five Muse­ hitney W the of branch n ntow dow Ring, stands arched at the entrance to the the to entrance the at arched stands o cr Te hw s acntn. Organ­ fascinating. is show is The car. box setting see Interart to The Manhattan, ks." o o b n tch idtow ke m "S in tour. Center the half nearly it was om to had (who by-laws), Cunningham Linda boarded, nfor­ U tip. southern anhattan's M at um, Holland California, York, New upstate York. New to exhibition this bringing Schw artz's principle of the re-created re-created the of principle artz's Schw there and here studded copper f o shape ic arts of earlier periods, art deco and art art and deco art periods, earlier of the arts often Very rt 'a d metals. and gems spans inviting the viewer to the spectacle spectacle the to viewer the inviting spans East 72nd Street to as far south as the the as south far as to Street 72nd East gallery space, its w hite sisal-wrapped sisal-wrapped hite w its space, gallery egalith M Caucus for A rt, and to the curators for for curators the to and rt, A for Caucus nouveau. One piece held me spellbound spellbound me held piece One nouveau. precious of qualities dra­ the exotic and incorporating matic beauty, profound beyond. — Chungchi Choo's Choo's — Chungchi The artists represented in this exhibit exhibit this in represented artists The The thought of going on a 'to u r' of my my of r' u 'to a on going of thought The he bsod o wo n rit, edu­ artists, en om w of busloads Three Our first stop was the W om en's Interart Interart en's om W the was stop first Our It took an heroic effort to put this show show this put to effort heroic an took It The metalsmiths produced objects of of objects produced metalsmiths The remember in design the decorative decorative the design in remember form erly a brass doorknob found found doorknob brass a erly form GALLERIES, CO-OPS, GALLERIES, /, EXHIBITIONS TOUR EXHIBITIONS manart' om W I III, II, y ao Wetal It estfall. W Carol by uze — M puzzle s editor asked me to to me asked editor s — igr Grown Finger Carla Sanders Carla a organ­ an

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ley or iis h Craie me' Collec­ C en's om W reative C the visits tour allery G ie wee aci kls drse guests. addresses Skiles ckie Ja where tive, tion, so we wandered SoHo on our own own our on SoHo A's C W wandered the we so and tion, University City at r tou me' so a SH 20. SOHO at show to en ember's m wom few a Itook time. of bit that for an half about just was There all. it cover u: abr Abn rm Ciao (who Chicago from Aubin Barbara bus: Sylvia Sleigh's show at A.I.R . and the the and . A.I.R at show Sleigh's recep­ Sylvia and show " 8 '7 Artists n e the om "W finish to due were we before left hour the SoHo, in and Foundation estbeth W Arts the at in en om Salon W an's om W is involvement main collective's The ship: Jackie Skiles, Marge Earthlife, Betty Betty member­ Earthlife, its Marge as Skiles, has Jackie Street ship: 27 est W 236 each character. ork, w quiet f o show beautiful a was exhi­ another and Gallery Rene Denise to Year International oman. W the the for organized of ago show a years of o four tw ounting of rem Gil­ the was ork w Dorothy the Donneson, of Seena eflec­ sculptors: consisting efractions/R "R s" n tio entitled show a and an into reward­ very glimpse show the ate made intim head an artist's such were ting know did I those f o was I sketchbooks the einstein. W Joyce and Pindell, ena but the group I accompanied just couldn't couldn't just Iaccompanied group the but piece displaying its own strength of of strength own its displaying piece It Reder. Ronnie and Mark, Phyllis lespie, ing. get­ of experience The surprising. often Kooning, De Elaine Katzen, Lila quette, grant for a series of posters of women of of women of posters of a receive series a did for T- but creates of grant cards, sales and by posters that shirts, supported largely are workshop They a as serving Menna, Bea Kreloff, Bernadette Evangi- Evangi- Bernadette Kreloff, Bea Menna, Jac- Yvonne Johnson, Audrey Buffie Ente, Lily lespie, Dienes, Sari Citron, bition of sculptors: Ann Sperry, Carol Carol Sperry, Ann sculptors: of bition and ork, w their f o some ith w familiar not history w ho have been featured on on featured been have stamps. ho postage w history issues. en's om w ith w deal hich w graphics Barnitz, Kathy Hopfner, F. Eve, Shari Shari Eve, F. Hopfner, Kathy Barnitz, This Rhodes. Leah and Davidson Kreeger Howard- Parsons, Betty Marcus, Marcia Gil­ Dorothy Gelb, Minna Jan Frank, Mary Brody, Flack, Lilly Blaine, Nell Bishop, list, Susan Strane, and Sophie Newman. Newman. Sophie and Strane, Susan list, The Creative W om en's Collective at at Collective en's om W Creative The The tour was supposed to go to the the to go to supposed was tour The A fte r M arym ount, the tou r proceeded proceeded r tou the ount, arym M r fte A College ount arym M was stop next Our I talked to some of the wom en on the the on en wom the of some to talked I oaatSrn ’78 Womanart/Spring had presented a paper for the panel on made by the better known artists. In its in the search for organizations and groups "C ontem porary W om en's A rt"), Rosa effort to undermine the isolation of indi­ with the motivation to collect women's Lindenburg, a feminist and writer/pho­ vidual artists and put their work in histori­ art, for changes that should be brought tographer from Holland. We commisera­ cal context the show succeeds admirably. about to bring about support, and for atti­ ted on the difficulties of being feminists, Many of the interesting works are of tudes that might help matronage along. educators and artists, and the difficulty in small scale, have loose media boundaries For example, Charlotte Robinson pointed finding the time, money and energy to and a heightened sense of content or nar­ to women's banks and women's profes­ keep it all going. I think the sharing of our rative. A few among them (they are too sional groups as matronage sources. different experiences was encouraging to numerous to list entirely) are Donna Cheryl Towers noted that until women most of the women. I didn't feel the Byars' glass collages, Anne Chapman's attain management levels in business, hostility that I often do toward the New drawing on woven serigraph, Lauren that until women think of careers and of York Artist and the New York Scene. In Ewing's and Vernita Nemec's photo-col­ themselves as "marketable commodi­ some ways I feel that the women's move­ lages, drawings by Sarnia Halaby, Blythe ties," nothing will change. Judy Brodsky, ment in the arts is more positive in that Bohnen and Marion Lerner Levine, a suggested using existing channels to sense. More than any other group in­ blackboard piece by Irene Krugman and obtain funds, but that a change in attitude volved in the arts, I feel that the women prints by Cynthia Rush and Francis is in order. Women make good art —that's artists outside of New York have achieved Lieber. Sculpture by Patricia Lay, Joan a good reason for collecting it, she noted, a great deal for themselves. Their experi­ Webster-Price and Ann Sperry were also not to mention the fact that women's art ence here is one of learning and most, of interest as were paintings by Linda will influence the art of the future. "Push instead of wishing they were New York White, Annette Weintraub, Sandra Gross it from that point of view." Jean Hennes­ artists, take the information that they've and a male nude by Grace Graupe-Pillard. sey suggested the non-profit organization gathered during their visit here and use it — Lenore Malen route to obtain grants. constructively to create cooperatives or The show was stolen, however, by collectives, or incorporate the information Holly Solomon, whose passionate, seem­ into already existing structures. ingly angry discussion of the lack of — Vernita Nemec contemporary women collectors riveted THE NEW MATRONAGE: WOMEN’S the audience. There's a heritage of SUPPORT FOR WOMEN’S ART women collecting art, but not there are no major women collectors, she said; this This last formal panel of the WCA generation (that of the 1970s) must find conference ranged in nature from rational “WOMEN ARTISTS ’78” its own group of collectors. She also discourse to passionate declamation. pointed out the "mistaken notion" that Moderator Deborah Marrow of the Uni­ (CUNY Graduate Center, Jan. 26-Feb23) one needs (lots of) money to collect art. versity of Pennsylvania introduced the At the convocation of the Coalition of One of her final declarations, "Men are topic, noting that few women have had Women's Art Organizations held at the buying women's art, women are not," Barbizon Plaza Hotel on January 26, it was rather shocking, but apparently, for was ironically mentioned that some wo­ the time being, basically true. men feel that the has — Ellen LubeII accomplished all it intended and should end its activities. The very fact of the exhibition, "Women Artists '78," proves otherwise. The show of 122 artists, all members of the Women's Caucus for Art, BROOKLYN, QUEENS, is one o f a handful of w om en's exhibitions TOUR ever organized on this scale. It is the result of prodigious effort on the part of Remember what it was like to take field its organizers, particularly Silvia Pauloo- trips in elementary school? The teacher Taylor, who oversaw it from beginning to "The New Matronage": Panelist Holly Solomon stands at the front of the bus spouting end. It is sponsored by the New York, has the floor while other speakers look on. L. to r.: instructions, heads everyone in the right New Jersey and Connecticut chapters of Charlotte Robinson, Jean Hennessey, Deborah direction at the destination, and counts Marrow, Judith Brodsky, Cheryl Towers. the WCA and was originally conceived of heads as soon as the bus is reloaded. That in May 1977 in New York around the tim e the money to provide patronage in the is something of what it feels like to go on that the regional chapters were being traditional sense, and that the new a tour of the feminist art world in formed. matronage has arisen from alternative Brooklyn, Queens and Long Island. The The show was based on two exemplary institutions engendered by the women's differences are that we adults were put premises: that the w ork of all entrants be art movement. She also spoke of her through a more grueling agenda than seen first hand and not through slides, research into Maria de' Medici and the school children could stand, and we were and that selection be done by volunteer study of women patrons. better behaved. The program called for curators. Seventeen curators visited 200 Various sources of matronage were visits to five artists' studios around studios. This provided some means for suggested by the panelists, who reflected Brooklyn, llise Greenstein's show at critical discrimination while a plurality of their professional associations: Jean Hen­ , the Sister Chapel in taste was preserved. nessey, director of Women in Founda­ Queens and two very long treks out to The exhibition is of an overall high tions and Corporate Philanthropies: Char­ Long Island — Central Hall Gallery, and the quality and is expertly installed by Caucus lotte Robinson, Washington, D.C. Wom­ Heckscher Museum. All this had to members. It represents a broad middle en's Art Center; Holly Solomon, Holly accomplished in eight hours or less, and range of contemporary issues in art. Solomon Gallery: Cheryl Towers, presi­ somebody forgot to schedule lunch! That Feminist subject matter is represented but dent, Women's Caucus of the American left about 10 minutes per art studio, and does not predominate. Although there is Association of Museums; Judith Brodsky, lots of time spent on the bus. some perfunctory abstraction and realism Beaver College and WCA president. They Ten a.m. on the final day of convention that lacks critical focus, there are many were not directing us to the woman with week is rather early, so the bus ride down gems as well, and they are not necessarily the pot of gold; rather they were helping the west side of Manhattan toward the

