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From the First-Issue Collective

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				<title>Issue 1 Introduction</title>
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					<persName>Haley Beardsley</persName>
					<resp>Editor, encoder</resp>
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					<persName>Erica Delsandro</persName>
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					<persName>Margaret Hunter</persName>
					<resp>Editor</resp>
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					<persName>Diane Jakacki</persName>
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					<persName>Sophie McQuaide</persName>
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					<persName>Roger Rothman</persName>
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					<persName>Kaitlyn Segreti</persName>
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					<persName>Maggie Smith</persName>
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					<persName>Maya Wadhwa</persName>
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				<funder>Bucknell University Humanities Center</funder>
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					<licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial
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							<publisher>HERESIES: A Feminist Publication on Art and
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									<name>Heresies</name>
									<postBox>P.O. Boxx 766, Canal Street Station</postBox>
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				<head>From the First-Issue Collective</head>
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				 Feminism—Art—Politics. What is their connection? In theory? In reality?
				Once there was a women's art center that was very excited about an “Art as Work“
					seminar 1 proposed. They wanted a short personal resumé to follow the course
					description in the catalogue — to let students know who 1 was, where I was
					coming from: Harmony Hammond is a lesbian feminist artist who has exhibited at
					Callery X and Gallery Z and taught at R. University and C. University. They
					wanted my labels and then did not like them. No seminar. Really, was coming on
					too strong. Couldn’t 1 use a different word? Or just not say it at all? Would 1
					be teaching art or politics? They were an “Art center. They were afraid, they
					said, afraid would jeopardize.
				Jeopardize what? Their art? Their teaching? Their students? Their bodies? Their
					minds? Their sexuality? Their politics? Their power? Their authority? Their
					thinking? They did not know, they were just afraid. 1did not fit their concept
					of a feminist and therefore ! was dangerous.
				Labels. The meaninglessness of labels. The power of labels. The confining. What
					does it mean to be a lesbian, radical feminist, activist, mother, artist? 1 am
					all of these individually and combined. It means 1 am political. It means I want
					to change existing power relationships. A list of experiences. The power of
					labels is the power of ideas and action combined.
				The political mother, the political artist, the political feminist, and the
					political lesbian refuse to be second- class. They take action by “doing.“ They
					refuse to be isolated into separatist stances, and they become a total whole.
					They add up to what Charlotte Bunch has called a “non-aligned feminism"—not
					automatically attached to one line ot feminism (socialist/left vs. reformist vs.
					cultural/ spiritual) but rather evaluating each individual issue and situation
					from an independent feminist perspective. Lesbian. Radical feminist. Activist.
					Mother. Artist.
				The common denominator is woman. Women are oppressed as a class. This oppression
					underlies the patriarchal institutions of capitalism, imperialism, racism, and
					heterosexism. To end all forms of oppression we must first end the oppression of
					all women regardless ot sexuality or economic class, racial or cultural
					background.
				Lesbian. Radical feminist. Activist. Mother. Artist. Together they form my
					teminism. Feminism is my politics. My art both is formed by and is a statement
					of my feminism.
				<signed>H.H.</signed>
			</div>
			<div>
				 While l’d always worked in social programs, 1 never considered myselt a
					political person. Political groups so often revealed confused priorities that 1
					inevitably ended up by questioning my own. But feminism was different—so much
					was personally at stake. If I questioned my commitment (how can 1 be amused by
					this or not outraged by that), I soon found l was not amused and l was outraged
					by things ! might once have considered innocuous or simply unalterable. Feminism
					had become a persistent way of living and thinking and the most important
					awareness of my life.
				Today ! trust the impulses calling out for radical change because theyre rooted
					in a lifetime of self-analysis continuously and consistently validated by other
					women. Frustration, it seems, is being resolved in conviction and action and the
					awareness of this power has been startling to me. Needless to say, art which
					strengthens that awareness is exhilarating.
				l am a medievalist, I was attracted to the field by the escapist fantasies of
					folklore and romance. But ! now feel that all art—whether ancient or modern—can
					be seen and judged within a feminist context.
				<signed>A.L.</signed>
			</div>
			<div>
				 When pressed by the people who ask “What do you do?" at times ! call myself an
					artist and then no one knows what to expect. The term is so vague and useless
					that it does not begin to identify a point of view. The fact that art work keeps
					the bourgeoisie in style, and the bourgeoisie keeps all the art, suggests that
					most artists don't bother with politics and ideology, instead they are united by
					a lifestyle: generally you must privatize your work, hang your head to the left
					late at night in the bars, and think deeply about how your work will be
					understood in the melancholic future; be concerned about your isolation from the
					community.
				It is difficult not to become a cynic. Opportunism knocks. Even the women's
					movement is another stepping stone towards critical recognition. Most people are
					more concerned with the objects we are producing than the world into which we
					place our work. 1 make abstract paint- ings and super-8 films—but not for a
					living. I work as an editor for a left news magazine called Seven Days. This is
					where ! learned the business of developing an audience and disseminating
					information. Heresies is an attempt to politicize the art world; a chance to
					attack the history ot our work as opposed to “documenting" it.
				have been a feminist it seems ever since Inoticed I was living with great
					difficulty, it came out during the 1960s - but that's a long story. In the
					1970s, feminism has tendencies which serve merely to push liberal institutions
					to their farthest extremes. This has left many women caught in a dubious
					struggle; a recognition of strength and an inability to act. The feminist
					movement should not work towards gaining economic power, but towards developing
					a coherent ideology if we are to participate in change and work towards
					socialism. (You knew l’d say that.) The point is that an understanding of
					feminism without an analysis of class is like a long-tailed cat in a room full
					of rocking chairs. Capitalism is so efficient that it can sustain its own
					alternatives, likewise the art world—one more radical magazine.
				<signed>E.H.</signed>
			</div>

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_005.jpg"/>
			<div>
				 I am a feminist first and a socialist second, rather than a Socialist-Feminist.
					Not because I don't care about what happens to the oppressed men in the world.
					Not because lm against an ideally democratic socialism. But because women's
					oppression crosses economic-class lines. Its a matter of focus. Clearly the
					needs of welfare-class women are most urgent and those of upper-class women are
					least urgent. Some socialists say that getting rid of patriarchy won’t change
					the world. I wonder. Even in revolutionary socialist movements women must
					maintain an autonomous base. Revolution for Everyman isn’t the same as real
					social change; it has taken place in the past without solving the "woman
					question."
				In the meantime, living in a capitalist country without a strong Socialist Party
					provokes an irresistible urge to kill time as a liberal feminist. Even though
					l’m aware of the dangers of opportunism, reformism, co-optation, and all the
					slimy horde, 1 often find myself working for reform rather than revolution
					because I can't bear to see nothing done.
				Within the art world, this means l work to get women artists into a system I
					oppose. Outside, in the real world, this means I want the ERA passed because its
					going to make a difference in women's lives. I want to see a politically aware
					feminist culture and I hope that Heresies will help create it and help destroy
					some of the boundaries that separate women from the power to make a better
					society that will fit our needs as well as men's.
				(P.S. Because l’m a critic, l’ve been called a “class enemy" of artists, which is
					bullshit. l’m exploited by publishers, and perhaps editors, just as artists are
					exploited by galleries, and perhaps critics. lidentify with artists whether or
					not they identify with me because long experience has shown me that our lives
					are more or less the same.)
				<signed>L.R.L.</signed>
			</div>
			<div>
				 When we decided that each of us in the first issue collective should write an
					individual statement to put our political differences “out front,“ I thought it
					was a fine idea. But trying to write one page about my notion of how feminism
					relates to Marxism relates to making theory and making films was easier said
					than done: too much to argue in too little space. So what 1 wanted to do was
					write, please see my article on page x” where l’ve tried to work out some of
					these problems in more analytical depth. But my sister-editors said, “write
					something personal." They chided me for my rhetorical style and my obsessive?
					academic? commitment to making “complete” arguments. "Who are you in all that,"
					they asked. O.K. 1m a woman, l'm white, l'm 28. 1m a film teacher, l'm a
					student, l'm a writer, theorist, critic, filmmaker, I do political work—in the
					feminist community and with a new Coalition (July 4th) thats building toward a
					mass, progressive peoples' movement in this country. I guess l’m whats come to
					be called a cultural worker.
				Often it seems there’s just not enough time in each day to do all the things that
					have to be done. And to earn a living, and write a dissertation, and see the art
					l care about, and do the laundry, and talk with students, and be with the
					friends I love, and see the ocean sometimes. Putting it all together, l'doften
					like a few clones of myself to help out. juggle whats possible with whats
					not.
				Where does the fight for women fit with fighting imperialism? Does working in
					collectives really help change our deeply entrenched American individualism? How
					can “cultural workers” best advance these struggles? I often argue esthetics
					with my political comrades. Films, 1 say, don’t have to be simplistic to
					communicate with mass audiences. We’re all subject to subtle propaganda from
					Hollywood and Madison Avenue. We’re all jugglers of contradictions and need to
					see and hear and read about alternatives to what is. We have to make films that
					not only say something different but say it in a different way. They have to be
					made in a practical political context, in a coherent theoretical context, and
					they have to be able to recapture the imaginations of masses of people being
					lulled to sleep by the crap thats sold as “mass art." We have to find strategies
					for making our alternate points of view visible, making peoples' voices heard,
					our ideas and films seen; find ways of tighting the commercial monopolies that
					own the air waves, the movie screens, the mass media, that own
					<emph>us</emph>
				I argue politics with my feminist sisters. No more separatism, I say. I work on
					HERESIES to say that and also because—another contradiction—l need community in
					a country that is in fragments. In short, and as labor people like my
					grandparents always said: women, artists, men, people, we’ve got to get
					organized.
				<signed>J.B.</signed>
			</div>
			<div>
				 What kind of socialist-feminist-artist am I?
				What kind of socialist artist loves Corot as well as Courbet and forgives oil
					painting its bourgeois origins and abstract expressionism its heraldry of U.S.
					imperialism?
				What kind of feminist artist sees pink as a private color to be sparingly
					used?
				To the women’s movement 1 would like to bring, as to art, the subtlest
					perceptions. To political action, I would like to bring, as to art, a precise
					and delicate imagination. The personal is the political only if you make it so.
					The connections have to be drawn. Feminism without socialism can create only
					utopian pockets. And the lifespan of a collective is approximately two
					years.
				Socialism without feminism is still patriarchy. But more smug. Try to imagine a
					classless society run by men. Trying to be part of a collective is a little like
					being a chameleon set on plaid. I may split apart before I get the pattern
					right. But somehow it seems worth the pain because l believe community is the
					highest goal.
				I believe every woman's life is a little better because of what we are doing.
				<signed>M.S.</signed>
			</div>
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Women and Honor: Some Notes on Lying

<div><head><title>Women and Honor: Some Notes on Lying</title></head>
			<byline><persName><persName key="Adrienne Rich" ref="http://www.wikidata.org/entity/Q270705">Adrienne Rich</persName></persName></byline></div>

<div>(These notes are concerned with relationships between and among women. When "personal
				relationship" is referred to I mean a relationship between two women, it will be
				clear in what follows when I am talking about women's relationships with men.)
			The old, male idea of honor. A man’s “word" sufficed—to other men—without
				guarantee.
			"Our Land Free, Our Men Honest, Our Women Fruitful"—a popular colonial toast in
				America.
			Male honor also having something to do with killing: I couid not love thee, Dear, so
				much / Lov'd I not Honour more (“To Lucasta, On Going to the Wars”). Male honor as
				something needing to be avenged: hence, the duel.
			Women’s honor, something altogether else: virginity, chastity, fidelity to a husband.
				Honesty in women has not been considered important, We have been depicted as
				generically whimsical, deceitful, subtle, vacillating. And we have been rewarded for
				lying.
			Men have been expected to tell the truth about facts, not about feelings. They have
				not been expected to talk about feelings at all.
			Yet even about facts they have continually lied. We assume that politicians are
				without honor. We read their statements trying to crack the code. The scandals of
				their politics: not that men in high places lie, only that they do so with Such
				indifference, so endlessly, still expecting to be believed. We are accustomed to the
				contempt inherent in the political lie.
			
			To discover that one has been lied to in a personal relationship, however, leads one
				to feel a little crazy.
			
			Lying is done with words, and also with silence.
			The woman who tells lies in her personal relationships may or may not plan or invent
				her lying. She may not even think of what she is doing in a calculated way.
			 A subject is raised which the liar wishes buried. She has to go downstairs, her
				parking-meter will have run out. Or there is a telephone call she ought to have made
				an hour ago.
			She is asked, point-blank, a question which may lead into painful talk: “How do you
				feel about what is happening between us?” Instead of trying to describe her feelings
				in their ambiguity and confusion, she asks “How do you feel?" The other, because she
				is trying to establish a ground of openness and trust, begins describing her own
				feelings. Thus the liar learns more than she tells.
			And she may also tell herself a lie: that she is concerned with the other’s feelings,
				not with her own.
			But the liar is concerned with her own feelings.
			The liar lives in fear of losing control. She cannot even desire a relationship
				without manipulation, since to be vulnerable to another person means for her the
				loss of control.
			The liar has many friends, and leads an existence of great loneliness.
			
			The liar often suffers from amnesia. Amnesia is the silence of the unconscious.
			To lie habitually, as a way of life, is to lose contact with the unconscious. it is
				like taking sleeping pills, which confer sleep but blot out dreaming. The
				unconscious wants truth. It ceases to speak to those who want something else more
				than truth.
			In speaking of lies we come inevitably to the subject of truth. There is nothing
				simple or easy about this idea. There is no “the truth,” "a truth"—truth is not
				one thing, or even a system. It is an increasing complexity. The pattern of the
				carpet is a surface. When we look closely or when we become weavers, we learn of the
				tiny multiple threads unseen in the overall pattern, the knots on the underside of
				the carpet.
			This is why the effort to speak honestly is so important, Lies are usually attempts
				to make <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_026.jpg"/> everything simpler—for the liar—than it really is, or ought
				to be.
			In lying to others we end up lying to ourselves. We deny the importance of an event,
				or a person, and thus deprive ourselves of a part of our lives. Or we use one piece
				of the past or present to screen out another. Thus we lose faith even with our own
				lives.
			The unconscious wants truth, as the body does. The complexity and fecundity of dreams
				come from the complexity and fecundity of the unconscious struggling to fulfill that
				desire. The complexity and fecundity of poetry come from the same struggle.
			
			An honorabie human relationship—that is, one in which two people have the right to
				use the word "love”—is a process, delicate, violent often terrifying to both
				persons involved, a process of refining the truths they can tell each other.
			It is important to do this because it breaks down human self-delusion and
				isolation.
			It is important to do this because in so doing we do justice to our own
				complexity.
			It is important to do this because we can count on so few people to go that hard way
				with us.
			
			I come back to the question of women’s honor. Truthfuiness has not been considered
				important for women, as long as we have remained physically faithful to a man, or
				chaste.
			We have been expected to lie with our bodies: to bleach, redden, unkink or curl our
				hair, pluck eyebrows, shave armpits, wear padding in various places or lace
				ourselves, take little steps, glaze finger and toe nails, wear clothes that
				emphasize our helplessness.
			We have been required to tell different lies at different times, depending on what
				the men of the time needed to hear. The Victorian wife or the white southern lady,
				who were expected to have no sensuality, to "lie still"; the twentieth-century
				“free" woman who is expected to fake orgasms.
			We have had the truth of our bodies withheld from us or distorted; we have been kept
				in ignorance of our most intimate places. Our instincts have been punished:
				clitorectomies for "lustful” nuns or for "difficult" wives. it has been difficult,
				too, to know the lies of our complicity from the lies we believed.
			 The lie of the "happy marriage," of domesticity — we have been complicit, have acted
				out the fiction of a weil-lived life, until the day we testify in court of rapes,
				beatings, psychic cruelties, public and private humiliations.
			Patriarchal lying has manipulated women both through fafsehood and through silence.
				Facts we needed have been withheld from us. False witness has been borne against
				us.
			And so we must take seriously the question of truthfulness between women,
				truthfulness among women. As we cease to lie with our bodies, as we cease to take on
				faith what men have said about us, is a truly womanly idea of honor in the
				making?
			
			Women have been forced to lie, for survival, to men. How to unlearn this among other
				women?
			"Women have always lied to each other." "Women have always whispered the truth to
				each other.” Both of these axioms are true.
			"Women have always been divided against each other." “Women have afways been in
				secret collusion." Both of these axioms are true.
			In the struggle for survival we tell lies. To bosses, to prison guards, the police,
				men who have power over us who legally own us and our children, lovers who need us
				as proof of their manhood.
			There is a danger run by all powerless people that we forget we are lying, or that
				lying becomes a weapon we carry over into relationships with people who do not have
				power over us.
			
			I want to reiterate that when we talk about women and honor or women and lying, we
				speak within the context of male lying, the lies of the powerful, the lie as a false
				source of power.
			Women have to think whether we want, in our relationships with each other, the kind
				of power that can be obtained through lying.
			Women have been driven mad, “gaslighted," for centuries by the refutation of our
				experience and our instincts in a culture which validates only male experience. The
				truth of our bodies and our minds has been mystified to us. We therefore have a
				primary obligation to each other: not to undermine each other’s sense of <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_027.jpg"/> reality for the sake of expediency; not to gaslight each other.
			
			Women have often felt insane when cleaving to the truth of our experience. Our future
				depends on the sanity of each of us and we have a profound stake beyond the personal
				in the project of describing our reality as candidly and fully as we can to each
				other.
			There are phrases which help us not to admit we are lying: "my privacy,“ "nobody’s
				business but my own.” The choices that underlie these phrases may indeed be
				justified; but we ought to think about the full meaning and consequences of such
				language.
			Women’s love for women has been represented almost entirely through silence and lies.
				The institution of heterosexuality has forced the lesbian to dissemble, or be
				labelled a pervert, a criminal, a sick or dangerous woman, etc., etc. The lesbian,
				then has often been forced to lie, like the prostitute or the married woman.
			Does a life "in the closet” — lying, perhaps of necessity, about ourselves to bosses,
				landlords, clients, colleagues, family, because the law and public opinion are
				founded on a lie — does this, can it, spread into public life, so that lying
				(described as discretion) becomes an easy way to avoid conflict or complication? Can
				it be- come a strategy so ingrained that it is used even with close friends and
				lovers?
			Heterosexuality as an institution has also drowned in silence the erotic feelings
				between women. I myself lived half a lifetime in the lie of that denial. That
				silence makes us all to some degree, into liars.
			When a woman tells the truth she is creating the possibility for more truth around
				her.
			
			The liar leads an existence of unutterable loneliness.
			The liar is afraid.
			But we are all afraid: without fear we become manic, hubristic, self-destructive.
				What is this particular fear that possesses the liar?
			She is afraid that her own truths are not good enough.
			She is afraid, not so much of prison guards or bosses, but of something unnamed
				within her.
			The liar fears the void.
			 The void is not something created by patriarchy, or racism, or capitalism. It will
				not fade away with any of them. It is part of every woman.
			“The dark core,” Virginia Woolf named it, writing of her mother. The dark core. It is
				beyond personality; beyond who loves us or hates us. We begin out of the void, out
				of darkness and emptiness. It is part of the cycle understood by the old pagan
				religions that materialism denies. Out of death, rebirth; out of nothing,
				something.
			The void is the creatrix, the matrix. It is not mere hollowness and anarchy. But in
				women it has been identified with lovelessness, barrenness, sterility. We have been
				urged to fill our "emptiness" with children. We are not supposed to go down into the
				darkness of the core.
			Yet, if we can risk it, the something born of that nothing is the beginning of our
				truth.
			The liar in her terror wants to fill up the void with anything. Her lies are a denial
				of her fear; a way of maintaining control.
			
			Why do we feel slightly crazy when we realize we have been lied to in a
				relationship?
			We take so much of the universe on trust. You tell me: "In 1950 I lived on the north
				side of Beacon Street in Somerville.“ You tell me: “She and I were lovers, but for
				months now we have only been good friends.” You teil me: "It is seventy degrees
				outside and the sun is shining." Because l love you, because there is not even a
				question of lying between us, I take these accounts of the universe on trust: your
				address twenty-five years ago your relationship with someone I know only by sight,
				this morning's weather. I fling unconscious tendrils of belief, like slender green
				threads, across statements such as these, statements made so unequivocally, which
				have no tone or shadow of tentativeness. I build them into the mosaic of my worid. I
				allow my universe to change in minute, significant ways, on the basis of things you
				have said to me, of my trust in you.
			I also have faith that you are teiling me things it is important I should know; that
				you do not conceal facts from me in an effort to spare me, or yourself, pain.
			Or, at the very least, that you wili say, “There are things l am not telling
				you."
				When we discover that someone we trusted can <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_028.jpg"/> be trusted no longer it
				forces us to re-examine the universe, to question the whole instinct and concept of
				trust. For awhile, we are thrust back onto some bleak, jutting ledge, in a dark
				pierced by sheets of fire, swept by sheets of rain in a world before kinship, or
				naming, or tenderness exist; we are brought close to formlessness.
			
			The liar may resist confrontation, denying that she lied. Or she may use other
				language: forgetfulness privacy, the protection of someone else. Or she may bravely
				declare herself a coward. This allows her to go on lying, since that is what cowards
				do. She does not say, I was afraid, since this would open the question of other ways
				of handling her fear. It wouid open the question of what is actually feared.
			She may say, I didn't want to cause pain. What she really did not want is to have to
				deal with the other’s pain. The lie is a short-cut through another’s
				personality.
			Truthfulness, honor, is not something which springs ablaze of itself; it has to be
				created between people.
			This is true in political situations. The quality and depth of the politics evolving
				from a group depends in very large part on their understanding of honor.
			Much of what is narrowly termed "politics" seems to rest on a longing for certainty
				even at the cost of honesty, for an analysis which, once given, need not be
				re-examined. Such is the dead-endedness—for women—of <rs key="Marxism" ref="http://www.wikidata.org/entity/Q7264">Marxism</rs> in our time.
			Truthfulness anywhere means a heightened complexity. But it is a movement into
				evolution. Women are only beginning to uncover our own truths; many of us would be
				grateful for some rest in that struggle, would be glad just to lie down with the
				sherds we have painfully unearthed, and be satisfied with those. Often I feel this
				like an exhaustion in my own body.
			