Womanart /Spring ’78 23 Brooklyn Battery Tunnel was quiet, and of the CAA and WCA conventions. There N.Y. Art Scene very beautiful. Saturday was sunny after is consensus that the thrust of energy cont. from pg. 19 a week of New York winter. We quickly today in art is women's art. The College debarked at Brooklyn College, eager for Art Association lags painfully behind the aging tone by commenting that speaking our first encounter of the day. Though we times. about the status of women in museums had only five minutes to look at the Central Hall is having a members' now was like speaking eight or nine years paintings, llise Greenstein explained their show —too many works to look at in 15 ago: there is no woman director of a importance to us. Her white paintings minutes. But in one room Estelle Gins- major museum. There are women cura­ grew directly out of consciousness raising burg is showing a group of small paintings tors, she noted, and they are underpaid and from them sprang her concept of the that blend the influence of Islamic illus­ and not being promoted. ''The more Sister Chapel. The organic shapes and tration, the lyricism of Japanese geisha competent you become, the greater the movements with a subdued palette lean­ house paintings and the structure of risk of being fired is." ing toward white represent a spirituality . It is a good show, fascinating to Gallery ow ner Paula Cooper was less that Greenstein connects with the femi­ look at in all its detail. Before I've sampled controversial, quietly noting the numbers nine. The culmination of the white series the wine the gallery offers us, we stream of women emerging in the past 10 years, became the ceiling of the Sister Chapel. to the bus. Only one more stop, and how the women's art movement had The bus whisked us away to begin the everyone is glad. The Heckscher Museum opened things up, the change in patron­ studio tours. organized and leads us far into the Long Island land­ age since 1960 (more women dealers), guided the tour, getting us from one place scape to Huntington. and that she works with her women to another with admirable skill. One of her It is almost dark when we arrive at the artists because of their work. objectives in the studio tour was to show Museum. A sumptuous spread of raw Howardena Pindell —artist, contributor us women artists at the periphery of the vegetables, bread, wine and cider awaits to Heresies, a founding member of A.I.R. New York scene, and to show their us. After refreshing ourselves, we gather gallery and associate curator of the variety of working conditions. The first for the panel discussion joined by mem­ Department of Prints and Illustrated three studios we visited, those of June bers of the Heckscher Museum. Kather­ Books for the Museum of Modern A rt- herself, Shirley Feurst, and Laura Schech- ine Lockridge, new director of the muse­ had questions and answers. "Am I cul­ ter, all lived in houses in Brooklyn w ith um, moderates panelists Betty Parsons, ture-bound in my way of seeing, my way studios upstairs. Neena Fish has two former Heckscher director Eva Gatling, of working?" "W hat are the opportunities apartments in Brooklyn Heights: one and artist Janet Culbertson. There is time for women coming into the system?" "As to live in, and one to paint in. Ruth Gray for only half an hour of the panel for we a woman I have one experience, as a has the most interesting studio, a loft have to get back to New York. That is black woman I have another." Maintain­ atop a walk-up on Atlantic Avenue. frustrating, for a few ideas are rehashed ing this approach, she identified two All this climbing in and out of the bus is but the discussion never gets off the types of feminist art, overt (didactic, with breaking the ice, and we are becoming ground. Does it make a difference to a a message) and covert (no overt message, acquainted. The pace is exciting and the gallery director whether an artist is a man but use of feminine materials, processes), out-of-towners —they're in the majority — or a woman? How do we raise the con­ and finished by noting that an artist gets enjoy the chance to see a little more of sciousness of directors toward women? ahead by being a member of the "family" New York, women artists, and to hobnob Does it make a difference to the artist if in the private sector, and that blacks are with us locals. They in turn, have interest­ the director is a man or woman? Janet not members. Blacks don't have the ing backgrounds, and their own good Culbertson brought up an observation buying power of white women, Pindell reasons for not living here; they give us a from one of the College Art Association declared, and the status quo will remain fresh look at ourselves. meetings: a certain panel of men ad­ while the men have the money. The Sister Chapel, which llise Green­ vocated getting back to the personal, the The strength and conviction of Pindell's stein hopes to house permanently in organic, and the spiritual both in art and delivery was continued by Harmony Ham­ Washington someday, has materialized life. Those are stands that the women's mond, lesbian artist, contributor to Here­ so far into a traveling exhibit. It was movement has consistently taken, yet the sies, and an original member of A.I.R., installed in a room in P.S.1, an aban­ men gave no credit to the movement for who claimed that the greater visibility for doned school now used by artists as educating them. Does this represent a women artists and their increased number alternate space. Besides Greenstein's ceil­ new threat or a ground for dialogue? Time of exhibitions are misleading. "W e creat­ ing, 11 other women artists were invited ran out, but a good many of the conferees ed our own means, our own galleries, our to paint their conception of the female had also attended the panel Culbertson own magazines to make women's art role model. Three of the artists were on mentioned, and the topic might have visible, to make it grow." However, hand to explain/defend their choices. been one for forward-reaching discus­ making feminist art visible has affected Shirley Gorelick chose Frida Kahlo as sion. the art world; it has "usurped" the she was one of the first women to paint The hour's ride back to New York language, the way of looking at art that her own body from her own experience. allowed us to recap the day. There was came out of the feminist movement and As if in sympathy for Frida Kahlo's suffer­ criticism of the quality of the work that we out of CR sessions. ings, Gorelick injured her back and had to were shown, admissions of disappoint­ Diane Kelder, editor of the CAA's A rt paint the five by nine foot canvas while ment in the Sister Chapel, and complaints Journal and a professor of art history at lying on her side. Elsa Goldsmith depicted that the panel at Heckscher was behind CUNY/Staten Island, spoke very briefly, Joan of Arc as the model of inner spirit the time. In our fatigue it seemed that perhaps because the pithy panel had and faith, as she, like contemporary rather than show us the energy of already run way over the allotted time woman, does what she has never done women's art on the periphery, the tour limit. She noted her ow n lack of activity in before. June Blum painted Betty Friedan, had sapped o u r strength. But the experi­ the women's art movement, and how her the living prophet of feminism. ence of going on that long bus ride with concepts of excellence are "clearly domi­ The stay at the chapel is an all too brief women in the arts from all over the nated by male ideas," as her instructiors and crowded 20 minutes; then we hit the country stimulated my thoughts for many shared that gender. She unconvincingly long stretch of road to Port Washington. days after. I'm glad I went along. claimed that wom en in power in the CAA We fall into discussions. Some life stories — Carla Sanders don't go "out of their way" to be are being exchanged by this time; other supportive because it is hard to unlearn groups talk about art history or the events their original learned concepts.

24 Womanart/Spring ’78 The lack of time obviated much needed 4. Get "Anger and Action," a discrimi­ Art in Crafts audience participation, but this pertinent nation guidebook published by WCA cont. from pg. 20 discussion, a sort of "where we're at" for available for $2.50. women in art, was the ideal choice for the Diane Du Broff offers this final bit of been discussed by traditional critics. Lois session opener. information: 50% of the women who are Moran, of the American Crafts Council, — Ellen Lube!I in professional fields will encounter sexual reiterated Higby's contention that critics discrimination. will write about an artist making hand­ — Vernita Nemec made paper but will overlook other art because the materials used still label the work as crafts. Sex Discrimination The panel devoted a good deal of atten­ cont. from pg. 19 tion to the misconceptions people main­ Environment future. She also stressed the importance tain about "crafts." Moran said that many cont. from pg. 19 of collecting specific information on posi­ of her students assume crafts to be nothing more than the making of func­ tions not renewed. The ultimate reason era will be more closely connected to tional objects. Still, she feels that the she said that a settlement was reached "women's sensibilities" of openness, co­ women's movement has furthered the with Pratt was that a press release was operation, sensitivity. We need the holis­ notion that all kinds of materials are issued. Another point she made was that tic visions of women in planning and acceptable in the production of art. Eliza­ the state attorney general can ask for re­ design, she said; women's come from beth Osborne of the Pennsylvania Acade­ consideration in a tenure case but cannot "decidedly" different concerns, and have my of Fine Arts talked about artists like enforce it. been "all along" the ones intrinsic to new Hesse, Kozloff, Picasso and Calder cross­ Diane D. Du Broff made the point that paradigms. ing the boundaries and using craft materi­ having a good case is not enough and the Agreeing with Smith's premise that als, yet felt that craft should be judged on other members of the panel echoed the we're living in a time of great transition its own terms. Her topic, "Crafts as need for strength, guts and plenty of was Jane C. McGroarty of the New Objects in Painting" is also the theme of money. Her advice was to try to settle. Jersey School of Architecture, in her her painting. Ellen Dresselhuis said that the enforce­ "Metaphors for Home." After differentia­ Noma Copley, an artist who spoke on ment of anti-discrimination laws is about ting between house and home, she went "Women Goldsmiths," worked on the pinpointing. The laws are there and can on to list some of these metaphors (the Heresies issue concerning Women's Tra­ be enforced. As depressing as all the self, a woman's body, a castle, a muse­ ditional Arts. She reported that the reports were, hers seemed even more so um, a machine for living, a boudoir), and earliest female goldsmith, May Morris, because of her straightforwardness. Now, traced these visually through the work of was the daughter of William Morris, she said, courts are beginning to realize various artists and architects. She also making the point that most female artists just how expensive fair and equal treat­ traced the changes in home concept and have artist fathers. Today most jewelry is ment to women can be and so are re­ design in relation to the concepts of designed by women with art school train­ trenching. She went on to say that those women (as producers, consumers, moral ing who see themselves as artists, yet lack who have us fighting among ourselves guardians) from about the 12th century to the skills possessed by earlier jewelers know what the issues really are. today. who had served trade apprenticeships. Paula Gerson was not granted tenure This intriguing discussion was followed Lois Moran suggested that greater by Columbia because she did not add to by the fascinating presentation of "W om ­ visibility be given to contemporary crafts the library or slide file holdings. She feels en's Environmental Fantasies" by Leslie to encourage critical attention. She main­ that unless one fights by whatever means Kanes Weisman of the New Jersey tained that educators must develop an one can, there will be no success. Christi- Institute of Technology, who collaborates understanding of crafts to make the anne, who has initiated a class action on this project with Noel Phyllis Birkby, positions of art and craft merge and to against Tufts that is still not settled, has the project's originator. In workshops encourage the use of unexpected materi­ already paid $10,000 to her personal conducted across the country, they col­ als. She suggested that art history guides lawyer and still owes $80,000 in legal fees. lected drawings of women's environ­ students away from crafts. She will probably lose first, then win in mental fantasies to determine how wom­ The audience primarily consisted of appeals court she says. Her attorney en see themselves fitting into worlds of individuals who announced themselves advised that Tufts would probably sue for their own making. The drawings, shown craftspersons. We all agreed with the damages if she goes to appeals. Some of on slides, were wonderful —thoughtful panel's most strongly made point, that her expenses have been paid for by and flighty, perceptive and whimsical. crafts lie outside the interests supported WEAL Fund. Contributions to this fund Weisman noted patterns which displayed by critics: money, media and politics. are tax-exempt as allowed by law. a "hunger" for a supportive environment Where does it stop? Usually cases are in which women have "power, control — Vernita Nemec won in private settlements, not in court. and choice." A participant, she hoped, Since university money comes from tax­ received a sense of self-discovery, a payers, there is often more leverage with raised consciousness re: the built environ­ private industry, where profit and image ment, and a validation of her own Convocation are at stake. experiences and perceptions through her cont. from pg. 20 The panel had more advice to offer: fantasy drawings. 1. Sue in the court where the law is in Satisfaction at last: but then, Paul arts in 1979. State agencies will elect your favor. (On the issue of pregnancy, Goldberger, architecture writer for The regional delegates to go the the White for instance the New York State Court of New York Times, and one of the discus­ House, and Schoettler urged women Appeals is in opposition to the Supreme sants, systematically questioned and/or artists to get involved with the state art Court.) disagreed with the relationship of only councils and other agencies that will feed 2. It is harder for defendants than women to almost every major point in the into the national conference. plaintiffs to collect attorney's fees. papers presented, with speed and a dash Then, after a break, word reached the 3. If your problem is unequal pay, go of relish. conference that the delayed Mondale to the Department of Labor, Wage and — Ellen Lube!I party had arrived. Excitement kept in Hour Division. abeyance erupted all over again, media