			The politics worth having, the relationships worth having, demand that we delve still
				deeper.
			The possibilities that exist between two people, or among a group of people, are a
				kind of alchemy. They are the most interesting things in life. The liar is someone
				who keeps losing sight of these possibilities.
			When relationships are determined by manipuation, by the need for control, they may
				possess a dreary, bickering kind of drama, but they cease to be interesting. They
				are repetitious; the shock of human possibility has ceased to reverberate through
				them.
			When someone tells me a piece of the truth which has been withheld from me, and which
				I needed in order to see my life more clearly, it may bring acute pain, but it can
				also flood me with a cold, sea-sharp wash of relief. Often such truths come by
				accident, or from strangers.
			It isn’t that to have an honorable relationship with you, I have to understand
				everything, or tell you everything at once, or that I can know, beforehand,
				everything I need to tell you.
			It means that most of the time I am eager, longing for the possibility of telling
				you. That these possibilities may seem frightening, but not destructive, to me. That
				I feel strong enough to hear your tentative and groping words. That we both know we
				are trying, ail the time, to extend the possibilities of truth between us.
			The possibility of life between us.
			</div>
		</body>

<back>
			<div>Adrienne Rich is a well-known poet and feminist who has published 9 books. The most
				recent one, <title key="Rich, Adrienne Cecile. | Of woman born" ref="http://viaf.org/viaf/9718159521652133070000/">Of Woman Born: Motherhood as Experience and Institution</title> (W.W. Norton
				&amp; Company), she described as coming “from the double need to survive and to
				work; and I wrote it in part for the young woman I once was, divided between body
				and mind, wanting to give her the book she was seeking...." </div>
		</back>
	</text>
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La Roquette, Women's Prison

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				<title>La Roquette, Women's Prison</title>
				<author>Groupe de Cinq</author>

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			<div><head><title>La Roquette, Women's Prison</title></head>
			<byline><orgName>Groupe de Cinq</orgName></byline></div>
			<div> Themembers: Martine Azalea, Judy Blum, Nicole Croiset, Mimi, and Nil Yalter<orgName key="Group of Five" ref="http://www.wikidata.org/entity/Q2720495">Group of Five</orgName> is a <placeName key="Paris" ref="http://www.wikidata.org/entity/Q90">Paris</placeName>-based collective consisting of
				Martine Aballea, Judy Blum, Nicole Croiset, <persName key="Mimi" ref="http://www.wikidata.org/entity/Q15303153">Mimi</persName>, and Nil Yalter,
				who include among their skills Nilvideo, painting, sculpture, drawing,
				and Martinepoetry; and among their nationalities French, Turkish, Canadian,
				American. This work on prisonLa Roquette began when Judy and Mimi met
				through their children at a day-care center. Judy mentioned her
				collaboration with Nil on the theme of living conditions in each of
				Paris' 20 arrondissements, for which the prison had been suggested to
				represent the 11th administrative districtarrondissement. Mimi, it turned out, had been
				detained there, and she offered an elaboration of her experiences.
				Martine, whose writing is based on her own memories and dreams,
				also joined the project, while Nil offered her use of video to universalize the narrative elements, in collaboration with Nicole, who
				concentrated on the esthetic/sociological aspects of the research.
				The result is a visual representation of the prison and of the personal
				experiences of many women, centered around the group's increasing
				consciousness of the meaning of narrative with videotape, and imagesMimi's story: "Bonds of friendship,
				constantly confirmed, played the most cohesive role on the level of
				the work itself, resulting in the combination of apparently disparate
				means connected to each other by mutual understanding within the
				group." The following narrative accompanies a videotape from which
				most of the images are taken.
			The other women were mostly in the prison for bad checks,
				prostitution, or, like me, for robbery. There were also some murderers; I knew one in my workshop. Another had been accused of stealing a painting. The first days we asked each other, but afterwards we
				didn’t really say "What are you doing here?" except to our best
				friends. 
				These women came from all classes. In general, relations be tween inmates were pretty good. There were a lot of lesbians; the
				nuns' attitudes toward them was to turn a blind eye. They couldn't
				not have known about it. The girls hid it a little—and even a lot—but
				it was too obvious. As for me, I was not a lesbian, but I nevertheless
				flirted here and there to pass the time. It could have certain advan¬
				tages: when you didn’t have any money, your friends could buy
				things at the canteen for you. Or, at one time, I went out with an
				English girl who was the favorite of a nun who didn’t like me, and
				from that day on, that nun was very nice to me, and I got certain
				favors I shouldn’t have had. 
			 But still there were lots of fights, sometimes for no reason at all,
				just because the girls felt like fighting. Sometimes it was a question of
				class. Some girls felt superior to others: it wasn’t a question of
				money, but of intellect. ... So sometimes one girl would insult
				another, or feel insulted, and there would be a fight. We were a
				whole gang; some had to be in charge. And if you knew how to fight,
				you were respected. There was nothing you could do about it.
				Sometimes fights started over cigarettes. For example, I got into
				a fight with a girl over that. Every Wednesday we had the right to buy
				four packs of cigarettes at the canteen. This girl didn’t smoke, so,
				with my money, I had bought her something she needed, and she,
				with her money, was going to buy me four more packs, which would
				have made eight for the week. She bought me the cigarettes, but
				another girl told her to give them to her. She was very weak and she
				didn’t dare refuse. That night I waited for her in her cell and I beat her
				up. The week after that she bought me cigarettes, and she didn’t even
				ask me for money. Afterwards—it's stupid, she was a coward—she
				would pick up butts in the yard for me, when I really didn’t expect
				that from her. When the other girls saw that, they all turned against
				her. When I saw that, I stood up for her, because I don’t like to take
				sides. l'd hit her a little, but I didn’t have a grudge against her.
			 Another time there was a fight in the mess hall, in front of the
				nun. There was blood on the floor: one girl had had a nosebleed, and
				the other had been hurt elsewhere. I was drawing; with my finger
				picked up some drops of blood and put them on my drawing. 
			 But there was also a feeling of solidarity among the inmates. One
				time, for example, a girl had been punished and locked up in the
				mess hall toilets. I didn’t know what she had done, I don’t even know
				if she had really done anything; in any case it was totally unjust to
				lock her up like that. So, with my friend, I climbed onto the ledge
				over the mess hall door and we said that we would stay there until
				they let this girl out. Normally we should have done two weeks in the
				cooler for that, but we didn’t get anything. We would have done it
				anyway because it was unjust.
			Or one day a girl gave me a little piece of candle about two
				inches long. We were forbidden to have candles, but there were a lot
				of things like that that went around the prison. I don’t know how she
				got it; that was the sort of question you didn’t ask. She gave it to me
				because she knew that I liked to read.
			We also managed to pass notes from cell to cell by what we
				called the "yoyo" system. You tied the note to a piece of string and
				you put it through the window. We did that for certain girls who were
				in the cooler when we were in the yard. We would send them a note <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_040.jpg"/> from their best friends or something like that.
			As for the nuns, apart from some who were especially mean,
				they were mostly indifferent. But they had, of course, their favorites.
				It was a question of personality: they liked the docile inmates. In the
				beginning they didn’t like me because I was stubborn and rude to
				them. Afterwards, I sometimes behaved better. But in any case,
				being with the English girl, I could do things that were forbidden and
				not get punished. Sometimes, for example, I would go into the yard
				to pick up butts that the richer girls had left; we weren’t allowed to do
				that other than at recess. Or I tried doing all kinds of things so I could
				go to the cooler, because l had a friend who sang in church and in the
				cooler there was a lot of echo. But despite all I did I never got sent,
				while some girls did nothing at all and got sent right away.
			Down in the cooler you were isolated from everybody. You got
				no mail or visits. You never left your cell, except once a day when
				you had a walk, alone, in the yard. You only had one meal a day
				which was brought to you in your cell.
			Generally speaking, it took a certain amount of time to make
				friends. I didn’t have this problem because there were already two
				people there whom I knew when I arrived. But for the others who had
				no soap, no handkerchiefs (the prison gave you nothing, not even
				sanitary napkins; all they gave me when I came in was a rag to wash
				myself with), if they weren’t resourceful, if they didn’t get some
				friends to help them, they couldn’t make it. You had to work about
				ten days before having enough money to buy things at the canteen.
			The money that you made working, making key rings, was only
				just enough to buy cigarettes. You were paid 80 centimes (15 cents)
				for one hundred key rings, about a day’s work. Those who worked
				really fast managed to make two hundred. I started working the
				second day after my arrival, but I lost the tool I had been given. I got
				yelled at by the nun, and I saw that it was badly paid, so I stopped.
				Instead, I spent my days reading. I could do this because I was not
				sentenced yet, while those who were had to work. The catalogue
				from the library was passed in the workshop and we had the right to
				two books a week; I would ask some girls who didn’t read to order
				some for me. I read everything—<persName key="Pearl S. Buck" ref="http://www.wikidata.org/entity/Q80900">Pearl Buck</persName>, books on explorations.
				also spent a lot of time drawing, and sometimes I would go out. My
				seat was at the end of the workshop, near the door, so it was easy for
				me to go out in the yard when the nun wasn’t looking.
			The money that you had on you on entering the prison was kept; you could only use it
				in the canteen. Some inmates received money orders; many of them, actually, got
				money. As for me, my brother <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_041.jpg"/>sent me a hundred francs (20 dollars) and a
				little money that I had left in a book at my mother's. But for those who had no
				money at all, the only way to get any was to work.
			At the canteen you could buy pencils, letter paper, envelopes, toilet articles, or
				wool. Some knitted; it was winter and it was neces sary if you didn’t have any
				clothes. You could also buy french fries, puddings and prepared dishes that you
				could have on Sundays. We couldn’t have newspapers, but we could buy magazines like
				Jours de France.
			About these magazines—we bought them for the recipes that were in them. Often there
				were pictures with the recipe, so we would tear them from the magazine and eat them.
				For example, if you liked salad, you would eat pictures of salad. We also ate
				pictures of chicken, cakes, or things like that.
			At the meals we got mostly starchy food—potatoes, beans, or cauliflower; there was
				also bread. They gave us meat, but it was very tough. In fact we couldn’t cut it
				with the blunt children's knives that we bought at the canteen. We ate it with our
				hands, tearing it with our teeth. At the end of the meal—which had been served by
				inmates—we did our own dishes. We had brought our bowls and our cutlery to the
				mess hall in the cardboard boxes that we took everywhere with us, and we went in
				little groups to wash them with cold water. To wipe them, l used the rag they had
				given me when I came in...
			About twice a week we could bring back up to the cells the rice pudding we had had
				for dessert at supper. I loved this and often exchanged two cigarettes for a bowl.
				We went up two by two, and silently. If we talked, the nun made us stop until we
				were silent again. Between the time we went up and the time we went to bed there was
				about half an hour, when we had the right to stay near the stove and toast pieces of
				bread. We talked, or we sang; l'had a friend who sang very well, and we gathered
				around her. She sang some of Adamo's songs, but also some she had written herself,
				like one about the nuns to the tune of Morpionibus. She also sang in church; she had
				spent years in a religious boarding school and she knew the whole mass in Latin. ...
				It was forbidden to sing in the cells once the doors were closed, but we did it
				anyway. We all sang together. The nuns couldn’t put us all in the cooler; they
				contented themselves with yelling into the void.
			On our beds we had the right to three blankets—and no more— and two sheets. In summer
				it might be enough, but in December found another blanket when one of the girls in
				my cell left, but it was <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_042.jpg"/>there was one stove for forty cells. One girl
				in my cell had accumulated several cardboard boxes; for a while she used them as
				storage space. Then one night when all the doors had been locked and the lights
				turned out, she set fire to her boxes to get warm. A nun realized this and came to
				ask what was going on. We both pretended to sleep, but in the end I lifted my head
				and told the nun that I didn’t know anything, that I hadn’t seen anything, and that
				I couldn’t tell her anything else.
			It wouldn’t stick: I was all alone with the other girl and I was saying that I hadn’t
				seen anything. The next day the girl I was friends with said that I couldn’t have
				done it. She knew me and she knew that didn’t have bizarre ideas like that. The
				other girl did two weeks in the cooler, but I could have gone too because I hadn’t
				said anything....
			Every week there was a shower session. It was in cubicles that didn’t close, and
				there were three of us in each cubicle. The water ran sometimes too hot, sometimes
				too cold. When it stopped, everyone had to be through, and even if your head was
				full of soap, there was nothing you could do about it. You had to find a way to
				rinse yourself with cold water afterwards; sometimes when you finally got a chance
				to do it, your head was already half dry.
			As for clothes, pants were forbidden. Men were banished from
				our environment and the nuns would say "Stop wriggling!" when we
				saw workers from <placeName key="Fresnes Prison" ref="http://www.wikidata.org/entity/Q5503154">Fresnes</placeName> (men’s prison). We weren’t supposed to
				look at them. We had to wear dresses or skirts. When I arrived, I was
				wearing pants, so to replace it they gave me a burlap dress. In the
				beginning I didn’t have any other clothes; I wore it night and day.
				couldn’t wash it and until I got other clothes, my dress stayed
				dirty.... One girl had made herself a skirt from a blanket, so she
				went to the cooler. It was a beautiful skirt and it was a long time
				before they realized what she had done. I don’t know where she
				found the needle and thread; they were among the things that circu¬
				lated. ... The sheets and rags which had been given to us were
				washed in the linen room. The linen maids, like those who served the
				meals, were inmates who had been there a long time and who had
				won the trust of the nuns. The sheets were changed about once a
				month; it was far from ideal when there were lice.
			During my stay there was an epidemic of lice. The nuns told us to go to the kitchen
				and ask for vinegar, and we put it on our heads. When it was dry we put on some
				powder, and then a scarf; we stayed like that for three days. If you had lice it was
				considered bad and no one approached you any more. One of the nuns made fun of me;
				she said, "If you washed every day. " or something like that. I told her that she
				had surely had them before me. It was the first time in my life that I had them,
				so.
			The cells were searched pretty often, sometimes when we were there, but mostly during
				the day when we were in the workshop. The nuns looked for knives and candles we had
				gotten by exchange, or other things we weren’t allowed to have. They also looked for
				mail between inmates; we had the right to write letters to each other, but not love
				letters. Once one of the nuns—a young one who must have been under thirty—wrote to
				one of my friends. She told her that she liked her and that she would like to have a
				closer relationship with her. The letter was found and the nun in question was
				expelled. This sort of thing happened from time to time.
			Everything we received from the outside was also searched. We received our packages
				all cut up and opened. All our letters were read, those that we got as well as those
				we sent. Some had practically nothing in them, but they couldn’t go through because
				they were too long. People wrote to us with the smallest writing possible because
				one page, written very small, went through, but 2 pages, written in large letters,
				didn’t. As for the letters that we wrote, everything concerning prison life, the
				nuns, or what we ate, was censored. We could talk about the books we had read, and a
				minimum about what we did, but that was all. In general, what went through or not
				depended on the person who read the mail. Some letters that shouldn’t have gone
				through went anyway, and vice versa.
			We were also searched when we left the prison. You couldn’t take out anything that
				might be a souvenir. One of my friends, for example, had made a drawing of a little
				girl taking water in her hand to offer a doe; they didn’t let her take her drawing
				out. In these searches you couldn’t really hide anything, and what was least likely
				to be found was what wasn’t hidden. In the end they looked more often into the
				girls' vaginas to see if they had hidden letters than in the luggage. As for me, I
				had certain drawings and papers which normally I wouldn’t have been allowed to take
				out. I just left them with my things and they weren’t even seen.
			It was on the eve of my departure that they told me that I was coming out. Until then
				I had no idea how long they were going to keep me. I could have gone out on
				probation before, but only on condition that they tell my mother. I preferred that
				they didn’t. Once out, I didn’t have the right to write to my inmate friends who
				stayed. Sundays were different from other days. In the morning, some went to church
				and the others stayed locked up in their cells, but we could go into our friends'
				cells. Afterwards we did the cleaning up
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_043.jpg"/>
			That day we didn’t work, and we could sit where we liked in the workshop-mess hall.
				The nuns put the radio on, but they turned it off as soon as the news came on. They
				didn’t let us know what was going on in the outside world. To pass the time we
				played games. For instance, we played truth games. We asked questions about
				incidents that had happened a few days before and about which we hadn’t managed to
				find out the truth. The girls were generally honest; you couldn’t lie in that game,
				otherwise you didn’t play. But the biggest pastime was cards—Tarot, Belote. Some of
				them were played with real cards that some girls had managed to smuggle in. The
				others had been made with empty packs of Gitanes on which we had drawn.
			Some girls tattooed themselves. They would take ink from ball point pens and mix it
				with cigarette ash. This way they managed to make an ink which was pretty
				indelible—blue-black. Then they took two needles, one projecting in front of the
				other, and put a drop of ink between them. Then, with the projecting needle they
				made the drop slip into the hole. This made a point; they made as many points as
				they wanted. They made snakes, hearts, names, but mostly just three points, which
				means "Death to the Pigs," or five points "Alone Between Four Walls." It was the
				emblem of prison.
			We wrote all over ourselves with pens, and there were ways of making up your face.
				With ashes from the stove in the hall and water we could make mascara. There were
				black felt pens that we could use as eyeliner, but it was hard to take off and we
				usually did it with shoe polish that we got at the canteen. We mostly made our eyes
				up, but some girls put brown pencil around their lips.
			Some girls reacted badly to prison lite, but we tried to help them, and they managed
				to make friends, to find people who helped them &amp;gt;overcome their distress. I wouldn’t
				leave a poor girl by herself who arrived here and who looked completely lost. I went
				to see her, talked to her. Of course there were those who had their husbands and
				their children outside; for them it was harder. I was told that once a girl hanged
				herself. Sometimes there were also attempts at escape; was told that one inmate hid
				herself in a garbage can, but she didn’t have time to get out and was killed inside
				the garbage truck.
			At Christmas <orgName key="The Salvation Army" ref="http://www.wikidata.org/entity/Q188307">the Salvation Army</orgName> came. We got together in the
				mess hall and listened to them sing Christmas carols. These women
				were very nice. They gave each of us a towel, a handkerchief, and a
				pack of candy. We had a lot of fun because we weren’t used to seeing
				this sort of woman. Everybody was laughing, but they were well
				received by the inmates. In the end we thought it was really nice of
				them to trouble themselves for us. I think a lot of the girls were
				touched.
			For the meal, we put all the tables together to be the most together possible. Those
				who had saved a little money bought pastries, but almost everything was shared. I,
				for example, didn’t have any money, but I had a little of everything like everybody
				else. On the part of the prison, there was nothing, except that we didn’t work that
				day and we could go to midnight mass. A lot of people were depressed that day; all
				this reminded us of our families and of all the things we were trying to forget. It
				was nice, this party, but actually it was painful. The monotony of the other days
				was better. We didn’t really give each other presents. We didn’t have the
				possibility of giving anything, except cigarettes. The girl I was going out with
				gave me some cigarettes. </div>
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The Art of Not Bowing: Writing by Women in Prison

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				<title>The Art of Not Bowing: Writing by Women in Prison</title>
				<author>Carol Muske</author>

In July 1973 I wrote an article for <title key="Village voice (Greenwich Village, New York, N.Y.)" ref="http://viaf.org/viaf/198145541783196601418/">The Village Voice</title> about a hunger strike then
				taking place at the <placeName key="Women's House of Detention (New York City Correctional Institution for Women," ref="https://en.wikipedia.org/wiki/New_York_Women%27s_House_of_Detention">Women's House of Detention (New York City Correctional
				Institution for Women,</placeName> housing around 400 detention and sentenced women) on
				<placeName key="Rikers Island" ref="http://viaf.org/viaf/315527979/">Riker's Island.</placeName> I used a pseudonym for the article because I was working at the time
				at the prison as a mental health worker as well as teaching a poetry class, and I
				wanted to keep both occupations. Many of the women in my class were involved in the
				strike and were emphatic about the significance of their stand, although
				traditionally women at Riker's were notoriously apolitical, even downright reaction¬
				ary. Strikes had taken place before, but on issues such as cosmetics (the women
				had wanted an Avon lady), more dances and recreation time or flashier products in
				commissary. 
			This strike was different. The women were demanding, among other things, a legal
				library, an end to massive and lax prescription of "diagnostic" medication, decent
				food, and limitation of solitary confinement to three days. At the Women's House,
				where an old adage ran "all riots end at mealtime," this was pretty heady stuff.
			The article in <title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title> (<date when="1973-07-26">July 26, 1973</date>) was supposed to get the world (or at
				least <placeName key="Manhattan" ref="http://www.wikidata.org/entity/Q11299">Manhattan</placeName>) listening and to familiarize people with a woman’s situation in
				prison: <quote>incarceration for women is a somewhat different experience than it is
					for men. Male prisoners are expected to be political in one form or another,
					they are far better legally informed, and an atmosphere of "bonding" is
					prevalent. (They are also considered more "trainable"—more vocational rehab
					programs exist for men on Riker's Island.)</quote>
			
			The administration broke the back of the strike in its sixth day by separating the
				ringleaders, transferring them to different housing areas, or locking them in the
				"bing" (solitary). But it was too late. The article appeared and provoked a reaction
				from the community: pressure was put on the warden. A few of the women’s demands
				were met: a legal library was established, kitchen conditions were improved, and
				other steps were taken. Someone from the class hand-printed a sign and put it up in
				the classroom: WORDS CAN TURN THEM AROUND. 
			This was a milestone. I had been teaching the class for about a year and felt that
				although the women's response had been overwhelmingly enthusiastic, I was getting
				nowhere in the actual teaching of writing. It wasn’t that the women were intimidated
				by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane.
				When I first suggested the idea of a writing workshop to the warden, she scoffed at
				it. "These women don’t write," she said. "They don’t read. The overall educational
				level is poor. Reading, writing, comprehension... all very low." At the first class,
				I learned that all the women "wrote"—they came to class lugging diaries, journals,
				manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell“;
				poetry was a tradition; poems were written, read, copied by hand, and passed
				around—a publishing network. No one owned a poem. All the poems rhymed, and all were
				either sentimental love/religious verse or political rhetoric. My failure had been
				the inability to let them see alternatives: a poem was not always an escape, a
				fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article,
				which was about them, about their very real lives in clear, simple language, did it.
				Someone said that a poem could be like reporting on your life, telling the story
				of your life— journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who
				sat all day in front of the television watching commercials about getting away
				from it all and listening to the planes (one every three minutes) take off from <placeName key="La Guardia" ref="https://en.wikipedia.org/wiki/LaGuardia_Airport">La
				Guardia</placeName> a few hundred yards across the water from the prison, wrote the first.
				(Millie had been a "hearts and flowers" verse writer: her poems were filled with
				giggly sunsets“): 
			<lg>
				<head><title>Fly Me, l'm Mildred</title></head>
				<l>Finger my earring as I lean low</l>
				<l>over your bomber cocktail</l>
				<l>I've been known</l>
				<l>to put you on a throne</l>
				<l>send you off alone (not united)</l>
				<l>through the tomb-boom roar</l>
				<l>you get what you’re asking for</l>
				<l>when you fly me, honey,</l>
				<l>l'm Mildred.</l>
			</lg>
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_033.jpg"/>
			<lg>
				<head><title>Personally</title></head>
				<l> So you spoke to me in silence</l>
				<l>in the ice man's choir </l>
				<l>and I dangled all the while</l>
			</lg>
			<lg>
				<l>You said (in silence) </l>
				<l>live each day </l>
				<l>spittin' on <placeName key="Fifth Avenue" ref="http://www.wikidata.org/entity/Q109858">Fifth Avenue</placeName> </l>
				<l>fox-trottin' in hell</l>
			</lg>
			<lg>
				<l>So we ain’t home— </l>
				<l>we’re together </l>
			</lg>
			<lg>
				<l>Smile: </l>
				<l>I take it personally</l>
			</lg>
			They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Dostoïevski, Fedor Mikhaïlovitch" ref="http://viaf.org/viaf/6074160486121805180007/">Dostoyevsky</persName>, the long tradition of
				writers in prison. I read them poems. Another woman, <persName>Elizabeth Powell</persName>, came to class
				with a poem about homosexuality which was explicit, honest, and skillfully done.
				The class praised it Elizabeth left the class that night, made a sheaf of copies by
				hand, and passed it "on the vine." The next time I arrived at the prison, I was
				called into the warden’s office. A member of my class, the warden said, had written
				a poem about her "unique perversion" and had implied, she said, that there were also
				correction officers who were homosexual, one in particular. She spoke of libel,
				telling me that I should have confiscated the poem immediately, or at least made
				sure that it didn’t go beyond the class. (Though homosexuality was indeed common—
				the "only game" in the prison, the warden steadfastly refused to admit that she had
				any more than-a few "deviants" on her hands, whom she described as hard-core—in
				other words, gay even on the outside. Actually, as is the case in most women's
				prisons, homosexual relationships were standard even for straights, for the simple
				reason that human beings need physical intimacy and affection when they are confined
				to correctional institutions and cut off from relationships available to them
				outside the walls. Definitions of personal sexuality tend to change behind bars.
				Upon release, some women remain "changed," while the majority of former prisoners
				return to heterosexual lifestyles. The warden deeply feared homosexuality; any
				manifestation of "butch" conduct was enough to tag an inmate a troublemaker and
				"male attire" was expressly forbidden in the rules guide. Correction officers were
				warned not to wear pants to work, and thus their uniform remained skirted.
				(Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's
				artificial notion of femininity.
			After this incident, I was informed that the poem had been confiscated and that
				<persName>Elizabeth Powell</persName> had been placed in solitary confinement pending a hearing by the
				disciplinary board. I was told that I would be allowed to continue the poetry class
				for the time being, but that if another incident like this took place, I would be
				asked to leave the prison. The warden sincerely hoped that I had "learned a
				lesson."
			I had. It was just as I had told them: a dramatic testimony to the power of
				words—and, thought, one of the stupidest things I have ever done. It was easy for me
				to drop in and talk about "getting it down right“ and being honest in writing—I went
				home every night. For me, there was no danger of being thrown in solitary, having my
				personal papers raided, or worse. It occurred to me that even when l had written my
				ever-so-honest article, I had used a pseudonym to protect myself. There were
				obviously bigger risks than job loss at stake for women or men who chose to write
				while incarcerated; risks l had clearly not understood. Words could indeed turn
				around the authorities, but could also turn them into the oppressors they actually
				were.
			Elizabeth Powell was in the bing for three weeks. When she came back to class, she
				was ready to go another round (she had written 25 poems, all dealing with
				homosexuality, while in lock), but I had made a decision. I explained how I felt as
				an outsider with no right to tell them how to write in this volatile situation, but
				I asked that they make a distinction between public and private poems to protect
				themselves from exactly this kind of censorship/punishment. Private poems were,
				obviously, ones you could get thrown in the bing for; public poems could be
				"published." At this point, I also went back to the warden and told her she should
				not be surprised at some "emotional" poems; I described the class as "therapy" and
				she agreed that that was a good way of viewing it.
			The class flourished. The women began to express themselves, to find words underneath
				and in the midst of the gloss of everyday language. Some discovered (recovered?) a
				subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I
				was here."
			I had quit my mental health worker job and was concentrating on expanding FREE SPACE,
				as the class had come to be called. The <orgName key="National Endowment for the Arts" ref="http://www.wikidata.org/entity/Q1967116">NEA</orgName> had given us some funding, as did Poets
				&amp; Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club
				mailed boxes of overstocked paperback books; we amassed our own library and <persName>Ted Slate</persName> of Newsweek donated supplies and equipment.
			<persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName>Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to
				come back to work with us, taught poetry and library skills. Each teacher learned to
				cope in his or her own way with the trials of trying to run a writing class in a
				prison. Each class was like a hypothetical leap: it would take place 1) IF the
				officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women
				were there and not a) in court b) in solitary c) in another part of the prison d)
				watching television e) sleeping and/or drugged f) transferred to another floor g)
				trans- ferred to another prison h) out on bail (good news); 3) IF the officer on
				hall duty okayed the passes; 4) IF the warden had not scheduled something else in
				your classroom (usually a course in etiquette); 5) IF there was no "contraband,"
				i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks),
				tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).
			Somehow, the class took place and thrived. Visitors came to read and comment on
				student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halper" ref="http://www.wikidata.org/entity/Q17411190">Daniel Halper</persName>n, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For
				a long time, everyone learned. Information was taken in, absorbed—classes were spent
				writing and rewriting, letting off steam.
			Almost four years later, most of the women from the old class had been transferred or
				freed (detention women often spend two years waiting for trial), but emphasis was
				still placed on getting along." We all stressed writing as craft. Classes were run
				as any outside workshop would be, except no one ever published anything.
			The poetry class at this time was full of women who were considered potential
				security threats—in other words, intelligent, outspoken, and funny. Some were
				"controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars;
				<persName key="Ramer, Carole J." ref="http://viaf.org/viaf/63352640/" cert="low">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about
				everything; <persName key="Jensen, Gloria H." ref="http://viaf.org/viaf/43354610/" cert="low">Gloria Jensen</persName>, whose imagination was like a vaudeville show; <persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur/Joanne Chesimard</persName>—alleged leader of the <orgName key="Black Liberation Army" ref="http://www.wikidata.org/entity/Q2545743">Black Liberation Army</orgName>, brilliant and
				talented, with a Cool-Hand Luke aura of insouciance, compassion, and tenacity.
				(Assata was considered so dangerous that the prison required her to have a
				continual guard-escort.) These women were all good writers. They had learned craft
				and practiced it—and wanted more. They wanted to go further than "therapeutic"
				writing or workshop poems. They were writing dynamite.
			After four years, there was a huge pile of handwritten poems, Fannie's log with the
				names of every woman who had come to class, some incredible memories, and that was
				all. We went to the prison week after week and no one ever saw or heard what the
				women wrote: the voices were never heard outside, and on the inside, only in class.
				I began to feel that something had to give—no matter what risks were involved for
				the women (if they should decide to publish)and for FREE SPACE as a writing
				program. It was Catch 22—we were losing either way. At this stage, the women were
				denied the natural fulfillment of self-expression, which is publication. If we
				published their writing, however, we stood to lose the writing program itself. I
				began to fantasize about getting the word out: if people could only hear some of
				this stuff, I thought, no one would ever ask me again about either the quality of
				prisoners' writing or the reasons for running workshops in prisons. We would have
				evidence in writing. Best of all, the women would have the audience they deserved. I
				began to draft a rough script, a framework for some of the poems.
			What happened to <persName>Juanita Reedy</persName> made up everybody's mind about publication. Juanita
				went to Elmhurst Hospital to have her child and was treated so inhumanely that she
				refused to let prison doctors touch her upon her return. She wrote a poem about her
				experience, which she developed into a longer <title>"Birth Journal."</title> She published it in
				<orgName key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</orgName>, the feminist journal. In the same issue there was an article about
				FREE SPACE and a poem by <persName>Carole Ramer</persName>. The issue began to circulate in the prison.
				Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major
				magazine. One night in class she read this poem:
			<lg>
				<head><title>Butch </title></head>
				<l>You should have told me </l>
				<l> About your dick </l>
				<l> Stashed inside your bureau drawer</l>
				<l> woulda believed you</l>
			</lg>
			<lg>
				<l>Ya say ya wanna be my daddy </l>
				<l> Va say ya wanna be my daddy </l>
				<l> Ya say ya wanna be my daddy</l>
			</lg>
			<lg>
				<l>Yeah! Run it! l'm ready! </l>
				<l> My mamma warned me about you</l>
				<l> She taught me about you </l>
				<l> She beat me about you</l>
			</lg>
			<lg>
				<l>But I thought you were a man.</l>
			</lg>
			<lg>
				<l>And I lower my eyes </l>
				<l> And I lower my back</l>
				<l> And I swivel my hips </l>
				<l> And I lighten my voice </l>
				<l> And I powder my nose </l>
				<l> And I blue up my eyes </l>
				<l> And I redden my cheeks </l>
				<l> And I jump when you call </l>
				<l> And I cook and I knit</l>
			</lg>
			<lg>
				<l>And I clean and I sew</l>
				<l> And it is all so cozy </l>
				<l> You lying in my arms</l>
				<l> (If I am not being too forward, </l>
				<l> too unladylike)</l>
			</lg>
			<lg>
				<l>But who will know, anyway, </l>
				<l> That you were in my arms </l>
				<l> Not me in yours</l>
			</lg>
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/>
			<lg>
				<l>And if it comes to it</l>
				<l> To save face </l>
				<l> You can lie </l>
				<l> l'Il back you up </l>
				<l> I've gotten very good at it lately</l>
			</lg>
			<lg>
				<l>You should have told me </l>
				<l> About your status— </l>
				<l> I would have bowed to you </l>
				<l> What's one more bow, anyway?</l>
			</lg>
			<lg>
				<l>I bow to the dollar </l>
				<l> I bow to the scholar </l>
				<l> I bow to the white house </l>
				<l> I bow to the church mouse </l>
				<l> I bow to tradition </l>
				<l> I bow to contrition </l>
				<l> I bow to the butcher </l>
				<l> I bow to the baker </l>
				<l> I bow to the goddamn </l>
				<l> lightbulb maker—</l>
			</lg>
			<lg>
				<l>Who the hell am l anyway </l>
				<l> Not to bow?</l>
			</lg>
			<lg>
				<l>What else do I know how to do?</l>
			</lg>
			<lg>
				<l>But you should have told me baby </l>
				<l> You should have hipped me momma </l>
				<l> I didn’t know you would pull it out </l>
				<l> And strap it on</l>
			</lg>
			<lg>
				<l>Fucking me mercilessly </l>
				<l> Long stroking me </l>
				<l> So that even my shadow is moaning</l>
			</lg>
			<lg>
				<l>But damn baby </l>
				<l> I didn't know </l>
				<l> You coulda saved me the trip¬</l>
			</lg>
			<lg>
				<l>I thought I was on my way </l>
				<l> To a garden </l>
				<l> Where fruit ain’t forbidden </l>
				<l> Where snakes do not crawl to seduce </l>
				<l> I thought for a second </l>
				<l> That earth was a good thing </l>
				<l> That acting had played out </l>
				<l> And cotillions were outlawed </l>
				<l> That bingo was over </l>
				<l> And ladies had drowned in their tea </l>
			</lg>
			<lg>
				<l>But now that l'm hip momma </l>
				<l> Come, fuck me.</l>
			</lg>
			(@ <persName>Assata Shakur/Joanne Chesimard</persName>) 
			Some of Assata’s poems were accepted for publication in, a literary magazine. Poets
				&amp; Writers gave us a grant to do an anthology of students' writing which Gail and
				I compiled. We published it through the <orgName>Print Center in Brooklyn</orgName> and called it
				<title level="a">Songs from a Free Space: Writings by Women in Prison</title>. The anthology was sold in New
				York bookstores and distributed to the women in the classes.
			It contained some of the best work done in the classes. By now I had handed over a
				rough script to the poetry class and an idea about doing some kind of theater piece.
				The women put together a revue of loosely scripted poems, songs, and vignettes
				called Next Time. They memorized lines and improvised costumes. <persName key="Sanderson, Karen" ref="http://viaf.org/viaf/7163456189304813715/">Karen Sanderson</persName>, a
				friend and videotape expert, arrived at the prison one Sunday with a crew of women
				(after endless haggling for permission; we told the Corrections Department that we
				needed the videotape as a rehearsal tool for a play) and taped for nine hours
				straight. Finally, after months of editing, a half-hour tape emerged which documents
				the poems, songs, love, and exasperation of some of these incredible women. (This
				tape is available to anyone interested.)
			In September 1975, <orgName>FREE SPACE</orgName> merged with <orgName key="Art without Walls (Organization)" ref="http://viaf.org/viaf/157557651/">ART WITHOUT WALLS</orgName>, another arts project for
				women in prison. Now we were able to offer graphic arts and dance, in addition to
				having a larger staff. The publishing idea had fulfilled itself, a renaissance.
				Juanita had begun a book about her experiences; another woman, <persName>Isabelle Newton</persName>, was
				collecting her poems in manuscript. Then Assata, who had been held in solitary
				for one year in New Jersey, whose cell was raided by guards every day in search of
				contraband, and who had been beaten by the prison goon squad on numerous
				occasions, completed her book of poems and wrote two chapters of a book, an account
				of her arrest and life in prison. The warden stopped me in the hall one day and told
				me that she knew we were collaborating on a book with Assata and Juanita. She told
				me she hadn’t forgotten the Elizabeth Powell case.
			On <date when="1975-11-26">November 26, 1975</date>, Gail was preparing to leave home to go to her fiction class
				(filled with new students) when the phone rang. It was Deputy Freeman, the WHD
				Program Director, who advised her not to come to class: the program had been
				cancelled. We were not allowed to do anything after that except to pick up our books
				and any program belongings; we couldn’t say good-bye to anyone or discuss plans for
				any of their work.
			Naturally, we are contesting this decision, but there isn’t much hope in appealing a
				warden’s whim. It is, after all, her turf. Official reasons for the cancellation
				were said to be duplication of services (they stated that the public school provided
				the same type of classes) and irregularity of classes. The warden refused, however
				to put these reasons in writing for us. It is clear that the writing classes were
				taken seriously only when the women wrote seriously about their lives and published
				those writings. Poetry is safe, women are safe until they begin to make sense and
				communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of
				self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn
				them around, but sometimes having all the right words is small change. "Before
				despairing, speak of it," said a woman one day in class. Even when writing of
				despair there’s the fact—named and held to the light for a moment—maybe even under¬
				stood.
			WITHOUT WALLS/FREE SPACE is continuing to work at a children’s center, a drug clinic,
				and another women’s prison. It’s important to maintain the lifelines between
				people on the outside and those inside.
			But what happened at the Women's House of Detention can easily happen again.
				Especially if publishing is, as it should be, part of the writing project. Prison
				writers have a right to be heard as does any writer. Their voices are too impor¬
				tant to be missed. Publishing is part of the art of not bowing. Each time a man or
				woman in a cell
			<lg>
				<head><title>Next Time </title>
					<lb/>(group poem from the videotape </head>
				<l>of the same name) </l>
				<l> You don’t hear me </l>
				<l> You don't see me </l>
			</lg>
			<lg>
				<l>I'm the one just a step behind you </l>
				<l> a split second before the light changes on the</l>
				<l> corner. </l>
				<l> The face that breaks the glass without a sound </l>
				<l> The hands that take your money on a </l>
				<l> screaming train uptown.</l>
			</lg>
			<lg>
				<l>Ladies. I had nowhere to take myself tonight </l>
				<l> Except to myself </l>
				<l> To my own face </l>
				<l> Reflected in yours </l>
				<l> And my own voice </l>
				<l> telling me </l>
				<l> THERE IS NO NEXT TIME FOR ANY OF US </l>
			</lg>
			<lg>
				<l>Just the husbands and families waiting </l>
				<l> Just the habits and fast money waiting </l>
			</lg>
			<lg>
				<l>The kids in the street</l> 
				<l>The kids in strangers' homes</l> 
				<l>The kids in our bellies</l> 
				<l>The kids we are inside</l> 
				<l/><l>And the lies we tell ourselves</l> 
				<l>To go on living</l> 
				</lg>
				<lg>
					<l>LISTEN</l> 
					<l>No one got over on you tonight</l> 
					<l>No one lied here tonight</l><l/> 
					<l>We told the truth</l> 
					<l>And the truth is what you see before</l><l>your eyes</l><l/> 
					<l>Ladies</l> 
					<l>Before you forget, ladies,</l> 
					<l>Till the "next time" My best.</l>
			</lg></div>
		</body>
		<back>
			<div><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName> is a New York poet and assistant editor of Anteus. Her book, <title>Camouflage</title>,
				was published in 1975 (University of Pittsburgh Press). She directs the prison
				program Art Without Walls/Free Space at Bedford Hills Correctional Facility for
				Women.</div>
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Foys, Floozies ond Philosophical Flaws