Womanart/Spring ’78 25 representatives jockeyed for position, and The only CAA panel devoted to her early work, the pieces make little then Mrs. Mondale and a small entourage women artists and their art: visible impact on the environment and — that surprisingly included New York perhaps because of this, nature is focused City Council President Carol Bellamy and WOMEN/NATURE and accented in subtle ways. surely some Secret Service people —burst Pat Steir works with internal land­ into the room. After the press was given The ambiguity of the title of this panel scapes, thereby defining her inclusion on time to take pictures, Bellamy briefly said was reflected in the attitudes of the par­ the panel. She speaks poetically and quite hello and offered encouragement. Brod­ ticipants. They never really got down to movingly about herself as a sensibility sky then introduced Mrs. Mondale, citing the exact personal relationship of their containing all possible combinations of her background in and contributions to work to the environment. Why must this perception, of space and time, of change, the arts, noting her "extraordinary sensi­ work be placed in nature? Could the of desire, of time passing, of memory. tivity to the needs of the art world." concerns expressed by the artists be con­ Michelle Stuart works in relation to Mrs. Mondale assumed the podium fronted only in nature? Flow does each geological time and place. Her books, her herself, delivering a highly supportive woman relate to and deal with natural drawings and rubbings and her one large speech that gave CWAO its mandate. phenomena? Does placement of large outdoor piece (Artpark) —all reflect and She stated that the show "Women scale pieces in the environment neces­ reiterate this interest. Lauren Ewing Artists: 1550-1950" proved the history sarily denote a relationship of that piece showed interminable views of one piece books wrong, "no matter what Janson and nature? As women, do these artists dealing with a "hypothetical horizontal says." Calling Federal agencies in need of feel a different, or a special approach to based on visual and sensual experience consciousness-raising about the eager­ nature? None of these questions were and the change of that experience by ness of women to participate in the arts, answered by the panel. Some panelists motion through a landscape (walking)." she said that perhaps the Administration were rather affronted by the nerve of She also showed slides of an indoor piece critics are right: perhaps women are no t members of the audience for expecting dealing with lights and a spatial grid but it qualified in the terms that agencies them to deal with questions implied by was difficult to hear her concept by that define, that women in the arts do not pos­ the title of the panel. time due to the snores and rude remarks. sess the requisite credentials for entry to What the panelists did deal with were It then fell to Barbara Novak, as the the highest levels of the art world. the slides of their work —two hours of resident art historian, to pull these diverse Women do not lack knowledge or train­ them. Each member explained the w ork in approaches to environment and/or nature ing, but do lack opportunity. The CWAO, terms she felt were relevant: together and perhaps find similarities to she stated, should highlight this central Nancy FHolt is obviously concerned with concerns posited in 19th century Ameri­ problem. She then began talking about perception. Whether in a gallery situation can , her specialty. action, how it "identifies oneself in the or a canyon she finds her own sites. In her And find them she did: perception of world," and how action and power, the early career, she walked through Chicago time-space; marking of the environment; ability to effect change, are closely allied. galleries searching for proper spatial siting a sense of place; a sense of the sublime; Few artists are aware of the impact of (room with a view) for her pieces. When the search for a pure horizontal. Unfor­ Federal programs, she said, and if the she found said site, she approached the tunately, the members of the panel legislators receive no information from gallery owner to relay the message that denied that any of those concerns were visual artists, the programs may actually she could show her work there. The present in their work in the way that the be detrimental to them. The CWAO gallery owner's replies are not repeated by 19th century painters viewed them. mandate: "to defend and speak for all FHolt. I love this story; the art w orld always Which, of course, is true but then, how visual artists, and therefore achieve power needs moral fables of humble beginnings. are the concerns different in approach? through action for all visual artists." We FHolt is presently not interested in "Mega- No one ventured to say. Non-adventure must try and leave the 'sexual' aspects lithic monuments but in bringing percep­ was the tone of the panel. It seemed its behind. tions back to human scale." members were only interested in present­ — Ellen LubeII Mary Miss wants to make people aware ing their work and the larger, more of space, make nature more accessible. fascinating, but less safe aspects of the She forces the viewer to walk in order to questions were never considered. experience the serial spacing of elements Iconography —Anne Healy in most of her work. It's interesting that in cont. from pg. 21

put us in touch with archetypes and feminist symbolism. Though today's range of sensibilities cuts across sexual Frances Kuehn speaking on "Feminism scapes of jottings and paint markings; lines, she continued, the male sensibility and Imagery in Contemporary Women's Jennifer Bartlett's non-hierarchical, ad- is still more acceptable, and the point was Painting" and Ann Sperry on "Contempo­ ditively created wholes; 's raised that women artists might again rary Women's Sculpture: Materials, Im­ free exploration of the decorative. return to the use of initials. ages and Emotions" both spoke eloquent­ Ann Sperry talked about the work of six Borgatta stated that she feels the ly. Kuehn stated that "all women who sculptors who deal with traditional, hard cultural differences between the sexes to pursue individual achievement are femi­ materials on a human scale: Mary Frank, be greater than the biological differences, nists" and further, that "all women artists Elizabeth Munroe Smith, Ursula von and that artists such as Lee Bontecou and are feminists." In her commentary ac­ Rydingsvaard, Barbara Zucker, Louise Barbara Flepworth cut across sexual lines. companying the slides of the following Bourgeois, and herself. One of the slides Barbara Aubin of Chicago State Univer­ artists she spoke of: an aura of tragedy showed Louise as a young woman stand­ sity spoke about "The Useage of Non-Art around the work of Joan Snyder; hedon­ ing outdoors next to one of her pieces. Materials in New and Different Contexts." ism, sensuality and a flaunting of conven­ The image evoked not only her strength, She mentioned midwest artists Alice tional expectation in Sylvia Sleigh's work; but served as another reminder of the Chattel, Phyllis Branson and Barbara the unique concerns and nuances of sheer force and endurance required of Rossi as well as some New York artists gesture and expression in her own work; women artists who continue to make their whose materials are not unique, with the the fact that works from art and keep it in the public eye. exception of Jennifer Bartlett, but their black and white photos of places she has — Vernita Nemec use of the materials is. never seen; Pat Steir's internal land­

26 Womanart/Spring ’78 A not-for-profit graphic design service partially funded by the New York State Council on the Arts for artists, craftspersons, musicians, and cultural groups.

464 Greenwich Street New York, New York 10013 212 925-5436 Today: Nadine Valenti. Box 281 A ' TENTH STREET Overwhelmingly, conversations about High Falls, New York 12440 cont. from pg. 18 the cooperative involve words like equality, 914 687-0125 women. Cooperative galleries were formed democracy, respect and wonderful. For to remedy the situation. some women this was one of the most Design,composition, mechanicals These downtown galleries were not rewarding periods in their lives. Their self- ■ Posters ■ Brochures anti-establishment factions but adjuncts respect and self-confidence grew through ■ Catalogs ■ Newsletters and entries into the uptown conglomerate. their acceptance as artists and their art ■ Flyers ■ Announcements They grew largely out of the camaraderies became bolder in the process. “The great of the younger generation at the Cedar Bar burgeoning that took place at that time and the Club. They were low-cost and was the kind of joy that women felt in primarily non-commercial enterprises, lo­ being able to work and show and be cated in the artists’ own neighborhood. accepted on Tenth Street,” declares A- Their purpose was to show the work of brams. It gave women the confidence to their member artists and to make the work take the risks that were necessary in of the older generation of artists easily painting. accessible to the downtown art world. Ruth Abrams helped to found the They were forums of action and reaction, Camino Gallery in 1956. At that time she places to learn and to grow. Some of the was already showing in a commercial galleries also served as gathering places gallery, the Roko, and selling well. Never­ where artists, taking a break from their theless, she felt a cooperative would fill a work, could go and talk about art. They different need. Most of the members of the were informal and at first, even ingenuous. Roko Gallery were male and competitive. ENAMELS GALLERY As they operated on a shoestring, co­ As a woman, Abrams did not feel com­ 171 Spring Street operatives could not financially afford the pletely welcome and was not close to them. Soho, New York 10012 sexual elitism of the Club or the uptown In addition, the Roko did not provide the 212 431-8151 galleries; they maintained an elitism only type of environment in which member in regard to the quality of the work admit­ artists could gather to “talk art.” A co-op, ted. Entry into a gallery was determined she felt, would provide a more congenial first and foremost by the art work; if a and accepting environment in which she woman’s work was well-liked and she was would be able to see the work of other able to pay the gallery dues, she would be artists, have her own work be seen by “DUO” voted in. But in the minds of some women them, and in which she could show her there are nevertheless some doubts. Valen­ new work without having to worry about ti, a former member of the Area Gallery, the strictures of the marketplace. As LINDA SHERMAN feels that women were welcomed primarily Salons des Refuses, cooperative galleries because their money was needed and provided the freedom from commercial CLOISONNE Passlof, who was a charter member of the expectations and from back-biting; this ENAMELER March Gallery, feels that a co-op would freedom is traditionally the sole legacy of indeed admit a man before a woman if the refuses. In addition, Abrams was not they had that choice. She also suspects only unconcerned about the stigma of “not that a woman’s connections in the art having made it” attached to cooperatives, JAMES RAUSCH world might have helped tip the scales in but felt that, by her simultaneous mem­ GOLDSMITH her favor. By contrast however, Alice bership in a commercial stable, she could Baber, Marcia Marcus and Joann Gedney, help alleviate this stigma for others. also charter members of the March, Most women artists in the co-ops, how­ through April remember a marked lack of sexual dis­ ever, did not have Abrams’ choice of show- crimination in their cooperative. places. Although a number of them had

Womanart/Spring '78 27 MARION LERNER LEVINE « OIL PAINTINGS 1972-1978 February 28— s M arch 1 7

1 £ CONTEMPORARY ARTS GALLERY | 566 LaGuardia Place 1951-52: Lois Dodd, George Washington and the Continental Congress, 32x48". New York City 10012

boyfriends or husbands showing in com­ mercial galleries, these women were un­ able to show outside of the cooperatives except in an occasional group show. The cooperatives gave them their only chance HANA GEBER for exposure and for the development of a professional attitude. Critics reviewed the shows regularly without regard to the Sculpture and Ceremonial Art gender of the artist. “I got reviewed im­ mediately in A rt News wth a large FEBRUARY 2 6 -APRIL 2,1978 reproduction,” notes Baber, “and it es­ tablished me among my peers as somebody ready to show.” Because of the discrimination against HARTFORD JEWISH COMMUNITY CENTER women artists in the commercial world, 335 BLOOMFIELD AVENUE, WEST HARTFORD, CONN. 06117 the cooperatives had a different and greater significance for its female mem­ SPONSORED BY ANN RANDALL ARTS COMMITTEE bers. “It gave them a chance,” remarks Abrams, “to get on the same level with men, through their work, their mutual interest in art.” And besides, Valenti notes, “What else was there?” BETHEL GALLERY • 186 Greenwood Avenue Nevertheless, the men did tend to Bethel, Connecticut (203) 743-6644 think that there was something else. They were more hopeful than many of the women, for obvious reasons, of eventually gaining entry into an uptown gallery. The co-ops were temporary expedients for them and not ends in themselves. “The men had more of an ego to go uptown,” states Jean Cohen, who never did settle with an uptown gallery. (Instead, Cohen tried to revitalize the cooperative system with the Landmark Gallery in SoHo.) “A lot of them stepped right uptown,” yet, “I’d get as good reviews as any of them .” “Today a woman can be honest with herself and say this is temporary until I can get into a commercial gallery,” remarks Valenti, “but in those days you were really being dishonest with yourself if you were thinking that.” A few of the galleries, like the Tanager and the Hansa, developed an aura of prestige over time, making the move to a commercial gallery much easier even for its female members. Dody Muller of the Hansa Gallery recalls that neither the men MARILYN BECKER nor the women had very much difficulty entering a commercial gallery when the Hansa closed in 1959. Muller moved to Exhibition Paris where she exhibited and sought a February 12— March 7 gallery in New York upon her return. She eventually entered the stable of the Parma 1978 Gallery. Yet she does recall one occasion when she asked a dealer to exhibit her