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			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_044.jpg"/>
			<div><head><title>Foys, Floozies ond Philosophical Flaws</title></head>
				<byline><persName><persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName></persName></byline></div>
			<div><figure><caption>The smile of my gracious lady makes me happier than if four hundred angels laughed at
				me from the heavens (Raimbaut d'Orange, while some less gracious ladies chuckled
				from the wings.)</caption></figure> 
				The attitudes in True Romances (and in most of our pasts)
				originally shone forth from 12th-century troubadour poetry and even then they were
				a little tarnished. Chaste, idealistic and upper-ciass, medieval troubadour poetry
				supposedly countered a strong tradition of misogyny. It also supposedly elevated
				woman by upholding that same feminine mystique which, for centuries, the Christian
				fathers had diligently) tried to demolish: “Corporeal beauty is nothing else but
				phlegm, and blood, and humor, and bile, and the fluid of masticated food.... " said
				<persName key="John Chrysostom" ref="http://www.wikidata.org/entity/Q43706">John Chrysostom</persName>, a saint, in the 4th century. "When you see a rag with any of
				these things on it, such as phlegm, or spittle, you cannot bear to touch it even
				with the tips of your fingers. . . . Are you in a flutter of excitement about the
				storehouses and depositories of these things?" <note type="researchNote">"An Exhortation to Theodore after His Fall," in <title key="Nicene and Post-Nicene Fathers" ref="http://www.wikidata.org/entity/Q16152258" level="m">A Select Library of the Nicene and Post-Nicene Fathers</title>, ed. <persName key="Philip Schaff" ref="http://www.wikidata.org/entity/Q115922" type="real">Philip Schaff</persName> et al. (New York, 1889), IX, 103-104.</note>
			Woman was so many layers of mucous membrane. And writings from 6 and 7 centuries
				later attest to the muddy strides saints and clerics had taken in the interim: "If
				her bowels and flesh were cut open, you would see what filth is covered by her white
				skin. If a fine crimson cloth covered a pile of foul dung, would anyone be foolish
				enough to love the dung because of it?" <note type="researchNote">From the Carmen de Mundi contemptu, quoted in <title>Not in God’s Image</title>, ed. J. Ofaolain and L. Martines (New York, Harper and Row 1973), p. xlij. <persName key="Odo of Cluny" ref="http://www.wikidata.org/entity/Q454553">St. Odo of Cluny</persName> had earlier phrased this with almost identical wording in his <title key="Collationes" ref="http://www.wikidata.org/entity/Q21436484">Collationes</title>, lib. 2, cap. 9 (in J. P. Migne’s <title key="Patrologia Latina" ref="http://www.wikidata.org/entity/Q548044" level="m">Patrologia Latina</title> (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's <title>Meditationes Plissimae de Cognitione Humanae Conditionis</title>, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are "stercoris saccum” and saccus stercorum” —literally, a bag of shit.</note> Now, woman was simply so much manure
				smattered across the coprophagous pages of Christian doctrine.
			 The wheels of progress kept on turning. A 3th-century work addressed itself
				specifically to women—three worthy recluses: "What fruit does your flesh yield from
				all its openings?" began their catechism. “Between the taste of mouth and smell of
				nose, aren’t there holes like two privy holes? Aren't you born of foul slime? Aren't
				you worm-food? <note type="researchNote">The Early English Text Society's <title key="Ancrene Wisse" ref="http://www.wikidata.org/entity/Q489442" level="m">Ancrene Riwle</title>, ed. <persName key="Dobson, James E." ref="http://viaf.org/viaf/187144782706114501587/">E. J. Dobson</persName> (London, 1972), pp. 202-203; author's translation.</note> To the Church, woman was simply full of shit. Yet this was the
				legacy bequeathed to the Middle Ages where the love of woman was a cult—an absolute
				prerequisite for respectability. And love flourished. Of course, misogyny
				continued to flourish too. Woman would still be called "a stinking rose" and
				"glittering mud” and “a temple built over a sewer." <note type="researchNote"><persName key="Salimbene" ref="http://www.wikidata.org/entity/Q108446705">Salimbene</persName>, in <title>From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene</title> (1221-1288). 2nd ed., ed. and trans. <persName key="Coulton, G.G. (George Gordon), 1858-1947" ref="http://viaf.org/viaf/95255424/">G.G. Coulton</persName> (London, 1907), p. 97. and <persName key="Tertullian" ref="http://www.wikidata.org/entity/Q174929">Tertullian</persName>, quoted in G.L. Simon's <title level="m">A Hisory of Sex</title> (London, New English Library, 1970). p. 71</note> But, as sister to Mary, she was
				also the mystical elevator of the masculine soul which, by its nature, gravitated
				toward perfection. By merely contemplating woman in her golden radiance, man could
				rise to spiritual heights in a kind of "gilt” by association. For somewhere between
				the muddy slime and the hazy castle spire, a new woman had been spawned. Like the
				enchanted fay (fairy) of Celtic lore, she moved softly, gliding over but never
				touching terra firma, surrounded by auras so fragile that they were better left
				unpenetrated. But these were beautiful, mysterious and promising auras, and
				scribes feverishly copied down the formulas for keeping them intact: "If you have
				ugly teeth, don't laugh with your mouth open." "Practice making pretty speeches. “
				"Dye your hair; wear false hair if you have lost your own." <note type="researchNote"> From L<title>a Clef d'amor and La Cour d'aimer</title> in <persName key="Nina Epton" ref="http://www.wikidata.org/entity/Q18705131">Nina Epton</persName>'s <title>Love and the French</title> (London, 1959), pp. 30ff </note>
			 <persName key="Andreas Capellanus" ref="http://www.wikidata.org/entity/Q4340">Andreas Capellanus</persName>, <persName key="Jacques D'Amiens" ref="https://www.wikidata.org/wiki/Q95795577">Jacques D'Amiens</persName>, <persName key="Robert de Blois" ref="http://www.wikidata.org/entity/Q1774110">Robert le Blois</persName>, <persName key="Garin lo Brun" ref="http://www.wikidata.org/entity/Q1778218">Garin le Brun</persName>, <persName key="Drouart la Vache" ref="http://www.wikidata.org/entity/Q54834439">Drouart la
				Vache</persName>, <persName key="Pierre Ermangaud" ref="http://www.wikidata.org/entity/Q20922145">Ermangau</persName> and <persName key="Richard de Fournival" ref="http://www.wikidata.org/entity/Q2121581">de Fournival</persName> —all added their instructions to the heap: Lie.
				Cheat. Drop names, if you have to. Drop dead, if you have to. Anything.
			 Maintaining the mystique was the important thing, and that meant keeping the
				distance. It meant the ecstasy was in the wooing while sex lay in the winding down.
				Even the ladies understood that attainment decreased their value, and many who
				loftily kept their suitors well below thigh level would rather have had it
				otherwise. After all, as even the ladies knew: a <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_045.jpg"/> lover is a vision
				surrounded by auras. But flesh and blood is flesh and blood... and phlegm and dung
				and mucous and bile and etc.
			 Once woman ceased to be a symbol, she became a person, a passion, a robber of reason–a literal and metaphorical scum-bag.
			 No wonder the ladies were afraid to submit. With submission, love and its raison
				d'être became the discarded backdrop for a fait accompli. The love was no longer
				ennobling (ergo: the animal soul pawed and dragged down its rational counterpart),
				and the woman was no longer mounted on a pedestal (ergo: with the man on top, she
				was mounted, period). And man’s desire—well, that often died along with his
				suffering.
			 It’s natural, then, that the really legendary lovers chose the most distant and
				unattainable objects they couid conceive of. <persName key="Guilhem de la Tor" ref="http://www.wikidata.org/entity/Q3779564">Guilhem de la Tour</persName>, for instance, loved
				the woman he lived with. <note type="researchNote">For troubadour biographies, 1 have consulted <persName key="Jean de Nostredame" ref="http://www.wikidata.org/entity/Q1218411">Jehan de Nostredame</persName>, <title>Les Vies des Plus Celebres et Ancien: Poetes Provencaux</title>, ed. <persName key="Camille Chabaneau" ref="http://www.wikidata.org/entity/Q1029137">Camille Chabaneau</persName> (1913; rpt Geneve, 1970—first published in 1575); La Curne de Sainte-Pelaye, <title key="La Curne de Sainte-Palaye, Jean-Baptiste de, 1697-1781. | Histoire littéraire des troubadours" ref="http://viaf.org/viaf/516154387331530970006/">Histoire Litteraire des Troubadours</title> (1774 rpt. 3 vols. in 1, Genève, 1967); and <persName key="Víctor Balaguer i Cirera" ref="http://www.wikidata.org/entity/Q713246">Victor Balaguer</persName>, <title>Los Trovadores</title>, 2nded. (Madrid, 1883). 4 vol.</note>  Now such women were worn on everyday occasions and were
				inevitably mundane. But Guilhem’s enamorata was unearthly; in fact, she was dead. On
				the eve of her burial, Guilhem visited her grave and, after ten days of morbid
				embracing and poignant conversation (she was a good listener), he went home firm in
				the belief that she would rise from her tomb and come back to him. She didn't. But
				for years, it was only Beatrix he longed for. She was the perfect lover—mystical
				ethereal and unobtrusive. It was a passion that rivaled even Jaufre Rudel's.
			 <persName key="Jaufre Rudel" ref="http://www.wikidata.org/entity/Q5260">Jaufre Rudel</persName> was ingenious. In an age which valued prolonged desire, he contrived a
				wonderful device. He fell in love with the Countess of Tripoli—a woman he had
				never seen but whose beauty had filled his imagination so enchantingly that
				southern France became a glorious vantage point. And so it remained for several
				years until, despite the protests of his friends and patron, he resolved at last to
				cross the ocean to be near her. 
			Maybe he just got sick. Or maybe, as his biographers prefer to believe, the
				anticipation of seeing her was too much for his little heart to bear. In any case,
				as the boat was approaching <placeName key="Tripoli" ref="http://www.wikidata.org/entity/Q3579">Tripoli</placeName>, he apparently expired. But only apparently.
				For as the countess rushed to his side, her presence revived him and he pronounced
				himself fulfilled at last and died again in her arms— a self-extinction
				metaphorically equivalent to orgasm, but which Jaufre seems to have taken much too
				literally, since <persName key="Petrarch" ref="http://www.wikidata.org/entity/Q1401">Petrarch</persName> and other chroniclers affirm that this time he actually
				did die, and in all probability with his pants on. <note type="researchNote">Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180</note> 
			 True, Jaufre was a strange and nearly legendary breed. But while to him sex must
				have seemed an unspeakable defilement, most were not so theoretical. Even
				troubadours who constantly reminded women that sex was debasing and honor was all
				had an ultimately sensua physicality in mind. Woman was like a fine wine. A man
				twirls it about, observes its color, its clarity, savoring its bouquet and rolling
				it around on his languishing taste-buds. And though the swallow is only the means to
				the end, the end is still very definitely in view. Most pleas for chastity were only
				lip-service. Even <persName key="Sordello" ref="http://www.wikidata.org/entity/Q665165">Sordello</persName>, a troubadour who repeatedly swore he’d rather die than
				see a lady even taint her honor, happened to kidnap a Veronese countess and that
				didn’t help her honor a bit. Nor did it discredit his poetry. Such scandal was
				irrelevant. In fact, women were irrelevant. Love was the important thing and the
				trick was to keep it alive as long as possible, feeding it little by ever-so-little
				in an extended and delicious tease. Men could nudge at the gates to the ovarian
				fortress, but entrance, they knew should be delayed. The uitimate object was sex;
				men wanted what they waited for. They just didn’t want it right away. And this
				largely explains why other men’s wives proved such suitable candidates for
				adoration. Forbidden, llicit, deliciously dangerous—yet slightly damaged, they
				promised all the more to be ultimately affordable. They were perfectly fashioned for
				desire.
			 Desire is a tricky business. In Greece <persName key="Plutarch" ref="http://www.wikidata.org/entity/Q41523">Plutarch</persName> had admired Spartan marriages
				where, for years, man approached his wife in darkness in secret and in haste "so as
				not to be satiated... there was still place for unextinguished desire." <note type="researchNote"><title key="Parallel Lives" ref="http://www.wikidata.org/entity/Q842337">Plutarch’s Lives,</title> trans. Langhorne (London, Frederick Warne, n.d.). IV, 37</note> It was a
				useful formula and was later picked up in the Middle Ages when the notion of infre-
				quent and clandestine meetings was embraced a lot more than the ladies were. The
				medieval magic of love was uncertainty. Even the romances preserved this ideal.
				The lady could be snatched away at any moment by a darkening scandal or a jealous
				husband, or be absorbed into the ethers which spawned her disappearing into the
				mist on a white palfrey. The knight wanted her like that: distant, pure, mysterious, virginal —a blonde Mary ascending into <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_046.jpg"/> heaven, looming over the
				castle horizon with only a little soot on her feet suggesting that she didn’t belong
				there.
			 Never mind that the only pure-white creature was the post-menopausal albino
				rabbit—or that even the ladies depicted in romance were potentially swivers of
				heroic proportions. Since sex distinguished the distant fay from the dung-filled
				floozy, relatively sexless love became prevalent, and many women—whether they liked
				it or not—played along.
			 There were advantages, of course. Love became a rare delicacy whereas before it
				had been something like yesterday’s leftovers. As Ovid's classical formula goes:
				"Pleasure coming slow is the best”; <note type="researchNote"><title key="Remedia amoris" ref="http://www.wikidata.org/entity/Q1236392">Ovid's Remedia Amoris</title>, line 405; <persName key="Rolfe Humphries" ref="http://www.wikidata.org/entity/Q7360825">Rolfe Humphries</persName>' translation in <title>The Art of Love</title> (Bloomington, 1957) p. 193</note> meaning, the longer the foreplay the better the
				orgasm; meaning, some courtly couples, when they finally did come, must very nearly
				have blown their brains out.
			 But some, for sure, were disappointed. Women were dropped, men bumbled like
				<persName key="Percival" ref="http://www.wikidata.org/entity/Q728510" type="fictional">Perceval</persName> or—like some knights in the bawdier tales— they'd win their ladies with
				lots of pomp and peter out before they could even open the package, their worlds
				ending not with a bang but a whimper. These were particularly grateful for courtly
				love.
			 Courtly love was a game of foreplay whose rule was often touch and go; it was an
				answet (and a spur) to impotence. Some knights were barely post-pubescent and many
				were sexually insecure, preferring rich expectations to poor reputations and
				one-night stands. Better to tilt about the countryside, flaunting a passion and
				flailing a sword (the sword had always been a metaphor for penis—"vagina” is merely
				Latin or "sheath"), imagining a truly magnificent sexual prowess when the real thing
				was maybe limp by comparison. Love by its very nature was a test, and knights were
				afraid to take the exam. Or sometimes, it was better to put it off than to put it
				in.
			 Love became formalized. The knight waxed and grew pale, and waxed, and waxed, and
				waxed. It was blissful and aggrandizing anticipation. Too bad if a lady sometimes
				felt cheated—if watching her knight charging and gleaming, she secretly wished
				hed get off his high horse and get down to business. What could the women do? Their
				iron-clad men performed in the tournaments. Ramming, sweating, thrusting and
				galloping. . . . Ah, those impervious men in the metal suits.
			 ...The only things naked were their swords.</div>
		</body>
			<back>
				<div>Ariene Ladden is a poet,
				scholar and medievalist who teaches at <orgName key="LaGuardia Community College" ref="http://dbpedia.org/resource/LaGuardia_Community_College">LaCuardia Community College</orgName> in New York. She
				is interested in “the forces motivating culture—especially the more absurd ones,"
				and in this spirit is now working on a cultural history of sex and power. She is
				also co-authoring a textbook series on literature and creative writing for
				children.</div>
</back>

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The Esthetics of Power in Modern Erotic Art

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			<head><title>The Esthetics of Power in Modern Erotic Art</title></head>
			<note type="scholarNote">An excerpt from the forthcoming book, The New Eros, ed., <persName key="Joan Semmel" ref="http://www.wikidata.org/entity/Q16093067">Joan Semmel</persName>, to be
				published by Hacker Art Books, New York.</note>
			<byline><persName key="Carol Duncan" ref="http://www.wikidata.org/entity/Q42564192">Carol Duncan</persName></byline>

In this essay, I am using the term erotic not as a self-evident, universal category,
				but as a culturally defined concept that is ideological in nature. More
				specifically, I am arguing that the modern art that we have learned to recognize and
				respond to as erotic is frequently about the power and supremacy of men over women.
				Indeed, once one begins to subject erotic art to critical analysis, to examine the
				male-female relationships it implies, one is struck with the repetitiousness with
				which the issue of power is treated. The erotic imaginations of modern male
				artists—the famous and the forgotten, the formal innovators and the
				followers—re-enact in hundreds of particular variations a remarkably limited set of
				fantasies. Time and again, the male confronts the female nude as an adversary whose
				independent existence as a physical or spiritual being must be assimilated to male
				needs, converted to abstractions, enfeebled or destroyed. So often do such works
				invite fantasies of male conquest (or fantasies that justify male domination) that
				the subjugation of the female will appear to be one of the primary motives of
				modern erotic art.
			In <persName key="Eugène Delacroix" ref="http://www.wikidata.org/entity/Q33477">Delacroix'</persName>s <title><title key="Study of Female Nude Reclining on a Divan" ref="http://www.wikidata.org/entity/Q19015135"><title cert="high" level="a" ref="https://collections.louvre.fr/en/ark:/53355/cl010064041#" xml:space="default">Woman in White Stockings</title></title></title> (1832), for example, an artist's model (i.e.,
				a sexually available woman) reclines invitingly on a silken mattress. The deep red
				drapery behind her forms a shadowy and suggestive opening. The image evokes a basic
				male fantasy of sexual confrontation, but the model does not appear to anticipate
				pleasure. On the contrary, she appears to be in pain, and the signs of her distress
				are depicted as carefully as her alluring flesh. Her face, partly averted, appears
				disturbed, her torso is uncomfortably twisted, and the position of her arms suggests
				surrender and powerlessness. But this distress does not contradict the promise of
				male gratification. Rather, it is offered as an explicit condition of male
				pleasure—the artist's and the viewer's.
			The equation of female sexual experience with surrender and victimization is so
				familiar in what our culture designates as erotic art and so sanctioned by both
				popular and high cultural traditions, that one hardly stops to think it odd. The
				Victorian myth that women experience sex as a violation of body or spirit or both,
				and that those who actively seek gratification are perverse (and hence deserving of
				degradation), is but one of many ideological justifications of the sexual
				victimization of women devised by the modern era. In the 20th century, the theory
				and practice of psychology has given new rationalizations to the same underlying
				thesis.
			The visual arts are crowded with images of suffering, exposed heroines—slaves, murder
				victims, women in terror under attack, betrayed, in chains, abandoned or abducted.
				<persName key="Eugène Delacroix" ref="http://www.wikidata.org/entity/Q33477">Delacroix</persName>'s <title key="Death of Sardanapalus" ref="http://www.wikidata.org/entity/Q1133821">Death of Sardanapalus</title> (1827), inspired by a poem by <persName key="Lord Byron" ref="http://www.wikidata.org/entity/Q5679"><persName key="Lord Byron" ref="http://www.wikidata.org/entity/Q5679">Byron</persName></persName>, is a tour de
				force of erotic cruelty. <persName key="Jean Auguste Dominique Ingres" ref="http://www.wikidata.org/entity/Q23380">Ingres</persName>' <title key="Ruggiero Rescuing Angelica" ref="http://www.wikidata.org/entity/Q3439636">Roger and Angelica</title> (1867) also depicts woman as
				victim. Here, an endangered and helpless heroine—naked, hairless and swooning—is
				chained to a large, phallic-shaped rock, immediately below which appear the
				snake-like forms of a dragon. This fantastic but deadly serious statement documents
				a common case of male castration anxiety. But the artist-hero (he is Ingres-Roger)
				masters the situation: he conquers the dangerous female genitals. First he
				desexualizes Angelica—reduces her to an unconscious mass of closed and boneless
				flesh; then he thrusts his lance into the toothy opening of the serpent—Angelica's
				vagina transposed. Given the fears such an image reveals, it is no wonder that
				<persName key="Jean Auguste Dominique Ingres" ref="http://www.wikidata.org/entity/Q23380">Ingres</persName> idealized helpless, passive women. The point here, however, is that neither
				Ingres' fears nor his ideal woman were unique to him.
			Americans, too, thrilled to images of female victims. <persName key="Hiram Powers" ref="http://www.wikidata.org/entity/Q2572996">Hiram Power</persName>'s <title key="The Greek Slave" ref="http://www.wikidata.org/entity/Q3203228"><title key="The Greek Slave" ref="http://www.wikidata.org/entity/Q3203228">The Greek Slave</title></title>
				(1843) was probably the most famous and celebrated American sculpture in the
				mid-19th century. Overtly, the viewer could admire the virtuous modesty with which
				<persName key="Hiram Powers" ref="http://www.wikidata.org/entity/Q2572996">Powers</persName> endowed the young slave girl, as did critics in the 19th century; but
				covertly, Powers invites the viewer to imagine himself as the potential oriental
				buyer of a beautiful, naked, humiliated girl who is literally for sale (he specified
				that she is on the auction block). The narrative content of this sculpture supports
				the same underlying thesis we saw in the Delacroix: for women, the sexual encounter
				must entail pain and subjugation, and that subjugation is a condition of male
				gratification. But even in paintings where nudes are not literally victims, female
				allure is treated in terms related to victimization. For Ingres, <persName key="Gustave Courbet" ref="http://www.wikidata.org/entity/Q34618"><persName key="Gustave Courbet" ref="http://www.wikidata.org/entity/Q34618">Courbet</persName></persName>, <persName key="Pierre-Auguste Renoir" ref="http://www.wikidata.org/entity/Q39931"><persName key="Pierre-Auguste Renoir" ref="http://www.wikidata.org/entity/Q39931">Renoir</persName></persName>,
				<persName key="Henri Matisse" ref="http://www.wikidata.org/entity/Q5589"><persName key="Henri Matisse" ref="http://www.wikidata.org/entity/Q5589">Matisse</persName></persName> and scores of other modern artists, weakness, mindlessness and indolence are
				attributes of female 'sexiness. <persName key="Germaine Greer" ref="http://www.wikidata.org/entity/Q103591">Germaine Greer</persName>'s description of the female ideal
				that informs modern advertising could as well have been drawn from modern nudes: 
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			<quote>Her essential quality is castratedness. She absolutely must be young, her body
				hairless, her flesh buoyant, and she must not have a sexual organ.</quote>
			<note type="scholarNote">The Female Eunuch (New York, 1972), p. 57.</note>
			That is, in the modern era, woman's desirability increases as her humanity and health
				(relative to male norms) are diminished.
			The need to see women as weak, vapid, unhealthy objects-—while not unique to the
				modern era—is evidently felt with unusual intensity and frequency in bourgeois
				civilization, whose technical advances so favor the idea of sexual equality. Indeed,
				as women's claims to full humanity grew the more relentlessly would art rationalize
				their inferior status. For while literature and the theatre could give expression to
				feminist voices, the art world acknowledged only male views of human sexual
				experience. In that arena, men alone were free to grapple with their sexual
				aspirations, fantasies and fears. Increasingly in the modern era, artists and their
				audiences agreed that serious and profound art is likely to be about what men think
				of women. In fact, the defense of male supremacy must be recognized as a central
				theme in modern art. <persName key="Paul Gauguin" ref="http://www.wikidata.org/entity/Q37693">Gauguin</persName>, <persName key="Edvard Munch" ref="http://www.wikidata.org/entity/Q41406">Munch</persName>, <persName key="Auguste Rodin" ref="http://www.wikidata.org/entity/Q30755" type="real">Rodin</persName>, <persName key="Henri Matisse" ref="http://www.wikidata.org/entity/Q5589">Matisse</persName>, <persName key="Pablo Picasso" ref="http://www.wikidata.org/entity/Q5593">Picasso</persName> and scores of other
				artists, consciously or unconsciously, identified some aspect of the sexist cause
				with all or part of their own artistic missions. Art celebrating sexist experience
				was accorded the greatest prestige, given the most pretentious esthetic rationales
				and identified with the highest and deepest of human aspirations.
			Nudes and whores—women with no identity beyond their existence as sex objects—were
				made to embody transcendent, "universally significant statements. In literature as
				in art, the image of the whore even came to stand for woman in her purest, most
				concentrated form, just as the brothel became the ultimate classroom, the temple in
				which men only might glimpse life's deepest mysteries: "A Henry Miller, going to bed
				with a prostitute [in Tropic of Cancer], feels that he sounds the very depths of
				life, death and the cosmos." <note type="scholarNote"><persName key="Simone de Beauvoir" ref="http://www.wikidata.org/entity/Q7197">Simone de Beauvoir</persName>, <title key="The second sex" ref="http://www.wikidata.org/entity/Q116738310">The Second Sex</title> (New York,
					1961), p. 187.</note> Picasso's famous brothel scene, the <title key="Les Demoiselles d'Avignon" ref="http://www.wikidata.org/entity/Q910199">Demoiselles d’Avignon</title>
				(1907), where the viewer is cast as the male customer makes similar claims—claims
				that art historians advocate as "humanistic“ and universal.<note type="scholarNote">3. <persName key="Leo Steinberg" ref="http://www.wikidata.org/entity/Q457739">Leo Steinberg</persName>,
					"<title>The Philosophical Brothel, Part I</title>," Art News (Sept., 1972), pp. 20-29; and <persName key="Gert Schiff" ref="http://www.wikidata.org/entity/Q19753886">Gert
					Schiff</persName>, "<title>Picasso's Suite 347, or Painting as an Act of Love</title>," in Woman as Sex
					Object, ed. <persName key="Thomas B. Hess" ref="http://www.wikidata.org/entity/Q18935202">Thomas B. Hess</persName> and <persName key="Linda Nochlin" ref="http://www.wikidata.org/entity/Q434478">Linda Nochlin</persName> (New Vork, 1972), pp.
					238-253.</note> Art-making itself is analogous to the sexual domination of
				whores. The metaphor of the penis-as-paintbrush is a revered truth for many
				20th-century artists and art historians. It also insists that to create is to
				possess, to dominate, and to be quintessentially male.
			<quote>I try to paint with my heart and my loins, not bothering with style
				(Vlaminck).</quote>
			<note type="scholarNote">4. In <persName key="Chipp, Herschel Browning" ref="http://viaf.org/viaf/49276069/">Herschel B. Chipp,</persName> <title key="Chipp, Herschel Browning. | Theories of modern art : a source book by artists and critics" ref="http://viaf.org/viaf/8065151474839900490005/">Theories of Modern Art</title> (Berkeley, 1970), p. 144.</note>
			<quote>Thus I learned to battle the canvas, to come to know it as a being resisting my
				wish (dream), and to bend it forcibly to this wish. At first it stands there like a
				pure chaste virgin and then comes the willful brush which first here, then there,
				gradually conquers it with all the energy peculiar to it, like a European colonist
				...(Kandinsky).</quote>
			<note type="scholarNote">5. Quoted in <persName key="Max Kozloff" ref="http://www.wikidata.org/entity/Q6794944">Max Kozloff</persName>, "<title>The Authoritarian Personality in Modern Art</title>," Artforum
				(May, 1974), p. 46. Schiff, op. cit., actually advocates the penis-as-paintbrush
				metaphor.</note>
			The kind of nudes that prevail in the modern era do not merely reflect a collective
				male psyche. They actively promote the relationships they portray, not only
				expressing but also shaping sexual consciousness. For the nude, in her passivity and
				impotence, is addressed to women as much as to men. Far from being merely an
				entertainment for males, the nude, as a genre, is one of many cultural phenomena
				that teaches women to see themselves through male eyes and in terms of dominating
				male interests. While it sanctions and reinforces in men the identification of
				virility with domination, it holds up to women self-images in which even sexual
				self-expression is prohibited. As ideology, the nude shapes our awareness of our
				deepest human instincts in terms of domination and submission so that the supremacy
				of the male "I" prevails on that most fundamental level of experience.
			Twentieth-century art has equally urged the victimization and spiritual diminution of
				women, shedding, however the narrative trappings and much of the illusionism of the
				19th century. The abandoned Ariadnes, endangered captives and cloistered harem women
				of 19th century art become simply naked models and mistresses in the studio or whores
				in the brothel. In nudes by Matisse, <persName key="Maurice de Vlaminck" ref="http://www.wikidata.org/entity/Q241098"><persName key="Maurice de Vlaminck" ref="http://www.wikidata.org/entity/Q241098">Vlaminck</persName></persName>, <persName><persName key="Ernst Ludwig Kirchner" ref="http://www.wikidata.org/entity/Q229272">Kirchner</persName>, <persName key="Dionys van Dongen" ref="http://www.wikidata.org/entity/Q15485083">Van Dongen</persName></persName> and others, the
				demonstration of male control and the suppression of female subjectivity is more
				emphatic and more frequently asserted than in 19th-century ones. Their faces are
				more frequently concealed, blank or mask-like (that is when they are not put to
				sleep), and the artist manipulates their passive bodies with more liberty and
				"artistic" bravado than <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_050.jpg"/>ever.

The image of the femme fatale, especially popular at the turn of the century, would
				seem to contradict the image of woman as victim. Typically, she looms over the male
				viewer, fixing him with a mysterious gaze and rendering him will-less. Yet she is
				born of the same set of underlying fears as her powerless, victimized sisters, as
				the depictions often reveal. Munch's Madonna (1893-94), a femme fatale par excellence, visually hints at the imagery of victimization. The familiar gestures of
				surrender (the arm behind the head) and captivity (the arm behind the back, as if
				bound) are clearly if softly stated. These gestures have a long history in Western
				art. The dying <title>Daughter of Niobe</title>, a well-known Greek sculpture of the 5th century
				B.C. exhibits exactly this pose. The raised arm is also seen in numerous 5th-century
				statues of dying Amazons and sleeping Ariadnes, where it conveys death, sleep or an
				overwhelming of the will. It may also convey the idea of lost struggle, as in the
				Amazon statues or in <persName key="Michelangelo" ref="http://www.wikidata.org/entity/Q5592">Michaelangelo</persName>'s <title>Dying Captive</title> (<placeName key="Louvre Museum" ref="http://www.wikidata.org/entity/Q19675">The Louvre</placeName>), themselves
				masterpieces of victim imagery with strong sexual overtones. But in the modern era,
				the raised arm (or arms) is emptied of its classical connotation of defeat with
				dignity and becomes almost exclusively a female gesture—a signal of sexual surrender
				and physical availability. <persName key="Edvard Munch" ref="http://www.wikidata.org/entity/Q41406">Munch</persName> used it in his Madonna to mitigate his assertion of
				female power; the gesture of defeat subtly checks the dark, overpowering force of
				Woman. The same ambivalence can also be seen in the spatial relationship between the
				figure and the viewer: the woman can be read as rising upright before him or as
				lying beneath him.
			However lethal to the male, the late 19th-century femme fatale of Munch, <persName key="Gustav Klimt" ref="http://www.wikidata.org/entity/Q34661"><persName key="Gustav Klimt" ref="http://www.wikidata.org/entity/Q34661">Klimt</persName></persName> and
				<persName key="Gustave Moreau" ref="http://www.wikidata.org/entity/Q203828"><persName key="Gustave Moreau" ref="http://www.wikidata.org/entity/Q203828">Moreau</persName></persName> ensnares by her physical beauty and sexual allure. In the 20th century, she
				becomes bestial, carnivorous and visibly grotesque. In images of monstrous females
				by <persName><persName key="Pablo Picasso" ref="http://www.wikidata.org/entity/Q5593">Picasso</persName>, <persName key="Georges Rouault" ref="http://www.wikidata.org/entity/Q156128">Rouault</persName></persName>, the Surrealists and <persName key="De Kooning, Willem" ref="http://viaf.org/viaf/4234160486149205180008/"><persName key="de Kooning, Willem (1904-1997), artist" ref="http://www.wikidata.org/entity/Q103853809">de Kooning</persName></persName>, the dread of woman and male
				feelings of inferiority are projected, objectified and universalized. Yet here too
				the devouring woman implies her opposite, combining features of both the powerless
				and the threatening. The women in Picasso's Demoiselles d'Avignon, although
				physically mutilated and naked (vulnerable), aggressively stare down the viewer are
				impenetrably masked, and display sharp-edged, dangerous-looking bodies. Picasso
				ambivalently presents them with sham and real reverence in the form of a desecrated,
				burlesque icon, already slashed to bits. De Kooning, in his continuing Woman
				series, ritually invokes, objectifies and obliterates the same species of
				goddess-whore. Here too a similar ambivalence finds its voice in shifting, unstable
				forms whose emergence and destruction are accepted in the critical literature as the
				conscious "esthetic" pretext for his work. The pose his figures usually take— a
				frontal crouch with thighs open to expose the vulva—also appears in the Demoiselles
				d'Avignon (in the lower right figure), which, in turn, derives from primitive art.
				Like Picasso's figures, de Kooning's women are simultaneously inviting and
				repelling, above and below the viewer obscene modern whores and terrifying primitive
				deities.
			The pronounced teeth in de Kooning's <title key="Woman and Bicycle" ref="http://www.wikidata.org/entity/Q64514216">Woman and Bicycle</title> (1950)—the figure actually has
				a second set around her throat—also speak of primitive and modern neurotic fears of
				the female genitals. The vagina dentata, an ancient fantasy into which males project
				their terror of castration—of being swallowed up or devoured in their partner's
				sexual organs—is commonly represented as a toothed mouth. The image, which appears
				frequently in modern art, is a striking feature of Mirö's Woman's Head (1938). The
				savage creature in this painting has open alligator jaws protruding from a large,
				black head. The red eye, bristling hairs and exaggerated palpable nipples, in
				combination with the thin weak arms, help give it that same mixture of comic
				improbability and terribleness that characterize Picasso's Demoiselles and de
				Kooning's Women. But in addition—and true to Mirö's love of metamorphosing forms—the
				image can be read literally as the lower part of a woman’s body, seen partly as if
				through an X ray. Inverted, the arms become open legs, the dark, massive head a
				uterus, and the long, dangerous jaws a toothed vaginal canal. The predatory creature
				in Picasso's <title key="Seated Bather" ref="http://www.wikidata.org/entity/Q3632880">Seated Bather</title> (1929) not only has saw-toothed jaws, but several
				features of the praying mantis.
			The praying mantis, who supposedly devours her mate, was a favorite theme in
				Surrealist art and literature. In paintings by <persName key="André Masson" ref="http://www.wikidata.org/entity/Q312529"><persName key="André Masson" ref="http://www.wikidata.org/entity/Q312529">Masson</persName></persName>, <persName key="Labisse, Félix" ref="http://www.wikidata.org/entity/Q103946282"><persName key="Félix Labisse" ref="http://www.wikidata.org/entity/Q2012984">Labisse</persName></persName>, <persName key="Max Ernst" ref="http://www.wikidata.org/entity/Q154842"><persName key="Max Ernst" ref="http://www.wikidata.org/entity/Q154842">Ernst</persName></persName> and others,
				the cannibalistic sexual rites of this insect become a metaphor for the human sexual
				relationship, and the female of the species <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_051.jpg"/> becomes the Surrealistic version of the
				femme fatale. More subhuman and brutal than her 19th-century predecessors, she
				testifies to the higher level of sexual anxiety and hostility experienced by the
				20th-century male. For as women increasingly demanded a share of the world, the
				defense of male authority became more desperate:
			<quote>Now become a fellow being, woman seems as formidable as when she faced man as a
				part of alien Nature. In place of the myth of the laborious honeybee or the mother
				hen is substituted the myth of the devouring female insect: the praying mantis, the
				spider. No longer is the female she who nurses the little ones, but rather she who
				eats the male.</quote>
			<note type="scholarNote">De Beauvoir, op. cit., p. 179.</note>
			Pictures of nudes in nature also affirm the supremacy of the male consciousness even
				while they ostensibly venerate or pay tribute to women as freer or more in harmony
				with nature than men. From the Bathers of Delacroix to those of Renoir and Picasso
				nude-in-nature pictures almost always ascribe to women a mode of existence that is
				categorically different from man's. Woman is seen as more of nature than man, less
				in opposition to it both physically and mentally. Implicitly, the male is seen as
				more closely identified with culture, "the means by which humanity transcends the
				givens of natural existence, bends them to its purposes, controls them in its
					interests."<note type="scholarNote"><persName key="Sherry Ortner" ref="http://www.wikidata.org/entity/Q2278440">Sherry Ortner</persName>, "<title key="Is Female to Male as Nature Is to Culture?" ref="http://www.wikidata.org/entity/Q63170412">Is Female to Male as Nature is to Culture</title>?"
					Feminist Studies, 1, No. 2 (Fall, 1972), p. 10</note>
			This woman/nature-man/culture dichotomy is one of the most ancient and universal
				ideas ever devised by man and is hardly new to modern Western culture. However, in
				Western bourgeois culture, the real and important role of women in domestic,
				economic and social life becomes ever more recognized: increasingly, the bourgeoisie
				educates its daughters, depends upon their social and economic cooperation and
				values their human companionship. Above all, the idea that women belong to the same
				order of being as men is more articulated than ever before. In this context, to
				cling to ancient notions of women as a race apart from men—as creatures of nature
				rather than of culture—is to defend blatantly an ideology that is everywhere
				contested and contradicted by experience. Nevertheless, the majority of nude-in-nature pictures state just this thesis.
			In countless 19th- and 20th-century paintings—Romantic, Symbolist or
				Expressionist—female nudes in outdoor settings are treated as natural inhabitants of
				the landscape. Although modern artists have characterized it differently, they agree
				that this woman-nature realm is an inviting but alien mode of experience. It both
				attracts and repels the male. It beckons him to step out of rationalized, bourgeois
				society and to enter a world where men might live through their senses instincts or
				imaginations. But the condition of entry—shedding the social identity of the
				bourgeois male—also entails loss of autonomy and of the power to shape and control
				one's world. The male artist longs to join those naked beings in that other imagined
				realm, but he cannot because he fails to imagine their full humanity—or his own.
				While he values his own instincts, or that part of himself that responds to nature,
				he regards this portion of his nature as feminine," antagonistic to his socialized
				masculine ego and belonging to that other "natural" order. Nor can he acknowledge in
				women a "masculine principle"—an autonomous self that knows itself as separate from
				and opposed to the natural, biological world. Like Munch before his Madonna, he
				hovers before his dream in ambivalent desire.
			Rarely do modern artists imagine naked men in that other realm. When they do, as in
				works by <persName key="Paul Cézanne" ref="http://www.wikidata.org/entity/Q35548"><persName key="Paul Cézanne" ref="http://www.wikidata.org/entity/Q35548">Cézanne</persName></persName> or Kirchner, the male figures tend to look uncomfortable or
				self-conscious. More often, the male in nature is clothed—both in the literal sense
				or metaphorically—with a social identity and a social or cultural project. He is a
				shepherd, a hunter an artist. <persName key="Henri Matisse" ref="http://www.wikidata.org/entity/Q5589">Matisse</persName>'s <title key="Boy with Butterfly Net" ref="http://www.wikidata.org/entity/Q20890797">Boy With Butterfly Net</title><ref target="http://www.wikidata.org/entity/Q20890797"/> (1907) is a
				magnificent image of a male in nature (or rather a male acting against nature),
				highly individualized and properly equipped for a specific purpose. In beach scenes
				by the <persName>Fauves</persName> and the Kirchner circle, males—when they are present—are not "bathers"
				i.e., placid creatures of the water, but modern men going swimming in bathing suits
				or in the raw. They are active, engaged in a culturally defined recreation, located
				in historical time and space. The female bather who has no counterpart in modern
				art, is a naked existence, outside of culture. <persName key="Michelet, Jules" ref="http://viaf.org/viaf/7150159248527604870001/">Michelet,</persName> the 19th-century historian,
				poetically expressed the ideas implicit in the genre: man, he wrote, creates
				history, while woman: 
		<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_052.jpg"/>
			<quote>follows the noble and serene epic that Nature chants in her harmonious cycles,
				repeating herself with a touching grace of constancy and fidelity. .. . Nature is a
				woman. History, which we very foolishly put in the feminine gender, is a rude,
				savage male, a sun-burnt, dusty traveller... </quote>
			<note type="scholarNote"><persName key="Jules Michelet" ref="http://www.wikidata.org/entity/Q310791">Jules Michelet</persName>, Woman (La Femme), trans. J. W. Palmer (New York, 1860), pp.
				104-105.</note>
			Even in Matisse’s <title>Joy of Living</title> (1906), where men and women share an Arcadian life,
				cultural activities (music-making, animal husbandry) are male endeavors while women
				exist merely as sensual beings or abandon themselves to emotionally expressive but
				artless and spontaneous dance.
			How we relate to these works becomes a compelling issue once their sexual-political
				content is apparent. The issue, however, is difficult to grasp without first coming
				to terms with the ideological character of our received notions of art. For in our
				society, art—along with all high culture—has replaced religion (that is, among the
				educated) as the repository of what we are taught to regard as our highest, most
				enduring values. As sanctified a category as any our society offers, art silently
				but ritually validates and invests with mystifying authority the ideals that sustain
				existing social relations. In art, those ideals are given to us as general,
				universal values, collective cultural experience, "our" heritage, or as some other
				abstraction removed from concrete experience. Physically and ideologically, art is
				isolated from the rest of life, surrounded with solemnity, protected from moral
				judgement. Our very encounters with it in museums, galleries and art books are
				structured to create the illusion that the significance of art has little or nothing
				to do with the conflicts and problems that touch common experience. Established art
				ideologies reinforce this illusion. According to both popular and scholarly
				literature, true artistic imaginations transcend the ordinary fantasies, the class
				and sex prejudices and the bad faith that beset other human minds. Indeed, most of
				us believe that art, by definition, is always good—because it is of purely esthetic
				significance (and the purely esthetic is thought to be good), or because it confirms
				the existence of the imagination and of individualism, or because it reveals other
				"timeless" values or truths. Most of us have been schooled to believe that art, qua
				art, if it is "good" art, is never bad for anyone, never has anything to do with the
				oppression of the powerless, and never imposes on us values that are not universally
				beneficial.
			The modern masterpieces of erotic art that have been discussing enjoy this
				ideological protection even while they affirm the ideals of male domination and
				female subjugation. Once admitted to that high category of Art, they acquire an
				invisible authority that silently acts upon the consciousness, confirming from on
				high what social customs and law enforce from below. In their invisible and hence
				unquestioned authority, they proclaim—without acknowledging it—what men and women
				can be to themselves and to each other. But once that authority is made visible, we
				can see what is before us: art and artists are made on earth, in history, in
				organized society. And in the modern era as in the past, what has been sanctified as
				high art and called True, Good and Beautiful is born of the aspirations of those who
				are empowered to shape culture.

<epigraph>
				My gratitude to <persName key="Flavia Alaya" ref="http://www.wikidata.org/entity/Q113504283"><persName key="Flavia Alaya" ref="http://www.wikidata.org/entity/Q113504283">Flavia Alaya</persName></persName> and <persName key="Joan Kelly" ref="http://www.wikidata.org/entity/Q6205183"><persName key="Joan Kelly" ref="http://www.wikidata.org/entity/Q6205183">Joan Kelly-Gadol</persName></persName>, whose own work and
					conversation have enriched and clarified my thinking.
			</epigraph>
</body>
		
<back>
			Carol Duncan is an art historian who teaches at <orgName key="Ramapo College" ref="http://www.wikidata.org/entity/Q7289009">Ramapo College</orgName>. She has published in
				<title key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</title> and <title key="The Art Bulletin" ref="http://www.wikidata.org/entity/Q15766110">The Art Bulletin</title> and her essay "<title>Teaching the Rich</title>" appears in the anthology <title>New Ideas in Art Education</title> (edited by <persName key="Gregory Battcock" ref="http://www.wikidata.org/entity/Q19753891">Gregory Battcock</persName>). She is also on the
				"anti-catalogue" committee of Artists Meeting for Cultural Change.
</back>