28 Womanart/Spring ’78 ELENA BORSTEIN

Recent Paintings and Pasteis

1975: Lois Dodd posing in front of one of her paintings. April 25 - May 13

work and was told, “Dody, I’ve got two women in the gallery and you know that we can’t take on any more.” “That,” she remarks, “was the truth then.” Marcia m Marcus and Alice Baber of the March Gallery were also able to find commercial /4NDRE ZARREG4LLERY galleries within a reasonable period of i = i 41 FAST S7TH ST NFW VOPk NV 1 0 0 9 9 7^9-O/lOA time, although Marcus recalls some very discouraging and obvious cases of sexual discrimination, especially by women art dealers. Other women artists found the ’60s a very disheartening period and, whether by choice or by necessity, showed rarely. Pat Passlof and Lois Dodd felt that they were stylistically excluded from the art market ILISE GREENSTEIN by the Pop and Op Art styles. Passlof showed her abstract expressionist canvases for a while at commercial galleries but represented by then “Pop Art came upon us—eclipse!...I GLORIA LURIA GALLERY showed a little bit, but it was meaning­ less...nobody was looking.” Miami, Florida Lois Dodd, a figurative expressionist, 1128 Kane Concourse, Bay Harbor Island was unable to show from 1962 through (305)865-3060 1969, although the other members of the in New York City Tanager Gallery had little trouble finding (212) ES2-0954 commercial representation. Ruth Abrams showed once in 1962 and was “totally ignored.” She then moved to Cambridge, had two successful shows there and was invited to show in Caracas, Venezuela. But, she recalls, “I couldn’t get anyone to take me seriously at that time in New York.” Nevertheless she feels that the exposure of her work at the Camino Gallery did more for her and her reputation than any of her commercial shows before or since. SELINA TRIEFF Joann Gedney and Nadine Valenti lacked the confidence and the desire to deal with the commercial art world of the ’60s. They have only recently begun to March 10-29 show regularly again. To what extent the impenetrability of the commercial galleries was stylistically determined and to what extent it was based in sexual discrimination is debat­ able. The art world was indeed taken by storm by the succession of Pop and Op "Les Lutteuses", 1977, o/c, 72x72. Art; other styles were eclipsed. However, there were also very few women represent­ ed in the galleries; a quota system seemed PRINCE STREET GALLERY active. The demise of the cooperative 106 Prince Street galleries in the ’60s meant that both the New York City 10012, Tu. - Sun. 12-5 gender of the artist and the style of his or her work would be solely determined not

Womanart/Spring '78 29 by the artists but by the monied establish­ ment and the public relations media which SUE FULLER were pushing the art market to unprece­ dented levels. We will never know what the New String Compositions effect an influx of these women into the commercial art world might have had April 2-28 on the look of ’60s art. For the most part, these women are having an easier time in the 1970s. The women’s movement has helped them somewhat (although Alice Baber believes Port Washington that it has not helped them nearly enough); it is no longer acceptable for a Public Library gallery to announce a policy of “no 245 Main Street, Port Washington, L.l. 11050 women” and, as Passlof points out, “what (516) 883-4400 During Library Hours you’re allowed to say affects what you have to do, eventually.” Some of the women I spoke with are actively showing now for the first time since the closing of the cooperatives; others have finally been able to obtain university teaching positions. They sense that it is generally easier now for a woman to enter a commercial gallery, although the odds are still against her. JACQUELINE WRAY Their next battle is with the schools which are still blatantly discriminatory. None of these women has any direct DRAWINGS AND PAINTINGS experience with the current cooperative MARCH 2 8 - APRIL 25, 1978 movement in New York; however, they generally agree that the cooperatives still play a different role for women artists than WOMEN’S INTERART CENTER GALLERY for men because of the scarcity of spots for 549 W. 52nd St., NEW YORK CITY 10019 women in the commercial galleries. Their GALLERY HOURS: MONDAY—FRIDAY, 2 - 8 P.M. opinions of the ’70s co-ops vary widely; universal agreement is reached only on the point of their being too expensive. Jean Cohen feels that the ’70s coopera­ tive movement differs from that of the ’50s in that the current one is purposely anti­ establishment; its members, she believes, Sharyn Finnegan are not solely oriented to obtaining com­ mercial representation, but are acting to counter the big business conglomeration of uptown galleries. For this type of person, February 17 - March 8 the cooperative gallery system is an ideal­ istic striving toward an alternative manner of exhibiting and marketing art. Yet others, like Valenti and Marcus, do not consider the present cooperative sys­ tem to be a viable alternative. They also Prince St. Gallery feel that, if her work is good enough, a 106 Prince St., New York woman can get into a commercial gallery. Joann Gedney was recently asked to join Diptych Self-Fbrtrait, 1977. Oil. 54 " x 4X". Gallery Hours-Tues thru Sun. 12 to 5 two different cooperatives. In coming to her decision to decline the offers, she was forced to evaluate her feelings about the new movement and her ability to relate to it. Her reason for not joining perhaps summarizes the feelings of the women I interviewed: v D f e e c t ^ , . I think I was in the co-ops when they were it. Now I don’t know... I don’t Co „enjoy the ojof think it’s what it was. You see, it was Toe FancL wheat so good then. It was awfully brief, but it was so good. w . f tr td L M i z u e i The cooperative galleries of the ’50s \m o!-feui. toittv cU'ifkutffQvifeJj welcomed women artists and gave them a voice. “Had the co-ops not been there,” \ CJtijoiU^TbuAsl f u / Passlof observes, “women would not be visible now.” 3 X > Q * » N v/ a ^ m 'v - v£ > C

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30 Womanart/Spring ’78 AND WOMEN'S ART by Lawrence Alloway

preserved even through the worst transla­ later work, including Process Art. Primi­ ne aspect of women’s art is the tion” (Structural Anthropology, 1963, tivism is a persistent theme, then, its time- search for an essentializing state­ p.206). The purpose of the triad listed perspective beyond the historical, a recur­ ment about women’s identity and above is to show the ubiquity and thence rent topic. Primitivism is an interdiscipli­ nature. This takes a number of forms,the depth of women’s experience in sepa­ nary field of study (though Goldwater severalO of which can be grouped around ration from the general culture. The does not mention Lovejoy or George Boas, the core of primitivism. antagonistic general culture is character­ another pioneer). Its broad range would be 1. The mythology of the Great Goddess ized as over-organized, too sophisticated, congenial to the non-formalist women’s attaches great importance to the matri­ and brutal. (The lesbian notion of hetero­ movement. Of course we are dealing in archal predecessors of the patriarchal sexuality as a male invention is apposite primitivism, not with ethnological imita­ Classical myths. There is an analogy with here.) By comparison, women’s art claims tions but with a strategy to release basic psychoanalysis in which the Oedipal con­ a more authentic, direct, and organic view human energies. flict (Freud) is preceded by contact with of the world, set against the exhaustion is a key figure in any the mother (Maelanie Klein). The Great and violence of the oppressive culture. discussion of primitivism in visual art. Goddess represents therefore an earlier Because of his Peruvian mother he called stage of culture than the diversified male himself “a savage from Peru.” Goldwater pantheon of Greece. All those seducers ...‘‘In the latest phase of quotes his advice to “have before you and warriors are thus upstaged. primitivism the enem y is not solely always the Persians, the Cambodians, and 2. The theory of biological body imagery or the academ y, but a little of the Egyptian. The great error is postulates a similar priority to the male, culture viewed as a male-slanted the Greek, however beautiful it may be.” inasmuch as the womb is the origin of all establishment”... The anti-classicism of Gauguin is central life. Centralist imagery, with its vaginal- to all phases of primitivism. In The Blue uterine references is a lyrical affirmation Rider Almanac (1912, English edition of Strindberg’s fear (The Father) that only Primitivism does not refer to “primi­ 1974), edited by Kandinsky and Franz the woman really knows who a child’s tive” art itself, as produced say by North­ Marc, the illustrations include child art, father is. west Coast Indians or New Zealand Bavarian folk art, and tribal arts from 3. Craft materials and techniques are Maoris. The primitivist is always at a Africa, Polynesia and America. These are also used to symbolize a unique feminine distance from the primitive, but depends all forms of art free of the humanist sphere. When quilting and other crafts are upon it as an index of value. It is a form of influence, carried from Greek sculpture taken as models by later artists there is a thought in which the “simple” criticizes via Renaissance painting. nostalgic evocation of the past. By means the “complex.” The canonical definition is There is a straight line from this primi­ of craft, artists associate themselves with Arthur O. Lovejoy’s: “the discontent of tivist range to Jean Dubuffet’s anti-cult- the past domestic lives of American and the civilized with civilization, or with some al stance and his collection of the work of European women of their own class. Aside conspicuous and characteristic feature of lay artists under stress (schizophrenics, from domestic bonds it has been suggested it. It is the belief of men living in a prisoners, mediums). The rejection of that women tend to use objects from relatively highly evolved and complex “male” culture by women mythographers nature in their assemblages, thereby af­ cultural condition that a life far simpler can be considered as an episode in a series firming their ties to the land, but this per­ and less sophisticated in some or in all of anti-classical, revisionist actions on petuates a stereotype of mythic female respects is a more’desirable life” (Primitiv­ behalf of authenticity and humanness casting with connotations of blind fruitful­ ism and Related Ideas in Antiquity, 1935, apart from classical conventions. In the ness. In the ’30s the English Surrealists v.l, p.7). The point is that the essential­ latest phase of primitivism the enemy is also naturalized the surrealist object, izing theories of women’s art, though not solely classicism or the academy, but switching from manufactured objects, like dealing with a volatile cultural issue, the culture viewed as a male-slanted establish­ those of Duchamp or Dali, to stones and liberation of women, do so in a traditional ment. worn wood (an anticipation of the Drift­ mode. What I want to do here is to Parallel in time to Dubuffet’s I Art brut wood Esthetic of the ’40s?). However consider the presence of primitivistic is the primitivism of the first phase of mythographic art criticism does not take elements in women’s art theory and then to abstract . The assumption of much interest in inter-gender comparisons. estimate their usefulness. links between the modern artist and the Thus there is a cluster of avatar, body Primitivism was studied first in the primitive, implicit in primitivism, is spel­ and object that has as its center a primal history of ideas in relation to literature, led out by Barnett Newman. Writing vision of women constructed by their art. especially in the 1930s, and in relation to about Adolph Gottlieb’s pictographs he Such a project, with its inter-relations of art by Robert Goldwater. His Primitivism states that his ’’capacity to present in art and society, is motivated by a strong in M odem A rt was published in 1938, abstract terms a concrete myth, personal mythologizing drive. To quote Levi-Strauss with a second edition in 1967. In the or traditional, unites him with the North on the hardiness of myth: “Poetry is a kind catalogue of the exhibition “Primitive American primitives” (1945). And more of speech which cannot be translated Presence in the ’70s” ( Art generally: “The reason primitive man is so except at the cost of serious distortions; Gallery, 1975) Peter Morrin proposed that close to the modern mind is that we, living whereas the mythical value of myth is Goldwater’s thesis is still applicable to in times of the greatest terror the world has