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Toward Socialist Feminism

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				<head>
					<title>Toward Socialist Feminism</title></head>
				<byline><persName key="Barbara Ehrenreich"
						ref="http://www.wikidata.org/entity/Q283659">Barbara
					Ehrenreich</persName></byline>
			</div>
			<note type="researchNote">Versions of this article have been presented at the Socialst
				Feminist Conference, Yellow Springs, Ohio, July 1975; at Women's Week, Brown
				University, April, 1976; and in WIN (June 3, 1976) as "What is Socialist
				Feminism?"</note>
			<div>
				 At some level, perhaps not too well articulated, socialist feminism has been
					around for a long time. You are a woman in a capitalist society. You get pissed
					off: about the job, about the bills, about your husband (or ex), about the kids'
					school, the housework, being pretty, not being pretty, being looked at, not
					being looked at (and either way, not listened to), etc. If you think about all
					these things and how they fit together and what has to be changed, and then you
					look around for some words to hold all these thoughts together in abbreviated
					form, you'd almost have to come up with something like "<rs
						key="socialist feminism" ref="http://www.wikidata.org/entity/Q2420666"
						>socialist feminism</rs>." 
				A lot of us came to socialist feminism in just that way: we were reaching for a
					word/term/ phrase that would begin to express all of our concerns, all of our
					principles in a way that neither "socialist" nor "feminist" seemed to. I have to
					admit that most socialist feminists know are not too happy with the term
					"socialist feminist" either. On the one hand it is too long (l have no hopes for
					a hyphenated mass movement); on the other hand it is much too short for what is,
					after all, really socialist internationalist anti-racist anti-heterosexist
					feminism.
				The trouble with taking a new label of any kind is that it creates an instant
					aura of sectarianism. "Socialist feminism" becomes a challenge, a mystery, an
					issue in and of itself. We have speakers, conferences, articles on "socialist
					feminism"—though we know perfectly well that either"socialism" or "feminism" is
					too huge and too inclusive to be a subject for any sensible speech, conference,
					or article. People, including avowed socialist feminists, ask themselves
					anxiously, "What is socialist feminism?" There is a kind of expectation that it
					is (or is about to be at any moment, maybe in the next speech, conference or
					article) a brilliant synthesis of world historical proportions—an evolutionary
					leap beyond <persName key="Karl Marx" ref="http://www.wikidata.org/entity/Q9061"
						>Marx</persName>, <persName key="Sigmund Freud"
						ref="http://www.wikidata.org/entity/Q9215">Freud</persName> and <persName
						key="Mary Wollstonecraft" ref="http://www.wikidata.org/entity/Q101638"
						>Wollstonecraft</persName>. Or that it will turn out to be nothing, a fad
					seized on by a few disgruntied feminists and female socialists, a temporary
					distraction.
				I want to try to cut through some of the mystery which has grown up around
					socialist feminism. Here I am going to focus on our "theory"—the way we look at
					and analyze the world. I am not going to deal with our total outlook as
					socialist feminists because I want to stick as closely as possible to the
					interface of the two main traditions we grow out of—socialism and feminism. 
				 A logical way to start is to look at socialism and feminism separately. How does
					a socialist—more precisely a <rs key="Marxist"
						ref="http://www.wikidata.org/entity/Q12716775">Marxist</rs>—look at the
					world? How does a <rs key="feminist"
						ref="http://www.wikidata.org/entity/Q34074720">feminist</rs> look at the
					world? To begin with, Marxism and feminism have something important in common:
					they are critical ways of looking at the world. Both rip away popular mythology
					and "common-sense wisdom“ and force us to look at experience in a new way. Both
					seek to understand the world—not in terms of static balances and symmetries (as
					in conventional social science), but in terms of antagonisms. So they lead to
					conclusions which are jarring and disturbing at the same time that they are
					liberating. There is no way to have a Marxist or a feminist outlook and remain a
					spectator. To understand the reality laid bare by these analyses is to move into
					action to change it.
				Here I am going to restrict myself to what I see as the core insights of <rs
						key="Marxism" ref="http://www.wikidata.org/entity/Q7264">Marxism</rs> and
						<rs key="feminism" ref="http://www.wikidata.org/entity/Q7252">feminism</rs>,
					and state these as briefly and starkly as possible: Marxism (in 20 words or
					less) addresses itself to the class dynamics of capitalist society. Every social
					scientist knows that capitalist societies are characterized by more or less
					severe, systemic inequality. Marxism understands this inequality to arise from
					processes which are intrinsic to <rs key="capitalism"
						ref="http://www.wikidata.org/entity/Q6206">capitalism</rs> as an economic
					system. A minority of people (the capitalist class) own all the factories/
					energy sources/resources on which everyone else depends in order to live. The
					great majority (the working class) must, out of sheer necessity work, under
					conditions set by the capitalists, for the wages the capitalists pay. Since the
					capitalists make their profits by paying less in wages than the value of what
					the workers actually produce, the relationship between these two classes is
					necessarily one of irreconcilable antagonism: the capitalist class owes its very
					existence to the continued exploitation of the working class. What maintains
					this system of class rule is, in the last analysis, force. The capitalist class
					controls (directly or indirectiy) the means of organized violence represented by
					the state—policemen, jails, etc. Only by waging a revolutionary struggle aimed
					at the seizure of state power can the working class free itself, and,
					ultimately, all people.
				Feminism addresses itself to another familiar inequality. All human societies are
					marked by some degree of inequality between the sexes. If we survey human
					societies at a glance, sweeping through history and across continents, we see
					that they have commonly been characterized<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_007.jpg"
					/>by: the subjugation of women to male authority, both within the family and in
					the community in general; the objectification of women as a form of property; a
					sexual division of labor in which women are confined to such activities as
					childraising, performing personal services for adult males and specified
					(usually low-prestige) forms of productive labor. Feminists, struck by the
					near-universality of these things have looked for explanations in the biological
					"givens“ which underlie all human social existence: men are physically stronger
					than women on the average, especially compared to pregnant women or women who
					are nursing babies. Furthermore, men have the power to make women pregnant. Thus
					the forms that sexual inequality takes—however various they may be from culture
					to culture—rest, in the last analysis, on what is clearly a physical advantage
					males hold over females. That is to say, they rest on violence, or the threat of
					violence.
				The ancient, biological roots of male supremacy—the fact of male violence—are
					commonly obscured by the laws and conventions which regulate the relations
					between the sexes in any particular culture. But they are there, according to a
					feminist analysis. The possibility of male assault stands as a constant warning
					to "bad" (rebellious aggressive) women, and drives "good" women into complicity
					with male supremacy. The reward for being "good" ("pretty," submissive) is
					protection from random male violence and, in some cases, economic security.
				I hope I have written these capsule summaries of Marxism and feminism in such a
					way that some similarities of approach show through. Marxism rips away the myths
					about "democracy" and "pluralism" to reveal a system of class rule that rests on
					forcible exploitation. Feminism cuts through myths about "instinct" and romantic
					love to expose male rule as a rule of force. Both analyses compel us to look at
					a fundamental injustice. If either, or both, make you uncomfortable, they were
					meant to! The choice is to reach for the comfort of the myths or as Marx put it,
					to work for a social order which does not require myths to sustain it. Having
					gone to the trouble to provide these thumbnail sketches of Marxism and feminism,
					the obvious thing to do would be just to add them up and call the sum "socialist
					feminism." In fact, this is probably how most socialist feminists operate most
					of the time—as a kind of hybrid, pushing feminism in socialist circles,
					socialism in feminist circles. Practically speaking, I think this is a perfectly
					reasonable way to operate a lot of the time. One trouble with leaving things
					like that, though, is that it keeps people wondering "Well, what is she really?"
					or demanding of us "What is the principal contradiction?" Such questions often
					stop us in our tracks: It sounds so compelling and authoritative and logical:
					"Make a choice! Be one or another!" Yet we know that there is a political
					consistency to socialist feminism. We are not hybrids or fence-sitters.
				To get to that political consistency we have to go beyond the capsule versions of
					Marxism and feminism I laid out. We have to differentiate ourselves, as
					feminists from other kinds of feminists, and as Marxists from other kinds of
					Marxists. We have to stake out a socialist feminist kind of feminism and a
					socialist feminist kind of socialism. Only then is there a possibility that
					things will "add up" to something more than an uneasy juxtaposition. 
				 First, what is our outlook as feminists and how is it different from that of
					other feminists? I think most radical feminists and socialist feminists would
					agree with my capsule characteriza- tion of feminism as far as it goes. The
					trouble with <rs key="radical feminism"
						ref="http://www.wikidata.org/entity/Q2914207">radical feminism</rs> from a
					socialist feminist point of view, is that it doesn’t go any farther: it remains
					transfixed by the universality of male supremacy: things have never really
					changed; all social systems are "patriarchies“; imperialism, militarism and
					capitalism are all simply expressions of innate male aggressiveness. And so on. 
				The problem with this is not only that it leaves out men (and the possibility of
					reconciliation with them on a truly human and egalitarian basis) but that it
					leaves out an awful lot about women. For example to discount a socialist country
					such as <placeName key="China" ref="http://www.wikidata.org/entity/Q29520"
						>China</placeName> as a "patriarchy"—as have heard some radical feminists
					do—is to ignore the real struggles and achievements of millions of women.
					Socialist feminists while agreeing that there is something timeless and
					universal about women's oppression, have insisted that it takes different forms
					in different settings, and that the differences are of vital importance. There
					is a difference between a society in which sexism is expressed by female
					infanticide and a society in which sexism takes the form of unequal
					representation on the Central Committee. And the difference is worth dying for. 
				One of the historical variations on the theme of sexism which ought to concern
					all feminists is the set of changes that came with the transition from an
					agrarian society to industrial capitalism. This is no academic issue. The social
					system which industrial capitalism replaced was in fact a patriarchal one, and I
					am using that term now in its original sense to mean a system in which
					production is centered in the household and is presided over by the oldest male.
					The fact is that industrial capitalism came along and tore the rug out from
					under that system: production went into the factories; individuals broke off
					from the family to become "free" wage earners. To say that capitalism disrupted
					the patriarchal organization of production and family life is not, of course, to
					say that capital- ism abolished male supremacy! But the particular<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_008.jpg"
					/>forms of sex oppression we experience today are, to a significant degree,
					recent developments. A huge historical discontinuity lies between us and true
					patriarchy. If we are to understand our experience as women today, we must move
					beyond the biological invariants of human experience to a consideration of
					capitalism as a system. 
				There are other ways I could have gotten to the same point. I could have said
					simply that as feminists we are most interested in the most oppressed women—poor
					and working-class women, third-world women—and for that reason we are led to a
					need to comprehend and confront captialism. I could have said that we need to
					address ourselves to the class system simply because women are members of
					classes But I am trying to bring out something else about our perspective: that
					there is no way to understand sexism as it acts on our lives—never mind class
					oppression for a minute—without putting it in the historical context of
					capitalism. 
				Now let'cs go on to our outlook as Marxists. Again, I think most socialist
					feminists would agree with my capsule summary as far as it goes. And the trouble
					again is that there are a lot of people (I'll call them "mechanical Marxists")
					who do not go any further. To these people, the only "real" and important things
					that go on in capitalist society are those that relate to the productive process
					or the conventional political sphere. From such a point of view, every other
					part of experience and social existence—education, sexuality, recreation, the
					family, art, music, housework (you name it)—is peripheral to the central
					dynamics of social change; it is part of the "superstructure" or "culture."
				Socialist feminists are in a very different camp. We (along with many Marxists
					who are not feminists) see capitalism as a social and cultural totality. We
					understand that, in its search for markets, capitalism is driven to penetrate
					every nook and cranny of social existence. Especially in the monopoly capitalism
					phase, the realm of consumption is every bit as important, just from an economic
					point of view as the realm of production. So we cannot understand class struggle
					as something confined to issues of wages and hours, or confined only to
					workplace issues. Class struggle occurs in every arena where the interests of
					the classes conflict, and that includes education, health, the arts, etc. We aim
					to transform not only the ownership of the means of production, but the totality
					of social existence.
				So, as Marxists, we come to feminism from a completely different place than the
					"mechanical Marxists." Because we see monopoly capitalism as a
					political/economic/cultural totality, we have room within our Marxist framework
					for feminist issues which have nothing ostensibly to do with production or
					"politics " issues that have to do with "private" life. 
				 Furthermore, in our brand of Marxism, there is no "woman question," no big
					mystery about women—because we never compartmentalized women off to the
					"superstructure“ in the first place. Marxists of a mechanical bent continually
					ponder the issue of the unwaged woman (the housewife): is she really a member of
					the working class? That is, does she really produce surplus value? We say, of
					course housewives are members of the working class—not because we have some
					elaborate proof that they really do produce surplus value–but because we
					understand a class as being composed of people, and as having a social existence
					quite apart from the capitalist-dominated realm of production. When we think of
					class in this way, then we see that in fact the women who seemed most peripheral
					the housewives are at the very heart of their class—raising children, holding
					together families, maintaining the culture and social networks of the community.
					So we are coming out of a kind of feminism and a kind of Marxism whose interests
					quite naturally flow together. I think we are in a position now to see why it is
					that socialist feminism has been such a great mystery. It is a paradox only as
					long as what you mean by socialism is really "mechanical Marxism" and what you
					mean by feminism is an ahistorical kind of radical feminism. These things don’t
					add up; they have nothing in common. But if you put together another kind of
					socialism and another kind of feminism, as I have tried to define them, you do
					get some common ground. And that is one of the most important things about
					socialist feminism today: that it is a space—free from the constrictions of a
					truncated kind of feminism and a truncated version of Marxism—a space in which
					we can develop the kind of politics that address the political/
					economic/cultural totality of monopoly capitalist society. We could go only so
					far with the available feminisms, the conventional Marxism, and then we had to
					break out to something that is not so restrictive and so incomplete in its view
					of the world. We had to take a new name, socialist feminism," in order to assert
					our determination to comprehend the whole of our experience and to forge a
					politics that reflects the totality of that comprehension. At that I may have
					fulfilled my mission of demystifying socialist feminism, but I don't want to
					leave this theory as a "space" or a common ground. Things are beginning to grow
					in that ground. We are closer to a synthesis in our understanding of sex and
					class capitalism and male domination, than we were a few years ago. Here l will
					indicate very sketchily one such line of thought:
				<list>
					<item>1. The Marxist/feminist understanding that class and sex domination rest
						"ultimately" on force is correct, and this remains the most devastating
						critique of sexist/capitalist society. But there is a lot to that
						"ultimately." In a <pb
							facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_009.jpg"
						/> day-to-day sense, most people acquiesce to sex and class domination
						without being held in line by the threat of violence, and often without even
						the threat of material deprivation. </item>
					<item>2. It is very important, then, to figure out what, if not the direct
						application of force, keeps things going. In the case of class a great deal
						has been written already about why the American working class lacks militant
						class consciousness. Certainly ethnic divisions especially the Black/white
						division, are a key to the answer. But, I would argue, in addition to being
						divided, the working class has been socially atomized: working-class
						neighborhoods have been destroyed and allowed to decay; life has become
						increasingly privatized and inward-looking; skills once possessed by the
						working class have been expropriated by the capitalist class;
						capitalist-controlled "mass culture“ has edged out almost all indigenous
						working-class culture and institutions. Instead of collectivity and
						self-reliance as a class there is mutual isolation and collective dependency
						on the capitalist class. </item>
					<item>3. The subjugation of women, in ways characteristic of late capitalist
						society, has been a key to this process of class atomization. To put it
						another way: the forces which have atomized working-class life and promoted
						cultural/material dependency on the capitalist class are the same forces
						which have served to perpetuate the subjugation of women. It is women who
						are most isolated in what has become an increasingly privatized family
						existence (even when they work outside the home too). It is, in many
						instances women's skills (productive skills, healing, midwifery) which have
						been discredited or banned to make way for commodities. It is, above all,
						women who are required to be utterly passive/uncritical/dependent (i.e.
						"feminine") in the face of the pervasive capitalist penetration of private
						life. Historically, late capitalist penetration of working-class life has
						singled out women as prime targets of pacification (or "feminization")
						because women are the culture-bearers of their class. </item>
					<item>4. It follows that there is a fundamental interconnectedness between
						women's struggle and what is traditionally conceived as class struggle. Not
						all women's struggles have an inherently anti-capitalist thrust
						(particularly not those which seek only to advance the power and wealth of
						special groups of women), but all those which build collectivity and
						collective confidence among women are vitally important to the building of
						class consciousness. Conversely, not all class struggles have an inherently
						anti-sexist thrust (especially not those which cling to pre-industrial
						patriarchal values) but all those which seek to build the social and
						cultural autonomy of the working class are necessarily linked to the
						struggle for women's liberation.</item>
				</list>
				This is one direction which socialist feminist analysis is taking. No one is
					expecting a synthesis to emerge which will collapse socialist and feminist
					struggles into the same thing. The capsule summaries I gave earlier retain their
					"ultimate" truth: there are crucial aspects of capitalist domination (such as
					racial oppression) which a purely feminist perspective simply cannot account for
					or deal with—without bizarre distortions, that is. There are crucial aspects of
					sex oppression (such as male violence within the family) into which socialist
					thought has little insight—again without a lot of stretching and distortion.
					Hence the need to continue to be socialists and feminists. But there is enough
					of a synthesis, both in what we think and what we do, for us to begin to develop
					a self-confident identity as socialist feminists. 
			</div>
		</body>
		<back>
			Barbara Ehrenreich is the co-author, with <persName key="Deirdre English"
					ref="http://www.wikidata.org/entity/Q5252562">Deirdre English</persName>, of
					<title>Witches, Midwives and Nurses: A History of Women Healers</title>, and
					<title>Complaints and Disorders: The Sexual Politics of Sickness</title>
					(<orgName key="The Feminist Press" ref="http://www.wikidata.org/entity/Q7733667"
					>Feminist Press</orgName>, New York). She is a member of <orgName
					key="HealthRight International" ref="http://www.wikidata.org/entity/Q5690411"
					>HealthRight</orgName> (a New York women's health collective), <orgName
					key="Action for Women in Chile (Organization)"
					ref="http://viaf.org/viaf/311777889/">Action for Women in Chile</orgName>, and
					<orgName key="New American Movement"
					ref="http://www.wikidata.org/entity/Q7005316">New American
				Movement</orgName>.
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Feminist Abstract Art–A Political Viewpoint

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			<div><head><title><title>Feminist Abstract Art—A Political Viewpoint</title> </title></head>
			<byline><persName><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName></persName>
			</byline></div>
			<div>There are many articles written on feminist art which try to pinpoint and define a
				feminist sensibility. Few of these articles go beyond the recognition that feminist
				art is based on the personal experiences of women by beginning to question its
				larger political implications and the role it plays in feminist revolution. Most
				articles originating from the art world tend to be formal descriptive attempts at
				documenting what women are doing, and do not attempt a feminist analysis of function
				and meaning.
			In a reactionary escape from formalist criticism, most movement writing on feminist
				art deals with political issues, but lacks any real understanding of the creative
				process, how it functions for the artist and how it affects form and content.
				Without such an understanding it is impossible to evaluate the work as art. While
				feminist poets and writers comment on each other's work and write of their own
				processes, we visual artists tend to remain silent and let others do the writing for
				us. Our silence contributes to a lack of dialogue between artist and audience, to
				the lack of criticism from a feminist perspective, and ultimately to the misinter-
				pretation of our work.
			In this article I wish to focus on abstract art and show that it can have a feminist
				basis and therefore be political. Feminists are not only people to attempt political
				or revolutionary art, but because certain ideas and issues occur over and over, they
				are of interest to us and worth exploring. I will focus on one area of abstract art
				by discussing concepts of marking and language in feminist drawing and painting-to
				show its origin, meaning, and political potential.

In "Prime Time: Art and Politics"<note type="scholarNote"><persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName>, "<title>Prime Time: Art and Politics</title>," <title><orgName key="Quest: A Feminist Quarterly" ref="http://www.wikidata.org/entity/Q105972288">Quest: A Feminist Quarterly</orgName></title> (Summer,
					1975).</note> <persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName> look at how art is viewed in

this capitalist, patriarchal society and criticize activists for reacting too
				quickly and overlooking the revolutionary potential of art. However, they in turn
				react to male estabishment myths about abstract (non-representational) art and
				exclude it from feminist and political potential. They view abstract art as private
				expression which is not understandable or analyzable to the audience, and therefore
				irrelevant to feminist political goals. Thus they incorrectly see elitism as a
				pre-condition of abstract art, rather than realizing that this is how abstract art
				has been used by men as a defense mechanism against the alienation of their own
				capitalist system; that as well as furthering the myth of artist as alienated and
				isolated genius, abstract art has offered an illusion of objectivity. Such notions
				suggest that the content of one's work can be separated from one's political
				beliefs. By sponsoring international exhibitions showing apolitical abstract

paintings by former <orgName key="communist party" ref="http://www.wikidata.org/entity/Q233591">Communist Party</orgName> members, the <orgName key="Central Intelligence Agency" ref="http://www.wikidata.org/entity/Q37230">C.I.A.</orgName> (via the <orgName key="Museum of Modern Art" ref="http://www.wikidata.org/entity/Q188740">Museum of Modern

Art</orgName>) has sought to impress other nations with the cultural freedom of the U.S.A. The
				way in which Abstract Expressionist art was defined and developed by the artists and
				then used by others to further cold war politics in the fifties is only one example
				of the manipulation of abstract art to create the illusory separation of art and

politics.<note><persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>, <title key="Abstract Expressionism, Weapon of the Cold War" ref="http://www.columbia.edu/itc/barnard/arthist/wolff/pdfs/week4_cockcroft.pdf">"Abstract Expressionism, Weapon of the Cold War,"</title>
						<title><orgName key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</orgName></title> (June, 1974).</note> Thus when women continue to

respond to abstract art as "apolitical," they are reinforcing and maintaining myths
				established by men.
			The Freeman/MacMillan article is typical in its analysis of art and politics.
				Abstract art has become taboo for most artists who consider themselves political
				feminists. Because of the history outlined above, it is difficult to determine
				abstract painting's relationship to feminist ideology. There are radical feminists
				who are making abstract art. Radical feminism operates from the belief that women as
				a class are oppressed, and that a mass political women's movement is necessary to

overthrow male supremacy.<note><persName>Brooke</persName>, "<title>The Retreat to Cultural Feminism</title>," in
						<title><orgName>Feminist Revolution</orgName></title>, ed. <orgName key="Redstockings" ref="http://www.wikidata.org/entity/Q3480184">Redstockings</orgName> (<placeName key="New York City" ref="http://www.wikidata.org/entity/Q60">New York</placeName>,

1975).</note> Therefore, we might ask, how are the visions of radical feminists

analyzed and portrayed in this art?
			It is necessary to break down the myths and fears surrounding abstract art and make
				it understandable. Women—artists and non-artists—need to talk about art, and talking
				about abstract art need not be more difficult than discussing portraits, nudes,
				vaginas, or whatever. Every work of art is understandable on many different levels.
				It is by talking about our work and work processes that we will not only begin to
				develop a new language for interpreting abstract art, but also to integrate this
				work with society. This language, which I see evolving from consciousness-raising
				techniques, will be able to be shared with any woman, regardless of class
				background. For artists, such a dialogue with the audience is essential, as it
				offers valuable feedback for the development of our art.
			I want to reclaim abstract art for women and transforrn it on our own terms. It is
				interesting to note that much of women's past creativity, as <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_069.jpg"/> well as
				the art by women of non-western cultures, has been abstract. I'm thinking of the
				incredible baskets, pottery, quilts, afghans, lace and needlework women have
				created. Many of the motifs used were based on "the stitch" itself. The repetition
				and continuity of the stitch or weaver formed the individual shape and also the
				pattern resulting from its repetition. Usually these motifs and patterns were
				abstract and geometric. <persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName> points out that they had specific meaning
				for the women who made them, and in a sense formed a visual language in
				themselves:
			<quote>in designing their quilts, women not only made beautiful and functional objects,
				but expressed their own convictions on a wide variety of subjects in a language for
				the most part comprehensible only to other women. In a sense, this was a secret
				language among women, for as the story goes, there was more than one man of Tory
				political persuasion who slept unknowingly under his wife's 'Whig Rose' quilt. Women
				named quilts for their religious beliefs...or their politics-at a time when women
				were not allowed to vote. The 'Radical Rose' design, which women made during the
				CIvil War, had a black center for each rose and was an expression of sympathy with

the slaves.<note><persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName>, "<title>Quilts: The Great American Art</title>," <title><title key="Feminist Art Journal" ref="http://www.wikidata.org/entity/Q18207079">The
						Feminist Art Journal</title></title> (Winter, 1973).</note></quote>

As we examine some contemporary abstract art by women, it is important to develop a
				sense of identity and connection with our own past creativity rather than that of
				the oppressor who has claimed "fine art" and "abstract art" for himself. In fact,
				the patriarchal putdown of "decorative" traditional art and "craft" has outright
				racist, classist, and sexist overtones. <persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName> states:
			<quote>Art history assigns creative products to two categories -fine arts and crafts-and
				then certifies as legitimate only the fine arts, thereby excluding those creative
				traditions of primitive people, peasants, women, and many other groups outside the

mainstream of Western history.<note><persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName>, "<title>Craft for Art's Sake</title>,"
						<title><orgName key="Ms." ref="http://www.wikidata.org/entity/Q3656351">Ms. Magazine</orgName></title> (May, 1973).</note></quote>