Womanart/Spring ’78 31 known, are in a position to appreciate the the muse of tragedy, mythology to Gottlieb acute sensibility primitive man had for it.” ...“The need for a definition of was not a matter of specific one-to-one "Modern man is his own terror. To the which is outside male references, but an oceanic continuum of African and to the Mexican, it was the definitions is apparent, but I doubt the imagery of birth and death, desire and jungle” (1946). that mythology is the way terror. Feminist mythology, of the sort In place of Newman’s terror we have the to achieve it”... under discussion here, assumes a compar­ mysteries and consolations of the Great able intensity and evocativeness. Goddess, but in both cases the value of the It should be apparent that I am not modern work is estimated by its roots in a their art based on a hastily imagined past. equating women artists with primitivism suppositious past. Gottlieb wrote: “I disinterred some and male artists with some progressive frequently occurs in women’s discussions relics from the secret crypt of Melpomene doctrine. On the contrary, my point is that in terms of its bohemian and Jewish male to unite them through the pictograph, the myth-making practices of artists of chauvinism, but here we have a similarity which has its own internal logic” (1944). both sexes reveal a similar rhetoric de­ of thought patterns between the two sexes Here mythology contributes to Gottlieb’s signed to secure absolute value for the and the different generations. This is art from a “crypt” which has the implica­ work. The need for a definition of feminin­ owing to the fact that both groups desire to tions of mystery that Freud restored to ity which is outside male definitions is formulate a universalizing justification of classical mythology. Despite his naming of apparent, but I doubt that mythology is the way to achieve it. Putting Cybele in the place of Saturn or Demeter in the place of Dionysus does not guarantee a feminine pantheon or even a feminine esthetic. To turn the femme fatale into a fury might have its satisfactions, but to do so involves JAN VAN RAAY manipulation of a male-originated stereo­ type. There is a real possibility that myth­ ology, shaped by millenia of “male” culture, is not fundamentally amenable to "Fishworks 1973 -1978" later tinkering by women. For all its pic­ turesqueness mythology may not be the best way to formulate new goals. APRIL The Surrealist personnage has had a long and rich life. The term was coined to UNIVERSITY OF TENNESSEE AT CHATTANOOGA refer to human figures of a trans-personal significance: totemic presences, ancestral ghosts, hallucinated lovers. Personnages are the personifications of 18th century poetry revivified in the age of Freud. In myth-oriented women’s art they take such forms as Goddesses, self-images as cult figures and women heroes. As they build up an iconography of active women, these figures have a polemical as well as a self- expressive purpose. When the two are fused we have one of the successes of irrationalist feminism, the personnage as role model. The sexual connotations of its early forms have been turned into a declarative parade of exemplary figures. One requirement of primitivism, the sense of cultural malaise leading to a rejection of present society, is certainly a constituent of women’s art. My reserva­ MARGARET MILLER CONSTELLATIONS SCULPTURE & DRAWINGS 14 SCULPTORS 75 THOMPSON ST. N.Y.C. MARCH 18 - APRIL 5 tions have to do not with the need for change but with the effectiveness of myth-raking as a way of achieving it. It is basically the continuation of a familiar mode of thought, useful primarily for its simplicity. Though supposedly a tough rallying point, it is clearly a derivative ESTHER GILMAN from the general culture. In fact it seems to me, with its hypothetical mythology, its claim for timelessness, and its traditional Drawings language essentially a conservative posi­ tion. When Gauguin went to Polynesia he had to reinvent Maori mythology. He sup­ April 29 — Map 17 ported the iconography of his own art by this effort, but he did not re-invigorate the original beliefs of the Maoris, destroyed by Christian missionaries. Women’s primitiv­ RAZOR GALLERY ism posits an imaginary society, with pre­ 464 West Broadway, New York, NY 10012 historic roots, but how adequate is it to Tel. (212) 533-3427 Hours: Tues.-Sat. 12-6 1. describe the present diversity of wom­ en’s art or 2. envisage the future develop-

32 Womanart/Spring '78 ment of a multitude of urban women artists? Although mythographers, cunt imagists, and craft users claim to advance a compre­ hensive theory of women’s art is this the case? The arguments presume that their description of the springs of women artists are correct. This means that women who STEPHANIE work in other ways (realists and big-form welders, let us say) are wrong. At least, BRODY LEDERMAN they have been diverted from the definition of their inherent femininity and, to that extent, have compromised with the contin­ gencies of the general culture. Thus primi­ "Long Guileland Stories" tivism in the women’s movement is not simply an avant-garde group versus the rest of society, as with the early 20th century Blue Rider group, it is also a critique of other women, who, though they share the same oppression, have failed to 12 Feb. -19 March Nassau County Museum of Fine Arts see their cultural role correctly. Primitiv­ Roslyn, N.Y. (516) 484-9433 ism is therefore a divisive factor in the women’s movement, in sharp contrast to 2 April - 29 April Robert Friedus Gallery the ecumenical ideal voiced earlier in the 158 Lafayette St., N.Y.C. (212)925-0113 '70s. To propose inherent characteristics on the simple basis of primtivism, at this late date in the history of the idea, is to put the wish for a unifying theory in place of the thought and testing necessary to achieve it. Intuition is a poor guide here because it derives unquestioningly from cultural habit rather than from innovative ELENA URBAITIS thinking. The references to the past as a standard for women’s art have of course a political Paintings and Collages purpose, to mobilize women, but the mythical dimension is suspect. The “eter­ nal feminine” of male fantasy has been accepted by women and reinterpreted for March 18 - April 6, 1978 their own ends. I can see the reasons for doing so, but doubt that the original idea PHOENIX GALLERY is worth preserving in any form. Timeless 30 West 57 Street avatars, whether male or female, represent New York City 10019 an irrationalist mode of thought. Sky God Tu. -S a t. 1 1 - 5:30, (212) 245-5095 or Earth Mother, H. Rider Haggard’s She or Olympian Jove are equal in their pictur­ esque inutility. The trouble with universals is that they tend to suppress the ability to recognize and appreciate specific detail. The feminist movement in art, as an ef­ HERESIES: fective force, developed only in the '70s. As a new movement, in relation to current shifts in society, it demands new terms and A FEMINIST PUBLICATION new emphases, not retreads of discredited theory from what women call “male” ON ART AND POLITICS culture. Primitivistic mythology is a stale and conventional basis from which to A collectively edited, idea-oriented journal devoted to the examination of art approach women’s art. All we can expect and politics from a feminist perspective— includes research, theoretical articles, is repetition of the sentimental self-ag­ analysis, fiction, poetry, visual art. grandisement of abstract expressionism, though 30 years later. Why should femi­ Issue No. 4 Traditional Women s Arts— The Politics o f Aesthetics nist mythographers settle for primitivistic Issue N o. 5 The Great Goddess— Women's Spirituality stereotypes? The attraction can only be Issue No. 6 Women and Violence that they provide the sanction of yester­ Issue No. 7 Working Together— True Confessions day’s (male) avant-garde. What is needed for women artists is what is needed for all artists at present, an esthetic theory that can cope with the diversity of art and new SUBSCRIBE NOW information without resorting to instant —one-year subscription/4 issues $11. stereotypy. Heresies - Box 766 - Canal Street Station - New York, N.Y. 10013 •

Womanart/Spring '78 33 t&views The panel on the extreme right consists of Unwomanly rib./Remote, abandoned/ nothing but a nearly square rectangle house. Who dares/break this cup?” Y- floating on a solid ground, it and the vonne has been generous in granting a ground rendered in the same vivid colora­ carefully controlled visual experience a Joyce Kozloff tion that charges the other, far busier wide range of metaphorical import. Still, panels. This clear, “pure” image, so open one feels the artist is entitled to whatever (Tibor de Nagy Gallery, Oct. 29—Nov. 17) and calm after the rhythms and contrasts anyone wants to read into her work. And Kozloff holds a prominent place in con­ of the preceding panels, is not an oasis but Yvonne’s poem is rigorous in its examina­ temporary painting, a result of her suc­ a harmonious conclusion, a profound and tions. Some of the poems do not move cessful fusion of progressive social ideology restful cadence after the directed energy of much beyond the lyrical descriptive. (Joy with innovative abstract painting practices. the panels to the left. Walker on Von Wiegand’s The Tantric She is an active participant in the pattern —Peter Frank Ornament: “Dream of a peaceful sunset/ painting tendency—a tendency whose soft whispers from unknown spheres/over practitioners have become self-assured the abyss of Zamsar.”) Many if not most of enough, and aware and even supportive the poems, however, deal complexly with enough of each other’s work, to determine Women Painters their subject matter. Whether or not the an actual movement. Kozloff is highly Sl Poets paintings are well matched by poems, respected among pattern painters for the most of them compel serious attention, stance her work takes; like Miriam Scha- (New York University Contemporary Arts including strong works by Sonia Delaunay, piro, Kozloff is a pioneer art world Gallery, November 1-December 2) This Buffie Johnson, Dorothy Gillespie, Mau­ feminist, and insists on making the conceptually ambitious exhibition pairs reen McCabe, and Judith Rothschild. Of sources of her painting in women-associ- paintings and poems with varying degrees interest among both the writers and the ated modes (white American quilting, of felicity. Perhaps the ultimate rationale artists was Elise Asher. Asher draws her native American embellishment and Euro- for it, as for any group show, is that it painting (enamel on plexi) with a rapid Asiatic craft idioms) figure prominently in exposes us to a variety of artists. The and improvisatory hand—the clouds, pots, her audience’s awareness. All this, how­ paintings in the show range from figura­ fish, birds, and bicycles of The Blue Pot ever, would ultimately come to nothing if tive (e.g. Alice Neel) to geometric abstract subsumed in a delicate, quirky scribble. Kozloff s paintings themselves were per­ (e.g. Charmion Von Wiegand) to organic The title of the work suggests the name of suasive not just ideologically, but purely form abstract (e.g. Alice Baber). The a magic object in a fable, and Asher’s visually. Visuality is what the paintings as poems range from I. Rice Pereira’s lush poem, Possession, suggests a way to look paintings are about—the pleasing, and The Birth o f a Star (“O, radiant portent... not just at The Blue Pot but at any work of invigorating, visuality of complex pattern­ Impregnate the hazel”) to Isabella Gard­ art: “O the amber blue anything poised in ing. Kozloff s best works in this show were ner’s drier Your Fearful Symmetries (“It is a cloud/Is yours as the wish for it kisses the newest: a pair of deliciously rendered the internal structure that matters.”) The your brain,/A s the shine of it swims in and detailed books and large canvases like Gardner poem complements the Neel your eye.” Green and Orange Lattice (unmistakably Nancy and Victoria, a character study of —Patricia Eakins derived from the intricacies of Islamic an intense, guarded mother and an utterly tiling) and the grand multipartite Striped relaxed baby. Gardner’s poem closes with Cathedral. Striped Cathedral is of special these lines: “To be able to love/and to be remark not only for its size but because it alive/witness is proof/anger is necessary,” Invitational has been organized episodically, as a lines which comment directly on the moral sequence of discontinuous (but not incon­ dimension of the painting. (SOHO 20, December 3-January 4) SOHO gruous) pictures—not diffuse enough to be Yvonne’s poem for Hilda Wisoky’s 20’s holiday show was an invitational that called patterns, but entirely dependent on R e e f an austerely figurative abstraction, introduced nine more or less new artists. decorative bands of geometric detail, moves from the painting itself to an inter­ The group was an eclectic one, with works which read from left to right. The very pretative meditation ending in these lines: ranging from the totally representational disposition of the details in each canvas “Who speaks for the collective/the small, watercolors of com by Polly Kraft to orients the eye to a left-to-right passage. but not humble/holding back the flood?/ Deborah Freedman’s abstract collaged