Until recently, decorative art, or craft techniques and materials, have been valid
				only as sources for contemporary male artists. While women working with these ideas,
				techniques, and materials have been ignored (<persName key="Ann Wilson" ref="http://www.wikidata.org/entity/Q64532860">Ann Wilson</persName> first painted on quilts in
				1958) or put down for doing "womens work," men like <persName><persName key="Shields, Alan" ref="http://vocab.getty.edu/ulan/500021038">Shields</persName></persName>, <persName key="Oldenburg, Claes" ref="http://vocab.getty.edu/ulan/500029735">Oldenburg</persName>, <persName key="Frank Stella" ref="http://www.wikidata.org/entity/Q375268">Stella</persName>, and
				<persName><persName key="Kenneth Noland" ref="http://www.wikidata.org/entity/Q527001">Noland</persName></persName> are hailed as innovative. But times have changed. Today many female artists
				are connecting to a long line of creativity by proudly referring to women's
				traditional arts in their own work. They are recording the ritual of women's
				artmaking both in the past and the present, thereby reflecting a feminist concern
				not only with the end product but with the dally process and function of making art.
				Sewing techniques and materals as both process and content are used in a variety of
				ways in the abstract works of <persName key="Sarah Draney" ref="http://www.wikidata.org/entity/Q21289822">Sarah Draney</persName>, <persName key="Pat Lasch" ref="http://www.wikidata.org/entity/Q28553688">Pat Lasch</persName>, <persName key="Nina Yankowitz" ref="http://www.wikidata.org/entity/Q20642044">Nina Yankowitz</persName>, <persName key="Paula Tavins" ref="http://www.wikidata.org/entity/Q114223354">Paula Tavins</persName>,
				<persName key="Patsy Norvell" ref="http://www.wikidata.org/entity/Q28059096">Patsy Norvell</persName>, <persName key="Rosemary Mayer" ref="http://www.wikidata.org/entity/Q29024964">Rosemary Mayer</persName>, and many other women. <persName key="Kruger, Barbara" ref="http://vocab.getty.edu/ulan/500118792">Barbara Kruger</persName> says that she
				first learned to crochet and sew when she decided that these techniques could be
				used to make art.<note>Ibid.</note> For women, the meaning of sewing and knotting is
				"connecting" —connecting the parts of one's life, and connecting to other
				women-creating a sense of community and wholeness. Other women, drawing on women's
				traditional arts, make specific painterly reference to decoration and craft. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam
				Schapiro</persName> utilizes remnants of fabric, lace, and ribbon along with handkerchiefs and
				aprons in large collages, thus making the very material of women's lives the subject
				of her art. <persName key="Joyce Kozloff" ref="http://www.wikidata.org/entity/Q6297552">Joyce Kozloff</persName> and <persName key="Mary Grigoriadis" ref="http://www.wikidata.org/entity/Q21643944">Mary Gregoriadis</persName> explore decoration as fine art,
				basing their paintings on the abstract patterning of Islamic architecture and tiles,
				Tantric art, Caucasian rugs, and Navaho weaving.
			The way many women talk about their work is revealing, in that it often denies formal
				art rhetoric. Women tend to talk first about their personal associations with the
				piece, and then about how these are implemented through visual means; in other
				words, how successful the piece is in its own terms. This approach to art and to
				discussing art has developed from the consciousness-raising experience. It deals
				primarily with the work itself, what it says and how it says it-rather than with an
				imposed set of esthetic beliefs.
			In her excellent catalogue introduction to "Changes<note type="researchNote">Note exhibition</note>," an exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName>
				and <persName>Carole Fisher</persName>, <persName key="Johnson, Kathryn C." ref="http://viaf.org/viaf/68171928/">Kathryn C. Johnson</persName> comments that "intent" is most important when
				defining feminist art. She states that it is "a powerful oneness of subject and
				content" that makes certain work feminist:
			<quote>...Their work both is and tells about the pain of their life experiences. It is
				about pain and is painful, but does not present woman as passive victim. The pain is
				presented with deep understanding of its sources and effects, and the anger which

follows confrontation with the hurt.<note><persName key="Johnson, Kathryn C." ref="http://viaf.org/viaf/68171928/">Kathryn C. Johnson</persName>, catalogue introduction
					to "Changes," exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName>Carole Fisher</persName> at the <placeName key="St. Catherine University" ref="http://www.wikidata.org/entity/Q3444427">College of St.
					Catherine</placeName> (St. Paul, Minn., 1976).</note></quote>

Fisher writes:
			<quote>Betsy looked at the work and recognized the fact that I worked to survive, to
				keep from growing crazy, and to keep the pain from becoming too great. She
				recognized the pain in my work instantly! This was something I had only come to
				recently recognize and acknowledge in my work. Like many women in our culture, I had
				become adept at hiding and covering my pain. I had gotten all the messages that to
				be vulnerable in our culture is to be weak and despised.<note type="scholarNote">Ibid</note>.</quote>
			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_070.jpg"/>
			It is this "oneness of subject and content" that carries their work through feminist
				consciousness beyond the personal to the political. It is also present in abstract
				paintings that seem superficially more related to the male modernist tradition than
				to women's creativity in that they involve the physically expressive manipulation of
				paint on a two-dimensional surface.
			In much of this work the reoccurring stitch of women's traditional artmaking becomes
				the repetitive mark, taking on a new form as a "visual diary." Such works are dally
				records of thoughts and are used as such by the artists. Just as the weaver
				continues from day to day, from one physical and psychic location to another, mate-
				rials and dyes changing slighty, irregularities and tension showing, the painted
				marks also reveal daily emotional changes and tensions. They are a record of present
				feeling, a ritual giving in to the repetitive gesture, a language to reveal self-a
				woman's mantra.
			<persName key="Jenny Snider" ref="http://www.wikidata.org/entity/Q62057437">Jenny Snider</persName>'s nervous lines recall ancient Chinese calligraphy, which has both a
				letter/ character reference and a body/figure reference. Her drawings are made with
				and are about her nervousness and vulnerability. She "is" the mark, the line. As the
				marks are repeated and contained in different spaces (usually grids or rectangles
				suggesting fabric, rooms and houses), the quality and feeling of the line changes
				and she becomes more comfortable in some spaces than in others. She explores her
				self-image and feelings about her body in relationship to other people and spaces.
				Snider describes these works as "figurative." To me, it is the mark and its
				repetition that is most important. Her works are figurative in the sense that
				Chinese calligraphy is figurative-in having a direct body reference. Works are
				sometimes combined or used interchangeably with the markings, reinforcing Snider's
				commitment to the diaristic mode. As she says, "The words and lines come from the
				same psychological place and gesture and are not intended to describe or explain
				what the drawings are in terms of images-but rather express the fact that they come
				from a nervous hand and a yakking heart." Phrases such as "little sounds arose (and
				it showed)"; "Well, for one thing, never step on broken glass"; and "Remember when
				we saw the ocean? It was just like this, wasn't it?" tell where the drawing is
				coming from and what the drawing is about.
			<persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739">Louise Fishman</persName>'s paintings also function as a place for personal confrontation and as
				a statement directed towards other women. Earlier, Fishman ripped up her old
				paintings and reconnected them by sewing and knotting them together with fragile
				thread. Her past was used to make a statement about her present. The strips and
				connecting thread formed loose grids, transformed in later work to a series of
				strokes or marks repeated across the page of canvas or within the confines of a
				"particular felt shape" (a circle or a piece of irregularly cut masonite). The marks
				of paint, layered on top of each other, lead eventually to a rich sensuous sur-
				face. The top layer usually consists of strong marks holding the partially revealed
				undermarks to the painting surface-feelings revealed and hidden. Fishman has always
				talked about her work in terms of hiding, guilt, vulnerability, anger, and personal
				individuation.
			In a seven-panel reversible painting on unstretched canvas, Fishman deals with her
				feelings about her mother, also an artist. One side of each canvas is painted with
				calm strokes, while on the other side the marks explode into intensely scrawled
				letters reading "A letter to my mother about painting." Another canvas has the star
				of David and the words "I am a Jewish working-class dyke" scratched into the
				surface. Just as consciousness raising leads to political awareness; this work moves
				from the personal into the political. Titled <title key="Angry Jill, Angry Djuna, Angry Paula, Angry Sarah" ref="https://louisefishman.net/work/feminism.html">Angry Jill, Angry Djuna, Angry Paula,
				Angry Sarah</title>, and so on... they seem to be painted with the anger. When she made
				these "angry paintings" Fishman said that all she could feel was her rage. When she
				looked around at other women, she saw that they were crippled by their anger too.
				These paintings were made to force women to confront it rather than letting it turn
				inward and become self-destructive. Grouped together as a wall of women's anger, the
				paintings show a tremendous amount of energy that can now be redirected towards
				feminist creativity and revolution.
			These women as well as others (<persName key="Joan Snyder" ref="http://www.wikidata.org/entity/Q6205466">Joan Snyder</persName>, <persName key="Tardi, Carla" ref="http://vocab.getty.edu/ulan/500074371">Carla Tardi</persName>, and <persName key="Pat Steir" ref="http://www.wikidata.org/entity/Q7144042">Pat Steir</persName>, to name a
				few) have used words and marks fairly interchangeably as abstract gestures with
				concrete feminist meanings. Words are marks and marks are words; their repetition
				becomes not only an interior monologue but also a dialogue with other women. Like
				Damon and Fisher, these artists make individual feeling and experience the subject
				of their work, while the content deals with the difficulties and ambiguities of
				being a feminist artist in a patriarchal society.
			Their painting surfaces are often violated on mutilated; cut, gouged, ripped,
				scratched, or torn. The reversal of the usual additive process of painting refers to
				the violation of the traditional painting surface and also to the physical and
				psychic violation of women. The thick paint applied with a palette knife in
				Fishman's work, for instance, acts both as poultice for wounds and cement for
				holding self together. In Joan Snyder's recent work the marks, cuts and burning
				combine with words and color to make a passionate statement about sexuality.
			This work is certainly political. Yet Freeman and MacMillan, in their attempt to
				distinguish protest from political art, to show that specific forms are more
				conducive to one or another, <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_071.jpg"/>
				<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_072.jpg"/>still ignore the political potential of
					abstraction.<note type="scholarNote">Freeman and MacMillan, op. cit.</note> They accept male
				definitions of what art is, and do not deal with the evolution of a feminist
				creative process or feminist art forms. Theirs is a reformist approach to a
				revolutionary endeavor.
			I am reminded of <persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>'s "afterword" "<title>The Great Punctuation Typography Struggle</title>" —in her book <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692">Woman Hating</title>, where she explains how the text was altered
				against her will by the publisher's insistence on uppercase letters and standard
				punctuation. She had wanted the book to be as empty of convention as possible, to
				create a new form that would merge with the content.
			<quote>reading a text which violates standard form forces one to change mental sets in
				order to read. there is no distance. the new form, which is in some ways unfamiliar,
				forces one to read differently-not to read about different things, but to read in
				different ways. <lb/> to permit writers to use forms which violate convention just
				might permit writers to develop forms which would teach people to think differently:
				not to think about different things, but to think in different ways. that work is

not permitted.<note><persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>, <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692">Woman Hating</title> (New York, 1974).</note></quote>

The fact that innovative form is so feared by the male establishment shows that like
				content it has a power of its own. If our lives and our art are connected, and if
				"the personal is political" in the radical sense, then we cannot separate the
				content of our work from the form it takes. 
			As abstract artists, we need to develop new abstract forms for revolutionary art. The
				women's work I've discussed here, and I include my own, is moving in this direction.
				We are not yet there. Hopefully, as we create art within the context of other
				women's art, and within the context of evolving feminist theory, we will develop a
				new visual language. Art in transition is political, for it both is our develop-
				ment and describes our development. In a sense we are coming out through our art,
				and the work itself is a record of the ongoing process of developing a feminist
				esthetic ideology. </div>
		</body>
		<back>
			<div><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> is an artist living in New York who teaches, gives workshops, and has
				shown her work here and elsewhere. She has also studied martial arts, Tai Chi Ch'uan
				and Aikido.</div>
		</back>
	</text>
</TEI>

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The Pink Glass Swan: Upward and Downward Mobility in the Art World

The artist who feels superior to the rich because s/he is disguised as someone
					who is poor provides a puzzle for the truly deprived. A parallel notion, rarely
					admitted but pervasive, is that a person can't understand "art" if their house
					is full of pink glass swans or their lawn is inhabited by gnomes and flamingos,
					or if they even care about house and clothes at all. This is particularly
					ridiculous now, when art itself uses so much of this paraphernalia (and not
					always satirically); or, from another angle, when even artists who have no
					visible means of professional support live in palatial lofts and sport beat-up
					$100 boots while looking down on the "tourists" who come to
						<placeName>SoHo</placeName> to see art on Saturdays; SoHo is, in fact, the
					new suburbia. One reason for such callousness is a hangover from the 1950s, when
					artists really were poor and proud of being poor because their art, the argument
					went, must be good if the bad guys - the rich and the masses - didn't like
					it.

In the 1960s the choice of poverty, often excused as <rs key="anti-consumerism" ref="http://www.wikidata.org/entity/Q1783091">anti-consumerism</rs>, even
					infiltrated the esthetics of art. Actually nothing
						new; the history of modern art demonstrates a constant longing for the
						primitive, the simple, the clear, the "poor," the noble naif, etc.
					First there was <rs key="pop art" ref="http://www.wikidata.org/entity/Q134147">Pop Art</rs>, modeled on kitsch, on advertising and consumerism, and
					equally successful on its own level. (Women, incidentally, participated little
					in Pop
						Art, partly because of
					its blatant sexism, sometimes presented as a parody of the image of woman in the
					media–and partly because the subject matter was often "women's work," ennobled

and acceptable only when the artists were men.) Then came <rs key="process art" ref="http://www.wikidata.org/entity/Q545851">Process Art</rs>–a rebellion against the

"precious object" traditionally desired and bought by the rich. Here another
					kind of co-optation took place, when temporary piles of dirt, oil, rags and
					filthy rubber began to grace carpeted living rooms. The Italian branch was even
					called <rs key="Arte Povera" ref="http://www.wikidata.org/entity/Q576913">Arte Povera</rs>. Then came the rise of a third-stream medium called
					"<rs key="conceptual art" ref="http://www.wikidata.org/entity/Q203209">conceptual art</rs>" which offered "anti-objects" in the form of ideas–books or
					simple xeroxed texts and photographs with no inherent physical or monetary value

(until they got on the market, that is). Conceptual art seemed politically viable because of

its notion that the use of ordinary, inexpensive, unbulky media would lead to a
					kind of socialization (or at least democratization) of art as opposed to
					gigantic canvases and huge chrome sculptures costing five figures and filling
					the world with more consumer fetishes.
				 Yet the trip from of on canvas to ideas on xerox was, in retrospect, yet another
					instance of "downward mobility" or middle-class guilt. It was no accident that
					conceptual art appeared at the height of the social movements of the late 1960s
					nor that the artists were sympathetic to those movements (with the qualified
					exception of the women's movement). All of the esthetic tendencies listed above
					were genuinely instigated as rebellions by the artists themselves, yet the fact
					remains that only rich people can afford to 1) spend money on art that won't
					last; 2) live with "ugly art" or art that is not decorative, because the rest of
					their surroundings are beautiful and comfortable; 3) like "non-object art" which
					is only handy If you already have too many possessions-when it becomes a
					reactionary commentary: art for the overprivileged in a consumer society.
				 As a child, I was accused by my parents of being an "anti-snob snob" and I'm
					only beginning to see the limitations of such a rebellion. Years later I was an
					early supporter of and proselytizer for conceptual art as escape from the
					commodity orientation of the art world, a way of communicating with a broader
					audience via inexpensive media. Though I was bitterly disappointed (with the
					social, not the esthetic achievements) when I found that this work could be so
					easily absorbed into the system, it is only now that I've realized why the
					absorption took place. Conceptual art's democratic efforts and physical vehicles
					were cancelled out by its neutral, elitist content and its patronizing approach.
					From around <date from="1967" to="1971">1967 to 1971</date>, most of us involved in conceptual art saw that content
					as pretty revolutionary and thought of ourselves as rebels against the cool,
					hostile artifacts of the prevailing formalist and minimal art. But we were so
					totally enveloped in the middle-class approach to everything we did and saw, we
					couldn't perceive how that pseudo-academic narrative piece or that
					art-world-oriented action <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_086.jpg"/> in the streets was deprived of any
					revolutionary content by the fact that it was usually incomprehensible and
					alienating to the people "out there," no matter how fashionably downwardly
					mobile it might be in the art world. The idea that if art is subversive in the
					art world it will automatically appeal to a general audience now seems
					absurd.
				 The whole evolutionary basis of modernist innovation, the idea of esthetic
					"progress," the "I-did-it-first" and "it's-been-done-already" syndromes which
					pervade contemporary avant garde art and criticism, are also blatantly classist, and
					have more to do with technology than with art. To be "avant-garde" is inevitably
					to be on top or to become upper-middle-class, because such innovations take
					place in a context accessible only to the educated elite. Thus socially
					conscious artists working in or with community groups and muralists try to
					disassociate themselves from the art world, even though its values ("quality")
					remain to haunt them personally.
				 The value systems are different in and out of the art world, and anyone
					attempting to straddle the two develops another kind of schizophrenia. For

instance, in the inner-city community murals, as <persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>

points out elsewhere in this publication, the images of woman are the
					traditional ones–a beautiful, noble mother and housewife or worker, and a
					rebellious young woman striving to change her world-both of them celebrated for
					their courage to be and to stay the way they are and to support their men in the
					face of horrendous odds. This is not the art-world or middle-class "radical"
					view of future feminism, nor is it one which radical feminists hoping to "reach
					out" across the classes can easily espouse. Here, in the realm of aspirations,
					is where upward and downward mobility and status quo clash, where the economic
					class barriers are established. As <persName key="Russell, Michele D." ref="http://viaf.org/viaf/11163457050804813684/">Michele Russell</persName>
					has noted, <note type="researchNote">Michele Russell, "Woman and Third World,"

New American Movement (June, 1973).</note> the Third-World woman is not attracted to the

"Utopian experimentation" of the left (in the art world, the would-be Marxist
						avant-garde) or to the
					"pragmatic opportunism" of the right (in the art world, those who reform and
					co-opt the "radicals").
				 Many of the subjects touched on here come back to Taste. To a poor woman, art,
					or a beautiful object, might be defined as something she cannot have. Beauty and
					art have been defined before as the desirable. In a consumer society, art too
					becomes a commodity rather than a life-enhancing experience. Yet the <persName key="Vincent van Gogh" ref="http://www.wikidata.org/entity/Q5582">Van
						Gogh</persName> reproduction or the pink glass swan–the same beautiful
					objects that may be "below" a middleclass woman (because she has, in moving
					upward, acquired upper-class taste, or would like to think she has) - may be
					"above" or inaccessible to a welfare mother. The phrase "to dictate taste" has
					its own political connotations. A Minneapolis worker interviewed by students of
					artist <persName key="Don Celender" ref="http://www.wikidata.org/entity/Q28873078">Don Celender</persName> said
					he liked "old art works because they're more classy," <note type="researchNote">Opinions of Working People Concerning the Arts, ed. Don Celender (New York,
						1975)</note> and class does seem to be what the traditional notion of art is
					all about. Yet contemporary avant-garde art, for all its attempts to break out
					of that gold frame, is equally class-bound, and even the artist aware of these
					contradictions in her/his own life and work is hard-put to resolve them. It's a
					vicious circle If the artist/producer is upper-middle-class, and our standards
					of art as taught in schools are persistently upper-middle-class, how do we
					escape making art only for the upper-middle-class?
				 The alternatives to "quality," to the "high" art shown in art-world galleries
					and magazines have been few, and for the most part unsatisfying, although
					well-intended. Even when kitsch,
					politics or housework are absorbed into art, contact with the real world is not
					necessarily made. At no time has the avant garde, though playing in the famous
					"gap between art and life," moved far enough out of the art context to attract a
					broad audience-that audience which has, ironically, been trained to think of art
					as something that has nothing to do with life and, at the same time, tends only
					to like that art which means something in terms of its own life, or fantasies.
					The dilemma for the leftist artist in the middle class is that her/his standards
					seem to have been set irremediably. No matter how much we know about what the
					broader public wants, or needs, it is very difficult to break social
					conditioning and cultural habits. Hopefully, a truly feminist art will provide
					other standards.
				 To understand the woman artist's position in this complex situation between the
					art world and the real world, class and gender, it is necessary to know that in
					America artists are rarely respected unless they are stars or rich or mad or
					dead. Being an artist is not being "somebody." Middle-class families are happy
					to pay lip service to art but god forbid their own children take it so seriously
					as to consider it a profession. Thus a man who becomes an artist is asked when
					he is going to "go to work," and he is not-so-covertly considered a child, a
					sissy (a woman), someone who has a hobby rather than a vocation, someone who
					can't make money and therefore cannot hold his head up in the real world of
					men—at least until his work sells, at which point he may be welcomed back. Male
					artists, bending over backward to rid themselves of this stigma, tend to be
					particularly susceptible to insecurity and machismo. So women daring to insist
					on their place in the primary rank–as art makers rather than as art housekeepers
					(curators, critics, dealers, "patrons")–inherit a heavy burden of male fears in
					addition to the economic and psychological <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_087.jpg"/> discrimination still
					rampant in a patriarchal, money-oriented society.
				 Most art being shown now has little to do with any woman's experience, in part
					because women-rich ones as "patrons," others as decorators and "home-makers"—are in charge of the private sphere, while men identify more easily with public
					art-art that has become public through economic validation (the million-dollar

<orgName key="Rembrandt" ref="http://www.wikidata.org/entity/Q5598">Rembrandt)</orgName>. Private art is often seen as mere ornament; public art is associated with monuments and

money, with "high" art and its containers, including unwelcoming whitewalled
					galleries and museums with classical courthouse architecture. Even the graffiti
						artists, whose work was
					unsuccessfully transferred from subways to art galleries, were all men,
					concerned with facades, with having their names in spray paint, in lights, in
					museums...
				 Private art is visible only to intimates. I suspect the reason so few women