Joyce Kozloff, Green and Orange Lattice, 1977. Sonia Delaunay, Rythme-Couleur No. 1556, Judy Penzer, Andrew and Leitha, 1977. Water- Collage lithograph, colored pencil, 65x43". 1968. Gouache on paper, 29x21". Collection o f color cut out, 5x3'. Photo: eeva-inkeri. (detail). Kay Hillman. 34 Womanart/Spring 78 painting. Some of the artists fit neatly into Tina Freeman demonstrates both her of images to a mass audience; a hole organized schools. Among them were technical prowess and her keen eye in puncher produces dots of uniform size. Arlyne Bayer, who makes cool geometric creating remarkable photographs. Her Howardena Pindell has taken these imper­ paintings; Judy Penzer, whose photo-real­ show at Cuningham Ward featured por­ sonal forms and transformed them into istic watercolor of a young couple had a traits and landscapes, and included some highly personal works. The pieces in her unique twist because it was a cut-out; and of the most luscious color in photographs I recent show consisted of video drawings Marjorie Abramson’s vaginal sculptures. have ever seen. which are photos of images from televi­ The best in the show were those artists Freeman’s work is consistently dignified. sion, and drawings utilizing the dots made who didn’t fit into categories. Bea Kreloff Her human subjects include art world from a hole puncher and the resulting included four charcoal panels—bigger- socialites and other persons I’ve not heard templates. than-life portraits of women’s faces. Al­ of. Many of her portraits are taken from a The dot pieces originate in drawings though her approach seemed at first quite distance, situating her subject within his executed in various media which Pindell academic, the size and power of the faces or her home or studio environment. It is proceeds to use as material for the hole gives them fresh meaning. These four interesting to reflect on judgments one puncher, thus recycling and transforming panels were from a series of 48, which will makes regarding the psychology of the the original works. The dots and templates have an incredible accumulative effect person photographed, based on what is are placed on a base—another drawing by when shown together. Carla Tardi’s two- rendered visible about his or her lifestyle. Pindell—and are piled generously in some tone drawing resembled a star, but the One assumes certain connections between areas, sparsely in others. In some in­ imagery clearly took second seat to her the posh interior full of art work in which stances she uses a string grid which offers manipulation of the surface. Tardi molded we find Peggy Guggenheim or the chic, another section of space for the dots to the thick paint into continuous ripples that boldly colored stripes on stripes surround­ occupy. The drawings seem to expand and were charged with mystery as they simul­ ing Diana Vreeland with the values each of grow in a constant flow of movement. taneously confirmed and denied the art­ these women embody. And yet in a series Pindell’s colors are lush and the works ist’s hand. The only other sculptor in the of four photographs of Carlos Perez—as a resemble topographical maps, galaxies show, Wopo Holup, showed six small well-dressed young gent on a country swirling through space, the colorful exces­ constructions made from building sup­ estate or as a street punk in front of a ses of a carnival. plies. Holup added a touch of acrylic here dilapidated house—Freeman presents the The video drawings are a result of and there, but the seductive color and pat­ power and folly of the medium said to be earlier dot pieces, monochrome works of terning in her house-like structures came worth a thousand words. numbered dots. She associates numbers mostly from the natural (non-precious) Freeman’s landscapes, including a se­ with distance, size and mass, quantity and materials. ries of Japanese temples, are equally digni­ identification. She arranged these pieces The gallery and its members are not fied, and respectful of a world that is not much the same as the works described obligated to such invitationals; they see her own. Here in these black and white above. In the video drawings Pindell has them rather as a community service. This works formal relationships are stressed taken an acetate sheet and using pen and policy is highly commendable, for it gives between bits of Temple architecture and ink has made a drawing consisting of small us (as viewers) a broad look at new talent, surrounding shrubs and trees. As with her numbered ink dots and arrows indicating and keeps those artists who have already human subjects, the photographs are care­ various directions. The drawing is placed fully composed, stressing balance and acquired (or created) a showcase in touch onto a color television screen and held by with those who still seek their first. reserve. Freeman is a distinguished pho­ static electricity. The set is turned on and tographer of considerable merit. —Jill Dunbar photographs are randomly taken. —Janet Heit Pindell enjoys using video in a non-nar- cissistic way which explains her partiality to television. The resulting photos of Tina Freeman Howardeun I'imlcll sports figures and events are sometimes blurred and distorted. The commercially (Cuningham Ward Gal., Sept. 21-Oct. 15) (Just Above Midtown, Oct. 11—Nov. 5) produced prints, issued in a series of 10 In her first solo show in New York City, The television screen projects a multitude over a period of time, are all different from

Tina Freeman, Diana Vreeland, 1975. Photograph. Howardena Pindell. untitled #85, 1977. M ixed media, 15Vix20" (detail).

Womanart/Spring ’78 35 each other, each print being a version of animals (a serpent, owl and camel) which observer. Like Edward S. Curtis, with his the other. We are confronted with visual appear frequently in her narratives. They massive study of the North American ambiguities compounded by the system of were bright and inviting but lacked the Indian, Ulmann dedicated herself and her dots and vectors indicating real and intrinsic charm of the lumpy ladies. resources to documenting her subjects, imaginary force fields. The prints included helped amplify producing over 10,000 negatives of them. Both sets of work present the viewer Saint-Phalle’s obsession with her father Her dedication has produced work that with aspects of time. The process of and with being loved, but added little stays in the mind’s eye, not disturbing with punching holes is rhythmical and steady, power to the show. The power came the memory of intense sensation, but ex­ yet the dot drawings teem with energy. The directly from the nanas—as totally con­ panding our sense of the possibilities for television images are caught and frozen in temporary, yet mythical beings—and courage, dignity, and style in difficult time on film, quivering with static and Saint-Phalle’s unique handling of them. circumstances. technical ghosts, and confounding us fur­ —Patricia Eakins ther with Pindell’s notations of an energy —Jill Dunbar crystallized, recycled, and filled with potential. —Lorraine Gilligan Polly Hope Doris U1 mann (Komblee Gallery, Dec. 17—Jan. 18) Is quilting an art? There are many answers “A Survey of Her Life’s Work in Photo­ possible, i.e., folk art or craft, but the \Tiki de Saint Phalle graphy” (Marcuse Pfeifer Gallery, No­ ultimate test is what one does with any vember 1-December 23) Doris Ulmann’s medium. Polly Hope makes quilts on a life in photography was spent document­ (Gimpel & Weitzenhoffer Gallery, Nov­ grand scale that are as engaging as ember 29-January 21) Niki de Saint-Phalle ing what one observer has called “the paintings. They are sometimes just narra­ vanishing American peasant.” Ulmann has been making her brightly colored, tive pictures as Indian Connections in photographed simple people with an eye earthy “nanas” since 1965. They are rich which she shows a Viscount Hope (a family for complexity of character. Some of her in their plastic form because they combine connection?) standing next to an Indian subjects are black, some white; most are the funky materialism of Pop Art with a gentleman with a small black man on a rural, poor in goods, and old. We see them more ritualistic (iconographic) imagery. rope, and a dead tiger at their feet. In the at work with looms, churns, tubs, ropes, Her recent show at Gimpel of seven small background there are limousines, an fishnets. Or we see them at rest, sitting sculptures and as many prints did not English lady, two Indian women, a snake- with a book. Often we see them framed by include any new work, and so was a good charmer, two hanged men swinging from a the fences, houses, and windows of their (albeit small) sampling of her active career gallows and an elephant. As you can see from 1965 to 1972. (Rumor has it that wooden environment, already old, soon to this is quite a detailed piece of work. Other vanish. Many of Ulmann’s contemporaries since 1972, when she stopped making art, times her quilts become more like sculp­ Saint-Phalle has been working on a working for the FSA made harsh, tures in which figures of animals and monumental architectural project.) sharp-focus pictures documenting the people are sewn together to make a large The earliest work shown, a dancing grimness of Appalachian and other rural wall hanging. papier mache nana suspended from the poverty. Ulmann’s photographs are soft- A wonderful erotic quilt that seems con­ ceiling, was covered with hearts made focus, and show the true portrait artist’s nected to the shogun tradition shows a from fabric, rope and string. It expressed emphasis on the individual characters of fornicating couple in a Japanese interior all the wild and pure fantasy around which her subjects. The photographs are highly being watched from the doorway by a Saint-Phalle’s world revolves. The remain­ composed, but never obtrusively so. Ul­ maid. The penis is done in glittery lame ing fiberglass nanas, naked or in sun­ mann’s hand has entered the picture to and the piece has an elegance that is mar­ dresses, were small studies, each painted arrange things so her subject will speak. red only by questionable drawing in the with a solid Day-Glo undercoat and then And so, looking at her pictures, one is woman’s legs. If only life were perfect— decorated with equally bright stripes and struck not by photographic effects, but by but Polly Hope’s quilts were quite impres­ flowers. The most recent works were the eloquence of a shirt, its simple dignity, sive. the way it falls across a pair of thin, —Robert Sievert straight shoulders. Or one is moved by the tilt and shape of a plain hat, the touch­ ingly high style of it. There is a gentle understatement in her presentation of her subjects—our exam­ ination is invited, our scrutiny invoked, but Ulmann’s camera does not deign to dazzle us with its virtuoso superiority as an observer. At its sharper focus, a camera’s scrutiny is so much more intense than our own, so much less editorial, that we are often shocked into passivity by the reality it presents to us. Ulmann’s softer focus solicits an active eye that will work to penetrate the ever so slight haze her subjects are surrounded by, the envelope of the artist’s respect for her subjects’ reserve. Ulmann’s soft focus grants priva­ cy, recognizes the inwardness of her subjects’ lives. And in making surfaces speak a little less, she allows what is Niki de Saint Phalle, Nana, 1971-72. Cast poly­ beneath them—the character of her sub­ Polly Hope, Red Flowers (31), 1977. Quilted ester, 23”h. Photo: eeva-inkeri. jects—to speak a little more to the careful and embroidered tapestry, 90x86" (detail).

36 Womanart/Spring '78 Vivienne Thaul Wee liter energy and enthusiasm on close observa­ (here portrayed in photograph and dia­ tion; close observation is necessary be­ logue as a fictional someone-else). (Gloria Cortella Gallery, Dec. 10-Jan. 4) cause Sultan’s work is rather small. Her —Peter Frank The painter/poet Vivienne Wechter paintings of classical American frame showed her abstract canvases and book houses have a jewel-like quality that invite length poem at the Gloria Cortella Gallery the viewer to make a more intimate inspection. in December. She paints with the sea Anthea Lewis colors of summer, sometimes blocking in —Robert Sievert and out with hints of landscapes, forms or (Graham Gallery, December 6-24) It is splashes of color in which to immerse unusual for a one-woman show.to take up oneself. only one wall in a gallery, but this was The Sacred Rock is a work which is Jacki Apple precisely the extent of Anthea Lewis’ first comprised of light brush strokes, stains, show at Graham. Her 13 miniature scribbles and rectangular areas which are (112 Workshop, Inc., Nov. 26—Dec. 8) gouaches of animals in lush surroundings bordered in thick paint and resemble a Apple’s recent move into songwriting owe much to Rousseau and the primitivist spill of snap-shots. Black ink spills, a stoodher in good stead in this relatively viewpoint, unusual models for a budding cerulean arc-stroke, the sky, the canvas spare, uncomplicated installation. To call (29-year-old) artist. stained pale pink and gray, white glossy “Bedtime Stories, Lullabies, and Other Lewis’ best studies were of wild cats borders catching the light: the surface Lies” an installation may even be over­ (lynx, leopard, jaguar), that stared directly plays are subtle, sensuous, spare and emphasizing the prominence of its presen­ at the viewer, as they emerged from poetic. The artist’s hand is visible. Wech­ tation: beside the texts and songs on the delicate and fanciful gardens. These were ter deals with a “sense of memory;” each walls (hung with crucial regard to certain so precise that they could have come from painting, like an open drawer to a mind- photographic images), all that occupied zoological textbooks. When Lewis switched chest, screams out images, out of focus the 112 Greene Street space were a couple subjects—to a young girl or to two and sensate and compelling. of pieces of shabby bedroomish furniture monkeys—her exercises became too light — Carolee Thea (set up so as to invite the visitor to sit down in weight or too contrived. But it was in the and read the texts in another, book form, accomplished treatment of the foliage as if chancing upon someone’s diary) and behind each subject that Lewis’ skill really the sound of Apple’s songs being sung. came through. The plants and flowers may Alto on Sultan The songs themselves are quite good, have been purely imaginary, but Lewis especially as arranged and sung by Apple’s invested each leaf and bud with individual (Marlborough Gallery, December) Of the collaborator Zephryn; straddling rock and reality. The rich, dense atmosphere of her many forms of contemporary realism now current cabaret idioms, they are winsome, paintings came almost exclusively from before us, Altoon Sultan’s is by no means pained, sometimes angry, sometimes hope­ this obsessive and detailed patterning. radical or unusual. Her depiction of ful expressions. The emotions expressed —Jill Dunbar Victorian houses might even be thought of are—at least by tradition—a woman’s as redundant as so many other artists have emotions, the sufferings of a woman done similar material. What is unusual wronged by the insensitivity, cruelty, and about this work is the painting skill with self-serving impulses of men: the time- which it is accomplished. Picturing the honored torch song material, rendered in Maude Boltz folds and bends of clapboard walls as they updated versions of the torch song itself. cover porches and dormers, Sultan never There is something adolescent in a preoc­ (A.I.R., December 10-January 11) Boltz seems to tire of noting each detail in the cupation with such affairs of the heart, but presented an extended, but not exhausted, clearest of statements. Such repetitive Apple is no crybaby, martyr, or vengeful series of designs—rendered with alkyd subject matter in the hands of a lesser harridan. She flashes aspects of all these paint on drafting cloth—for silkscreens. painter might grow boring but Sultan stereotyped portrayals of women, but The basic motif is based on a network of maintains a painterly attitude that conveys maintains the complexity of her persona perpendicular staffs, intersecting in diago­

Altoon Sultan, Yellow Tower, Saratoga Springs, Anthea Lewis, Sparrow Hawk. Gouache, Maude Boltz, + and X Series, 1977 (one of four N.Y., 1976. Oil on canvas, 24x15". Photo: 4Vjx3Vi ". parts). A lkyd paint on drafting cloth. Robert Brooks, (detail). W om anart/Spring ’78 37 nal relationships, often at a central point jettisoned. Now the personality of the sitter alludes to African art but is also in debt to and implicitly determining the progres­ may speak for itself. New York funk art for its sense of im­ sively halved divisions of the golden mean. It is difficult to describe Judith Solod­ mediacy and fabrication. Seams heavily The line-oriented minimal format has a kin’s show without resorting to the lan­ stitched cut formal designs across the certain power in and of itself, but its real guage of lithography, for she has exploited faces. Shells and beads are sewn into the power comes from Boltz’s sensitive manip­ the unique capabilities of the medium to features and perform an outlining task. ulation of her materials to establish make her images. Moreover she ventures The figures have a dignity and the fabrics nuanced color relationships. One or two away from the traditional mode of present­ Ringgold uses intensifies the blackness of bars in each formal network are rendered ing lithographs. The prints are arranged the work. One woman seemed made of in an entirely different hue than the flatly in compositions on the wall, or Naugahyde and an imprinted floral pat­ majority, usually a darker, more opaque suspended from the ceiling to appear tern added to its richness. color that cuts directly across its perpen­ freely floating in space. The show could be Charmion Von Wiegand paints ab­ dicular and virtually establishes a whole seen as an environmental work incorporat­ stracts based on interruped geometric new plane of vision in the otherwise ing the total space, five wall combines, or forms. In her large paintings triangles and homogenous two-dimensional field. The 64 individual prints, all using the same circles overlap each other and assert them­ study of the lines that this prominent line image. Called by the artist “Cartouche,” selves at surprising times. provokes leads to the discovery of other, each one is a visual pun on the term, for All in all there was a lot of painting to far subtler disparities in tonality and the ring of decoration surrounds a tusche take in. Lucia Salemme’s work showed plane. I hope that Boltz is successful in wash. a strong painting style in which urban translating such attractively gradated con­ Solodkin is historically significant as the landscapes were transformed into cubist trasts to the flattening silkscreen medium! first woman master printer to come out of analysis of space. The work was expansive —Peter Frank the Tamarind Lithography Workshop in and had painterly depth. New Mexico. As an artist her concept of —Robert Sievert “press as paintbrush” is significantly original during the recent period of litho­ Grace Graupe-Pillard / graphy’s revival. — Carla Sanders Judith Solodkin Alice Aeel

(Razor Gallery, December 3-31) Grace (Graham Gallery, October 4-29; Douglass Graupe-Pillardi exhibited a collection of College, October 29-November 23) Two people at Razor Gallery. She selects her Women in American Art solo exhibitions of works by Alice Neel subjects from a varied group of individuals summarize her artistic production of the —a matron who’s birthed more than once, (Summit Gallery, November 1-30) In a past decade. The Graham Gallery show a dignified white-beard, a girl in androgy­ survey, the Summit Gallery presented the included drawings and paintings from nous adolescence, and supple, warm­ work of 17 women artists. No other 1975 to 1977. An exhibition at Douglass bodied men and women in their sexual binding qualities were shared by the artists College, the women’s college of Rutgers prime. The naked bodies are solid and except that they were women and most of University, was a retrospective of portraits strong, enabling the ones who inhabit them came from New York. created by Neel since the late 1960s. In them to work, to create, to experience Most famous was Alice Neel who recent years the artist has preferred a pleasure. The heads are confident, self­ showed several portraits done in her own large-scale format and high-keyed colors controlled. The eyes meet the viewer’s, gripping style. Her primal response to her for her paintings. Often the choice for the unabashed. For Graupe-Pillard the bold sitters illuminates the personae of those predominating palette reflects the nature directness of the portraits represents an she is painting. of the sitter; a large fleshy nude in a plump arrival. The accouterments which embel­ ’s sculptures were quite chair is painted in sensuous pinks and lished the characters in her earlier ppr- powerful and exciting to see. Over sturdy violets, and more inhibited subjects ap­ traits, and linger in the bands of detail on armatures Ringgold assembles sewn sculp­ pear in icy blue surroundings. some of the current paintings, have been tures of black men and women. The work At 77, Alice Neel’s ability to penetrate to

Grace Graupe-Pillard, Grace II, 1977. Oil on Faith Ringgold, Woman and Man Series #1, Alice Neel, Aryomni, 1976. Oil on canvas, canvas, 98x55"(detail). 1977 (detail). Mixed media, 6IVix6x6". 46x38". Photo: Eric Pollitzer.

38 Womanart/Spring ’78 the core of her subjects’ psyche has not The mother and child theme also Simple, harmonious colors and an invisi­ faltered. If she now tends to include more appears among Alice Neel’s portraits at ble but nevertheless felt presence of a grid of an “environment” for her sitters (tables, Douglass College. A Haitian woman holds takes some of the visual anxiety out of her cabinets, pitchers, plants), the human a child to her breast, but the troubled paintings, which otherwise lack focal presence still dominates her interest. At countenance of the mother finds no points. Thus, it is possible to concentrate Graham the full repertory of chairs and a parallel in her infant son. Linda Nochlin is on one area of the surface before being number of familiar faces appear among shown with her young daughter. Their pulled to another. the works. Neel’s granddaughter Olivia gestures and placement on a wide divan Etkin describes her little characters as has developed into a preadolescent posed suggest that this mother has allowed her “fantasy playmates.” They are also her serenely in a Scandinavian armchair. child to develop independently. Here the obsession. But they are a plqyful obses­ Another granddaughter, Elizabeth, ap­ possible conflicts of motherhood have sion, brimming with life. pears in several works: as a vivacious found resolution in the growth and matu­ —Janet Heit toddler with her dog, Lushka, and as an rity of two women. infant on the lap of her mother. —Joan Marter Ginny and Elizabeth of 1975 is an example of Neel’s frequent involvement Hedy O’Beil with the theme of motherhood. Her earlier works depicted women in the throes of Sazan Etkin (Amos Eno Gal., Nov. 12—Dec. 1) The childbirth or as reclining nudes in the final title of the show indicates that Hedy weeks of pregnancy. The painting of (Fifth Street Gallery, November 5-30) O’Beil’s still life paintings depict “A Ginny and Elizabeth parallels a study of Doodle-like drawings reminiscent of Woman’s View,” in a language spoken her other daughter-in-law, Nancy, with the notation form the bulk of Suzan Etkin’s through household objects and expressive infant Olivia, produced eight years earlier. work. A long-time student of the dance use of paint as a raw material. As still life In both works the mothers’ stiff shoulders herself, Etkin “choreographs” her highly- the paintings are consistent with a western and fierce stare reveal their inner anxiety. personalized imagery into intricate ar­ art tradition that uses that format as a Both infant daughters seem fully aware of rangements charged with rhythms of their symbolic medium, in which an object such their mothers’ tension. Small clenched own. as a dried flower may symbolize death. fists and steady gazes (so unnatural for These figures—Etkin calls them her O’Beil’s objects are presented as impor­ their newborn state) indicate the close “buddies”—are whimsical little shapes tant symbols in themselves but without any psychological bond between mother and that wriggle or float or lounge about, clues to their meaning. Thus frustating the daughter. Neel’s frank depiction of the drawn either in outline or delicately-filled voyeur, O’Beil still shares by less obvious ambivalent attitude of mothers realizing graphite. Each one is a unique combina­ means something of her personal vision. the awesome responsibilities of child-rear­ tion of tucks and protuberances. Etkin Drawn in quick fluid line, the bell ing is far more direct than Berthe Mori­ draws one, then another; a dialogue peppers, parsnips and bowls gather their sot’s The Cradle, with a young mother ensues, and soon her “buddies” populate forms out of the gray scribbled back­ gazing in fright and wonder at her sleeping the page. grounds that bear no hint of a setting. The newborn. Individually, these figures are highly paintings are gray; though the variety of In Ginny and Elizabeth, the mother is a erotic, although their sexual nature be­ grays used is rich, the paintings nonethe­ woman of the country shown in her native comes absorbed into the energy of the less seem devoid of color. A number of surroundings. The stark furnishings of the painting as a whole. As the total compo­ compositions include, besides the house­ room complement the angularity and nents of the painting itself, Etkin’s figures hold objects, a rectangle scribbled in severity of the figure who sits stiffly in a appear to be idiosyncratic hieroglyphs in a charcoal tone. It is like a black cloud, ladderback chair. Neel contrasts rigidity of language known only to its creator. sometimes dominating the canvas, but the mother with the suppleness of the Etkin draws with spontaneous abandon usually receding from it. O’Beil holds her infant’s body. The little girl dressed in a to the music that she says always plays in objects in a delicate tension, firm in their blue suit breaks down the stereotypical her head. Some of her buddies contain relation to the nervous energy of the scrib­ color choices for girl and boy babies. references to musical measures and beats. bled background, but at times in precari­

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Suzan Etkin, Full of the Old Paprika, 1977. Mixed media on plastered Hedy O'Beil, Three Parts of a Life. Acrylic, 30x36 . box, 6Vix9Vi". Womanart/Spring '78 39 ous balance with each other. She gives us a A group of drawings utilizes the same Barbara Gerard/ private view of a life tnat is at the same powerful imagery and reveal more of the time bleak and rich, aware of desperation artist’s drafting skill, while allowing for Renee Lewis as a reality, but denying it the power to more spontaneity. (Viridian Gallery; Gerard: Nov. 15-Dec. 3; overwhelm. Hochhauser’s works are as brutal and Lewis: Nov. 22-Dec. 10) Two women who — Carla Sanders aggressive as an open wound inflicted by use depictions of the female body as a modem society, a society whose medical point of departure in their work were technology is unable to heal itself. shown simultaneously at this cooperative —Barbara Coller gallery. Barbara Gerard employs various Marilyn Helsenrott portions of the body to create “woman- scapes” while Renee Lewis uses images of Hochhanser women’s bodies to record personal frustra­ (Nassau County Museum of Fine Arts, Gail Cohen Edclmun tion and emergence. December 4-January 1) Stepping into The Matisse of 1909-1916 is a major Marilyn Hochhauser’s exhibition is like (Pleiades I I Gallery, November 8-27) Gail influence compositionally and coloristical- stepping into the dark side of humanity. Cohen Edelman was an abstract expres­ ly in Lewis’ work. As much as Lewis bor­ Hers is an abstract world, devoid of color sionist painter before her recent move into rows from The Dance, her work hardly except for black, white and occasional etching. In her show at Pleiades, Edelman echoes its sense of joy and wholeness. The smears of blood red. In her sculptured showed large color prints of landscapes. majority of Lewis’ women are without paintings, twisted and knotted linens and Edelman says she bases her subjects on hands or feet and possess little optimism burlap spill forward from the canvas like observations of nature made during travels or confidence. Nor do her works possess bowels from an abdomen. As in a medical to National Parks. But particular subject the mystery and complexity of Matisse’s operation, the open areas are stitched, choices and her reliance on perspectival Bathers by a River which figures as an sewn and knotted with thread and cord. distortion indicate that Edelman derives important influence on Lewis. Her women However, the sewing is incomplete, messy her subject matter less from external cir­ totter indecisively on pinnacles, emerge and hasty, and often the surgeon’s needle cumstances than from intra-personal partially from doorways, rise in a spirit of is left dangling. pursuits. resurrection. One work utilizes a grid Aggression bom of frustration marks all Most of the etchings are crowded with background to present a series of torsos. of Hochhauser’s work. Coexistent with the detail—mountains, cloud formations, The inhumanness of the subject matter il­ desire to mend is the stronger urge to birds, rocks, cliffs, ravines, skulls. Barren lustrates Lewis’ feelings about women in destroy. She produces her works by first trees with gnarled, twisted trunks appear our society: the choices to be made, a building the forms on the canvas, and then frequently. Edelman seems to favor sweep­ confidence to grow and move in. Some of attacking them. The canvases are ripped, ing panoramic views, similar to 19th the works are thematically strong while slashed, burnt and pierced producing century paintings of the American West. others are interesting compositionally. openings that, sometimes, reveal more Her imagery lends an air of mysticism Perhaps as Lewis’ knowledge of herself layers of canvas, and at other times, reveal similar in flavor to the prints of William increases her canvases will show a parallel bare wall. These ambiguous spatial levels Blake. development. combine with meticulous trompe Voeil Edelman’s strength lies in her abilities The concept of women being attuned to painting to create an artistic play between as a colorist, no doubt a carry-over from and in harmony with nature is an age old reality and illusion. In one work, Nine-X, her expressionist use of paint. For prints belief, and for some a symbol of fertility there is both real red yarn and trompe containing more than one color, Edelman and feelings. Barbara Gerard takes por­ Voeil red yarn passing through a painted uses separate plates. However, I felt that tions of women’s bodies and incorporates needle that casts its own painted shadow. the subtle inflections of Edelman’s mono­ them into images of landscapes and sea­ Another work uses a real safety pin to chromatic etchings more effectively under­ scapes with an overall feeling of primeval fasten a deceptive knot in the same way scored her drawing than did the boldness beginnings. Unfortunately I find the colors that Duchamp used a real pin to close a of the multi-colored prints. too harsh, the drawing either too stylized painted rip in Tu M ’. —Janet Heit or weak to sense what Gerard terms a

Gail Cohen Edelman, Yosemite Panorama. Etching, 28x40” (detail). Barbara Gerard, The Rainbow Rises on Earth When Enuf. Acrylic on canvas, 30x40’ (detail). 40 Womanart/Spring ’78 subtle incorporation of visual elements. rich colors and are the most painterly in Pali Hill Two highly abstract pieces using a keyed effect. The substantiality of these works is down palette successfully integrated color carried further in the large floor sculp­ (Komblee Gallery, December 12-17) Hill and composition. Otherwise Gerard would tures. These pieces are made of polyester exhibited nothing more than a String of do well to re-examine this motif in art resin, a rigid material that Shoemaker pages, printed in typewriter type on sheets history and reappraise her approach to it. works in units and then in sections. The of colored paper, containing her brief —Lorraine Gilligan large works are also concerned with density, light and space, and Shoemaker stories. I usually object to being made to has taken this difficult material to create read a lot of words on the wall; the verbal works of suppleness, texture and monu- medium, after years of concept art, I find mentality. still works best in book form. But for these —Lorraine Gilligan brief, incandescent visions I’ll happily Charlotte Shoemaker develop museum feet. As it turns out the (Touchstone Gal., Nov. 5 — Dec. 3) color of the paper indicates one of three Matter, its properties and limitations are categories: dreams (green), objects (pink), explored by Charlotte Shoemaker in a and moments (yellow). But some of the series of wall hangings and floor sculp­ Marion Ranyak moments are positively dreamlike, many tures. Using such materials as casing from of the dreams focus on almost magical electrical wire, fiberglass, teflon, polyester (SOHO 20, November 8-30) Paintings by objects, and the contexts for the objects resin and rope, this Boston artist creates Marion Ranyak at SOHO 20 represent a are almost invariably anecdotal, momen­ sensual works of great vitality. significant shift in her oeuvre. The very tous. Shoemaker’s wall hangings undergo a flatness of the canvas contrasts to her Hill’s whole world has a vague special­ series of changes that logically progress to earlier sand and cement castings, and her ness about it through her recounting; every the large floor pieces. They use a variety of abstraction from the natural world departs detail is at least savorable if not downright materials and techniques to achieve a from Ranyak’s previous geometric work. startling. After reading through the show sensation of energy. Weavings made of Ranyak paints pebbles, stones, rocks one still regretted that it was a show and rubber casings are woven into the loose and foliage—objects lending themselves to not a book—not because of the effort framework of a square. The artist experi­ reduction by flattening because of their involved in reading walls, but because one ments with density and the resulting effect already-planar qualities. Elimination of wanted to take the charming, picturesque, of light and dark within a work; in other detail via clean-edged, precise drawing impossibly possible prose pieces—prose pieces she allows the loose ends of the work and monochromatic pigmentation aids in poised on the lip of poetry—home. Good to remain askew and wriggling from the this simplifying process. news: the dreams, at least, have been wall. The works are hung from dowels and Some of these paintings present an inter­ published by the gallery as a book, still tend to fold away from the wall, maintain­ play between rounded, pebble shapes and available after the show’s end. ing Shoemaker’s interest with the space wispy strands of grass or weeds that —Peter Frank behind the hanging. Other wall pieces suggest traditional paintings of the Orient. utilize the leftover casing clippings from Other paintings study possibilities of the above works as the artist knots, and shapes and tensions created by the edges twists these pieces and joins them to vari­ of many oak leaves. Two large canvasses Marian Held ously shaped disks of teflon creating a explore forms inherent in stone walls. grid. Shoemaker arbitrarily selects color That these shapes refer back to the ex­ (Gallery 84, October 18-November 5) It is and lengths of a specific material and ternal world while remaining themselves heartening to visit a show and see an artist weaves them into an approximate shape. abstract provides Ranyak with a common become more confident with a particular Two wall hangings are made of rope ground on which to meet her audience. medium within a limited time span. dyed in glue and pigment and woven in Hers is a visually appealing art that is at Marian Held’s clay sculptures gain in similar patterns as the rubber casing once concerned with satisfying formal and potency with her exposure to the material. pieces. These are the most sensual pieces subjective ends. The work incorporates her increasing in the show, having a lustrous finish, soft —Janet Heit familiarity with her materials as well as an

Charlotte Shoemaker, Holding it in, 1977. Polyester resin and fiberglass, Marion Ranyak, Weeds, Rocks and Pebbles, 1977. Acrylic on 1x5x5'. canvas, 24x28".

Womanart/Spring ’78 41 reports interest in watercolor and drawing. series of sorrows to be followed and The earlier pieces in the show consist of contemplated. The majority of the paint­ conch-like structures whose internal ings portray human-shaped, wood grained spaces are filled with carefully arranged armatures that are partially exposed, An Evening with Ten Connecticut Women satin or fiberfill. The clay sculptures are partly wrapped in layers of garments. Artists, Hurlbutt Gallery, Greenwich more intriguing than the fabric additions, Other works in the form of diptychs and Library, Greenwich, Connecticut which detract from the clay. The later triptychs depict wood grained chairs, January 19,1978 pieces minus fabric present the viewer with lamps, hats and other objects. the solidity of the material, the sensuality Elements of sexual ambiguity, mutila­ of its languid shapes, the colors of various tion and disintegration have been areas Warnings of an impending snowstorm clays, and the glazes and lusters coating previously explored by Ramberg. The (and its subsequent materialization), did the surface. All the effects depend upon recent works retain these themes while also not discourage the large and enthusiastic the clay, the structure it is shaped into, the being strongly influenced by pre-Renais- audience that showed up to hear 10 Con­ interplay of open arid closed spaces. sance art, specifically crucifixion scenes. necticut women artists talk about their Held works her wall-like sculptures flat The schematization and stylization of the work and show slides. This special evening on the floor. In the process of preparing body is carried over into Ramberg’s figures event planned by Ann Chernow and Lucy the clay, colors can be added to it or and serve as an organizational base for Sallick in conjunction with the exhibition changed. Putting the piece together in this these beings whose every layer is probed of their own paintings and works on paper, manner draws upon Held’s interest in two- and revealed to the viewer. The lozenge­ turned out to be lively and informative, dimensional art forms. She tries to balance like and geometric shapes counter the and, we hope, precedent setting for future the complexity of the clay and the armature that is splintering under the evenings of the same kind. sculpture’s surface with the overall form tension of its wrappings. Lucy Sallick of Westport led off the slide and structure of the piece. The figure-like images suffer, and are showing with a look at her use of the still These wall-like structures are internal martyred. Knees are bound together by life subject as it evolved from early compo­ works springing from and reminiscent of undergarments, a uterus becomes lifeless sitions to her most recent oil paintings, the guts. Their strength reflects the artist’s and gray, a lace pattern becomes capil­ “Studio Floor Still Life: Watercolors” own surety. The sensual shapes that drape laries, genitals remain incomplete in their series. Her subject matter has consistently these walls are relaxed and create a dialog bandages. The only paintings offering a been drawn from her own life, forming an with the wall and trough shapes. Luster sense of relief to this mood are the chairs, autobiographical record in paint. In her glazes enliven the surface even further, lamps and hats. A chair splinters here and most recent paintings she has come to creating another interplay between the there but it appears more trustworthy terms with both her interest in painting a clay and its surface. and open than the mutilated figures. They picture within a picture, and in painting Held envisions her work on a larger become religiousized by being presented in landscape as subject. By incorporating her scale and indeed it is possible to imagine it a diptych or triptych format and yet most landscape watercolors into the still life set as such. These walls would not be elements of the objects have a sinister quality. These up on her studio floor she achieves a of isolation but would encourage reflection works aren’t as tortured as the figures but beautiful resolution of ideas and subject and a sharing in Held’s development. they are unnerving. matter that have obviously concerned her —Lorraine Gilligan These paintings are disturbing in their for a long time. imagery, with the constant threat of sup­ Phyllis Agne of Waterbury also gave a ports coming apart. Ramberg’s titles, view of her growth and development as an Double Hesitation, Hereditary Uncertain­ artist from the early 1960s to the present. ty, Hermetic Indecision only reinforce the Her work is figurative and autobiographi­ Christina Ramberg uncertain world of these pictures. Perhaps cal. We see many images of the artist her­ one of Ramberg’s creatures will sit secure­ (Phyllis Kind Gallery, Nov. 22—Dec. 12) self in her own world: the studio. There is ly in one of her chairs, hat on head, lamp Visiting Christina Ramberg’s work is an element of self-examination throughout lit, secure in its own presence. similar to making the stations of the cross this work, an earnest sense of questioning during Lent. The show set up a cadence, a —Lorraine Gilligan (something we all recognize), and a growth. Helene Brier of Fairfield chose to show her paintings of recent years based on the subject of “Beach People.” Reminiscent of a French impressionist in subject concerns and softness of color, her work conveys a sense of atmosphere personally experi­ enced and enjoyed. These oil paintings are derived from small fresh watercolors done on the spot. In the process of transforming them into larger paintings, the color is fre­ quently flattened out, and the figures composed into more careful spatial rela­ tionships. The most recent paintings pick up on the fluidity of the small watercolors, and seem a felicitous new variation on her Beach theme. Mary Fish of Westport works conceptu­ ally, mixing visual images with verbal images. Her slides included two installa­ tion pieces. One, called Passage involved the use of plaster forms and the written Marian Held, ceramic sculpture. Christina Ramberg, Hereditary Uncertainty, word; another was based upon her experi­ 1977. Acrylic on masonite, 49x37" {detail). ence at the site of Persepolis in Iran. A

42 Womanart/Spring '78