"folk" artists work outdoors in

large scale (like <orgName key="Simon Rodia" ref="https://oac.cdlib.org/findaid/ark:/13030/kt8k402266/">Simon
						Rodia</orgName>'s <title level="m">Watts Towers</title> and
					other "naives and visionaries" with their cement and bottles) is not only
					because men aspire to erections and know how to use the necessary tools, but
					because women can and must assuage these same creative urges inside the house,
					with the pink glass swan as an element in their own works of art the living room
					or kitchen. In the art world the situation is doubly paralleled. Women's art
					until recently was rarely seen in public and all artists are voluntarily "women"
					because of the social attitudes mentioned above; the art world is so small that
					it is "private."
				 Just as the living room is enclosed by the building it is in, art and artist are
					firmly imprisoned by the culture which supports them. Artists claiming to work
					for themselves alone, and not for any audience at all, are passively accepting
					the upper-middle class audience of the internal art world. This is compounded by
					the fact that to be middle-class is to be passive, to live with the expectation
					of being taken care of and entertained. But art should be a
					consciousness-raiser; it partakes of and should fuse the private and the public
					spheres. It should be able to reintegrate the personal without being satisfied
					by the merely personal. One good test is whether or not it communicates, and
					then, of course, what and how it communicates. If it doesn't communicate it may
					just not be very good art from anyone's point of view; or it may be that the
					artist is not even aware of the needs of others, or simply doesn't care.
				 For there is a need out there, a need vaguely satisfied at the moment by
						"schlock." <note type="researchNote">Bernard Kirchenbaum, in correspondence.
						Celender, op. cit., offers proof of this need and of the huge (and amazing)
						interest in art expressed by the working class, though it should be said
						that much of what is called art would not be agreed upon by the taste
						dictators.</note> And it seems that one of the basic tenets of the feminist
					arts should be a reaching out from the private sphere to transform that
					"artificial art" and to more fully satisfy that need. For the art-world artist
					has come to consider her/his private needs paramount, and has too often
					forgotten about those of the audience, any audience. Work that communicates to a
					dangerous number of people is derogatorily called a "crowd pleaser." This is a
					blatantly classist attitude, taking for granted that most people are by nature
					incapable of understanding good art (ie., upper-class or quality art). At the
					same time, much ado is made about art-educational theories that claim to "teach
					people to see" (consider the political implications of this notion) and muffle
					all issues by stressing the "universality" of great art.
				 It may be that at the moment the possibilities are slim for a middle-class art
					world's understanding or criticism of the little art we see that reflects
					working-class cultural values. Perhaps our current responsibility lies in
					humanizing our own activities so that they will communicate more effectively
					with all women. Hopefully we will aspire to more than women's art flooding the
					museum and gallery circuit. Perhaps a feminist art will only emerge when we
					become wholly responsible for our own work, for what becomes of it, who sees it,
					and who is nourished by it. For a feminist artist, whatever her style, the prime
					audience at this time is other women. So far, we have tended to be satisfied
					with communicating with those women whose social experience is close to ours.
					This is natural enough, since this is where we will get our greatest support,
					and we need support in taking this risk of trying to please women, knowing that
					we are almost certain to displease men in the process. In addition, it is

embarrassing to talk openly about the class system which divides us, hard to do so

without sounding more bourgeois than ever in the implications of superiority and
					inferiority inherent in such discussions (where the working class is as often
					considered superior as the middle class).
				 A book of essays called <title>Class and Feminism</title> written by
						<orgName>The Furies</orgName>, a lesbian feminist collective, makes clear
					that from the point of view of working-class women, class is a definite problem
					within the women's movement. As <persName key="Myron, Nancy, 1943-" ref="http://viaf.org/viaf/79318339/">Nancy Myron</persName> observes,
					middle-class women: <quote>can intellectualize, politicize, accuse, abuse and
						contribute money in order not to deal with their own classism. Even if they
						admit that class exists, they are not likely to admit that their behavior is
						a product of it. They will go through every painful detail of their lives to
						prove to me or another working-class woman that they really didn't have any
						privilege, that their family was exceptional, that they actually did have an
						uncle who worked in a factory. To ease anyone's guilt is not the point of
						talking about class... You don't get rid of oppression just by talking about
						it.</quote>
				<figure/>

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_088.jpg"/>
				Women are more strenuously conditioned toward upward cultural mobility or
					"gentility" than men, which often results in the woman consciously betraying her
					class origins as a matter of course. The hierarchies within the whole span of
					the middle class are most easily demarcated by lifestyle and dress. For
					instance, the much-scorned "Queens housewife" may have enough to eat, may have
					learned to consume the unnecessities, and may have made it to a desired social
					bracket in her community, but if she ventures to make art (not just own it), she
					will find herself back at the bottom in the art world, looking wistfully up to
					the plateau where the male, the young, the bejeaned seem so at ease.
				 For middle-class women in the art world not only dress "down," but dress like
					working-class men. They do so because housedresses, pedal pushers, polyester
					pantsuits, perrnanents, the wrong accents are not such acceptable disguises for
					women as the boots, overalls and win breaker syndromes are for men. Thus young
					middle-class women tend to deny their female counterparts and take on "male"
					(unisex) attire. It may at times have been chic to dress like a native
						American or a Bedouin
						woman, but it has never
					been chic to dress like a working class woman, even if she's trying to look like
						<persName key="Jacqueline Kennedy Onassis" ref="http://www.wikidata.org/entity/Q165421">Jackie Kennedy</persName>.
					Young working-class women (and men) spend a large amount of avallable money on
					clothes; it's a way to forget the rats and roaches by which even the cleanest
					tenement-dwellers are blessed, or the mortgages by which even the
					hardest-working homeowners are blessed, and to present a classy facade. Artists
					dressing and talking "down" insult the hardhat much as rich kids in rags do;
					they insult people whose notion of art is something to work for-the pink glass
					swan.
				 Yet women, as evidenced by the Furies' publication, and as pointed out elsewhere
					(most notably by <persName>Bebel</persName>), have a unique chance to
					communicate with women across the boundaries of economic class because as a
					"vertical class" we share the majority of our most fundamental
					experiences-emotionally, even when economically we are divided. Thus an economic
					analysis does not adequately explore the psychological and esthetic
					ramifications of the need for change within a sexually oppressed group. Nor does
					it take into consideration that women's needs are different from men's-or so it
					seems at this still unequal point in history. The vertical class cuts across the
					horizontal economic classes in a column of injustices. While heightened class
					consciousness can only clarify the way we see the world, and all clarification
					is for the better, I can't bring myself to trust hard lines and categories where
					fledgling feminism is concerned.
				 Even in the art world, the issue of feminism has barely been raised in mixed
					political groups. In 1970, women took our rage and our energies to our own
					organizations, or directly to the public by means of picketing and protests.
					While a few men supported these, and most politically conscious male artists now
					claim to be feminists to some degree, the political and apolitical art world
					goes on as though feminism didn't exist-the presence of a few vociferous
					feminist artists and critics not withstanding. And in the art world, as in the
					real world, political commitment frequently means total disregard for feminist
					priorities. Even the increasingly Marxist group ironically calling itself
						<orgName>Art- Language</orgName> is unwilling to stop the exclusive use of
					the male pronoun in its theoretical publications. <note type="researchNote">This
						despite their publication of and apparent endorsement of Carolee
						Schneemann's "The Prounoun Tyranny" in the Fox, 3(1976)</note>

Experiences like this one and dissatisfaction with Marxism's lack of interest in "the woman
					question" make me wary of merging Marxism and feminism. The notion of the
					non-economic or "vertical" class is anathema to Marxists and confusion is
					rampant around the chicken-egg question of whether women can be equal before
					the establishment of a classless society or whether a classless society can be
					established before women are liberated. As <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName>
					says of her own Marxism and feminism: <quote>They are at once incompatible and
						in real need of one another. As a feminist and a Marxist I carry their
						contradictions within me and it is tempting to opt for one or the other in
						an effort to produce a tidy resolution of the commotion generated by the
						antagonism between them. But to do that would mean evading the social
						reality which gives rise to the antagonism. <note type="researchNote">Sheila
							Rowbotham, Women: Resistance and Revolution (London,
						1972).</note></quote>
				As women, therefore, we need to establish far more strongly our own sense of
					community, so that all our arts will be enjoyed by all women in all economic
					circumstances. This will happen only when women artists make conscious efforts to cross class barriers, to consider their audience, to see, respect, work
					with the women who create outside the art world-whether in suburban crafts
					guilds or in offices and factories or in community workshops. The current
					feminist passion for women's traditional arts, which influences a great many
					women artists, should make this road much easier, undess it too becomes
					another commercialized rip-off. Despite the very real class obstacles, I feel
					strongly that women are in a privileged position to satisfy the goal of an art
					which would communicate the needs of all classes and sexes to each other, and
					get rid ofthe we/they dichotomy to as great an extent as is possible in a
					capitalist framework. Our sex, our oppression and our female experience–our
					female culture, just being explored–offer access to all of us by these common
					threads.
			</div>
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		<back>
			Lucy R. Lippard is a feminist art critic, writes fiction too, and has been active
				politically. She is co-founder of several women artists' groups and has published 10
				books on contemporary art, the two most recent ones being <title>From the Center:
					Feminist Essays on Women's Art</title> (E.P. Dutton) and <title>Eva
					Hesse</title> (N.Y.U. Press).
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				<head><title>Female Experience in Art“: The Impact of Women's Art in a Work
						Environment</title></head>
				<byline><persName><persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/"
							>Ruth E. Iskin</persName></persName></byline>
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			<div>
				 In early summer of 1975 1 was asked by the Women's Committee and the Office of
					Equal Opportunity of <orgName key="The Aerospace Corporation"
						ref="http://www.wikidata.org/entity/Q7712741">Aerospace
						Corporation</orgName> to curate an exhibition of women's art on the subject
					of female experience. This seemed to me to offer the potential of reaching a
					broad audience and avoiding the defensive reactions often attached to "feminist
					art“ or "female sensibility“ in the art world.<note type="scholarNote">The
						exhibition also provided a good starting point for sorting out my own views
						on the more complex issues of feminist content and female sensibility in
						art, though 1prefer the term "female form language“ to "female sensibility"
						or "female imagery" because the latter have come to be identified with one
						specific, biologically oriented theory.</note> This art has been at the
					heart of an ongoing, often heated controversy which has clouded the issues and
					obstructed direct perception of the work. 
				Female experience has been the starting point for the new art created by
					feminists since 1969. Consciousness raising and other forms of women's
					communication, sharing and group action, initiated as a result of the women's
					movement, made female experience a rich source of subject matter and sparked the
					fresh energy with which women are making art. For the show I selected the work
					of 15 L.A. artists<note type="scholarNote">Funding limitations did not permit
						the inclusion of works by artists who reside outside of the L.A.
						area.</note> to represent both a broad scope of women's experiences and a
					diversity of media, ranging from large environ¬ mental pieces to paintings,
					drawings, photography, prints, collage, assemblage, and artists" books. In an
					attempt to build a bridge between the art and the creators' intentions, I
					requested written statements from the artists, which, along with biographical
					information, were available in a folder in the exhibition area.
				The exhibition was on view from August 18th through September 5th in the
					Cafeteria Conference Dining Rooms of the Aerospace Corporation. It was the first
					exhibition of professional art on the company's grounds, preceded only by shows
					of art by employees. Although sponsored and funded by the corporation, the show
					was initiated by feminist employees who conceived it to offer "insight into the
					emotional aspects of contemporary women.“<note type="scholarNote"
							><title>Orbiter</title> Vol. 15, No. 20 (1975), p. 2, from a letter to
						the editor by the Women's Week Planning Committee.</note> They scheduled it
					to coincide with Women's Week, a program featuring prominent speakers and
					entertainers.
				The management of Aerospace Corporation ("a non-profit research and development
					corporation which provides technical direction of general systems of
					engineering, primarily for the Air Force“<note type="scholarNote">Glenda Madrid
						(of the Aerospace Office of Equal Opportunity and Women's Planning
						Committee) in conversation with the author.</note>) had been forced to
					develop new policies for hiring women in order to meet affirmative-action
					requirements for receiving government funds. Women are in the minority,
					constituting only 25% of the roughly 3,200 Aerospace employees. Most of them
					(80%- 85%) are in lower-echelon clerical and secretarial positions; only a few
					rank among the engineers, scientists, or chief administrators. The company was,
					no doubt, hoping that the art exhibition and the activities of Women's Week
					would go on record as testimony to their newfound good will toward women. Much
					to my surprise, and to the dismay of the sponsors, the exhibition became the
					focal point of hot debate. Violent emotional reactions, protest and support
					quickly assumed the dimensions of a local scandal and echoed for months in
					letters to the editor in <title>The Orbiter</title>, the company's
					newspaper.
				The art in the exhibition offered a feminist point of view on subject matter
					usually treated from a male perspective. Though one might assume that the
					controversial responses arose out of an alienation from contemporary art forms,
					it seems that the conflict stemmed primarily from feminist content.<note
						type="scholarNote">Though some of the non-feminist viewers more familiar
						with contemporary art forms did not share the protesters' offense, it is
						very unlikely that a "neutral“ exhibit of contemporary art would have caused
						similar negative reactions. In addition, none of the protesters mentioned
						any criticism of art forms; all their comments tended to focus on content,
						and most of them made reference to a general distaste for feminism.</note>
					None of the works included were blatantly political protest art, yet they all
					reflected, to varying degrees, a new feminist consciousness. It was this
					consciousness —judging from the reactions of many of the female viewers—that was
					unfamiliar and threatening.
				We are accustomed to think of political art as crude, illustrative, or plainly
					propagandistic, in contrast to "good/serious/modernist" art. It has of course
					been pointed out that no art is entirely disconnected from its historical,
					political, cultural, and geographical environment, and that therefore any art
					reflects these conditions. However, feminist art is often labeled political art
					because the consciousness it reflects is held by a minority, and it is at odds
					with the tacit beliefs of those in power. The label "political art“ is used to
					demean the work rather than to evaluate its artistic significance.
				In a recent interview with <persName key="Judy Chicago"
						ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName>, the
					artist articulated her thoughts and feelings about these issues:
				<quote>The issue of politics for me arises at the point where my work interfaces
					with culture; it does not arise at the point of origin in my studio. never think
					about politics when ! make my art; rather 1 think about being true to my own
					impulses, and for a woman to be true to her own impulses is, at this point in
					history, a political act.... What ! challenge is the idea that masculinity is
					inherently better than femininity; that hardness is better than softness, that
					defensiveness is better than vulnerability, and <pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_074.jpg"/>
					<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_075.jpg"
					/> that violence is better than sharing. The assertion of womanhood is a
					challenge to all these values that allow war dehumanization, rape, and art that
					lacks relationship with reality to continue.<note type="scholarNote">All the
						quotations from artists are from recent interviews conducted for this
						article</note></quote>

<persName key="Faith Wilding" ref="http://www.wikidata.org/entity/Q5431238"
						>Faith Wilding</persName> elaborated on the relation between personal and
					political change:
				<quote>It has always been a tenet of the feminist movement that the personal is
					political. It is political because when a person becomes transformed, enters
					into public experience, and infuses her own experience into the publi c, the
					world becomes transformed for her but in addition she then has the possibility
					of transforming the world. We have witnessed too many people who are in politics
					who have never experienced any kind of personal change or real vision.</quote>

What specifically triggered the controversy? The art in the exhibition included
					a wide range of feminist work: parodies on public images of women
						(<persName>Helen Alm Roth</persName> and <persName key="Carole Caroompas"
						ref="http://www.wikidata.org/entity/Q5044669">Carole Caroompas</persName>);
					private images of women and interior spaces (<persName>Margaret
						Neilson</persName>); women's self-images integrated with their historical
					and mythological references (<persName key="Judy Chicago"
						ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName> and
						<persName key="Faith Wilding" ref="http://www.wikidata.org/entity/Q5431238"
						>Faith Wilding</persName>); references to women's vulnerability, powerless¬
					ness, and powerfulness (<persName key="Astrid Preston"
						ref="http://www.wikidata.org/entity/Q108480540">Astrid Preston</persName>);
					relics of admired female figures as magic talismans (<persName>Hazel
						Slawson</persName>); communal efforts (Maria Karras); and the quilt/grid
					pattern and color pink seen as tributes to women's collaborative forms
						(<persName key="Sheila Levrant de Bretteville"
						ref="http://www.wikidata.org/entity/Q13560673">Sheila de
						Bretteville</persName>).
				In her tableau environment <title>Remnants in Homage to Lily Bart from <persName
							key="Edith Wharton" ref="http://www.wikidata.org/entity/Q276032">Edith
							Wharton</persName>'s <title key="The House of Mirth"
							ref="http://www.wikidata.org/entity/Q6474536">House of
						Mirth</title></title>, <persName key="Nancy Youdelman"
						ref="http://www.wikidata.org/entity/Q19668110">Nancy Youdelman</persName>
					"reconstructed" a scene from the book with theatrical grandeur and presence. The
					tableau represents the climax of Wharton's novel, when Lily Bart, having lost
					her wealth and status kills herself. Hauntingly life-like, her full-size figure,
					bearing the artist's own features reclines in bed. Her skin tone is grayish and
					the sleeping drops that caused her death are by the side of her bed. The tloor
					is cluttered with remnants of her life: letters photographs delicate laces
					dresses, corsets, and veils. Youdelman creates metaphors (sleep, passivity,
					death) for what have been essential aspects of female experience: economic
					dependence on others, lack of ultimate control over one’s own life,
					victimization by circumstances. In the guise of a 19th-century tragedy, Lily
					Bart's story is emblematic for women who have remained powerless in society.
				In Youdelman's photographic series <title key="Leaves: A Self Portrait"
						ref="https://www.artsy.net/artwork/nancy-youdelman-leaves-a-self-portrait"
						>Leaves: A Self Portrait</title>, the artist is lying on the ground,
					gradually being covered with leaves (from photograph to photograph) until she is
					entirely buried:
				<quote>It represented ways I felt; I felt numb all over, or like a sleepwalker,
					something that could just disappear and 1 think that is that powerlessness in
					female experience, sleep. There is also something esthetic about it; 1 love the
					color of the leaves; it is about death and one could suppose that it might also
					mean renewal.</quote>
				 Youdelman treads on precarious ground in presenting the passive female figure,
					lying unconscious as horizontal female figures have so often been used in the
					history of (male) art to entice the spectator by reminding him of his vertical
					superiority. However Youdelman's tableau successfully evokes the solemn empathy
					of the viewer who is confronted with the victims feelings about her
					powerlessness.
				In <persName><persName key="Jan Lester" ref="https://www.moma.org/artists/133473"
							>Jan Lester</persName></persName>'s tableau environment—<title>Cats
						Enamoured Kits: Helpless Tom and Merciless Sex Kitten</title> (1974)—two
					cats are anthropomorphized to enact a sexual-encounter scene. The human
					environment, dress and behavior patterns throw into relief the stereotyped
					patterns of men and women, only the roles are reversed. The female cat plays the
					determined "attacker the seducer while the male cat withdraws with some
					apprehension. At the same time, Lester sees her work as a manifestation of how
					women are perceived when they take an active role in a situation:
				<quote>The tableau had to do with sexual politics and with the female taking power.
					It goes farther than just one sexual encounter, it goes out into the world in
					general. It is one situation like a snapshot that makes it clear that this goes
					on n al situations in society.</quote>
				<pb
					facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_076.jpg"/>
				<persName key="Sherie Scheer" ref="http://www.wikidata.org/entity/Q28883455"
						>Sherie Scheer</persName>'s series—<placeName>Heavenly Visions</placeName>—
					depicts Fragonard-inspired images of her own baby as a cherub floating in an
					infinite blue California sky. "Wherever they go, they have no choice in it. ...
					The heavenly vision in which they appear is both ideal and it is limbo." This
					reflects Scheer's own experience as a first-time mother:
				<quote>I found the child very sensual. It was unexpected to me what a strong female
					biological experience it was to have a child, and then to be absolutely in love
					with the child. In the course of using her as model, however, 1 made her cry,
					sometimes neglected her, and in a way used her, both as a model and as
					inspiration. was aware that the art that makes it in L.A. or made it at the time
					(two years ago) was non-image-oriented and I am very image-oriented. 1 was also
					entirely aware that showing babies in one's art was really outrageous and it
					gave me a devilish pleasure, because think that a lot of art that makes it is
					empty formula and doesn’t have any blood in it; it is not daring and it is not a
					turn-on either. So it was like breaking a taboo, and especially for a woman
					artist.</quote>
				Like Scheer <persName key="Hirsch, Gilah Yelin"
						ref="http://viaf.org/viaf/231144783102333361477/">Gilah Hirsch</persName>
					deals with female power within its traditional domain. She uses the imagery of
					food as "a secret biography, a metaphorical code.

<quote>The shape and color of food itself was so completely right and ripe for my
					own feelings that it became a symbol for me; especially the tomato strawberry,
					and egg became symbols for myself. These are expressed in scale and potency; it
					is a strange word to use in relationship to an egg, a potent egg. The strawberry
					is one of the few fruits that carries its seed on the outside, it is a
					vulnerable fruit; it is juicy and has strength and vulnerability at the same
					time. Rather than feminist, these paintings are, 1 think, more expressive of
					femaleness. It was a personal statement for me....l can't separate my experience
					from a female experience; 1 feel powers in me, very specifically in certain
					centers in me.</quote>
				<persName key="Suzanne Lacy" ref="http://www.wikidata.org/entity/Q7650894"
						>Suzanne Lacy</persName>'s book <title key="Rape Is"
						ref="https://www.suzannelacy.com/rape-is#:~:text=Rape%20Is.-,(1972),the%20Happiness%20Is%20book%20genre."
						>Rape Is</title> (1972) has a white cover which becomes bloody red on the
					inside. To open the book one must tear apart a red sticker labeled "rape.“<note
						type="scholarNote">The precedent for this feminist use of the sticker is
						Susana Torre's exhibition catalogue for "Twenty-Six Contemporary Women
						Artists“ (Aldrich Museum, Ridgefield, Conn. April, 1971), in which tearing
						the seal implied not only physical violation in order to "enter" the
						long-hidden works of women artists, but also the destruction of a square
						cold black seal on a white cover, which represented the prevalent Minimal
						Art, to reach the warm inside covers, colored red.</note> Lacy's book names
					21 instances of rape—not only as a sexual violation but also as a series of
					psychological assaults:
				<quote>Rape is when you are skipping home from school, and are surrounded suddenly
					by a gang of large boys. Rape is when the man next door exposes himself and you
					feel guilty for having looked. Rape is when you're walking alone, thinking your
					own thoughts and a man driving by shouts "HI SWEETIE!"</quote>

<pb
					facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_077.jpg"/>
				 The traditional representation of rape in art (with the exception of <persName
						key="Käthe Kollwitz" ref="http://www.wikidata.org/entity/Q142472"
						>Kollwitz</persName><note type="scholarNote">Kollwitz's etching Raped is
						unique in its complete focus on the experience of the raped woman: she is
						lying on the ground, dead or unconscious. Neither the rapist nor his act are
						in the picture.</note>) represents the experience of the rapist by focusing
					on his strength, activity and beauty, and further removes rape from a realistic
					experience through mythological disguise. Lacy first forces the viewer to enact
					a metaphorical rape ("deflowering" the book by tearing the sticker) and then
					confronts the viewer with what rape means to its victim.
				In <persName key="Karen Carson" ref="http://www.wikidata.org/entity/Q19802644"
						>Karen Carson</persName>'s drawings of beds (1971-75) woman is the bed. The
					drawings are expressionistic in style and imagery, powerful as well as satirical
					statements about the myth of happiness in sexual relationships. In this case,
					too, the "disturbing“ feminist content of Carson's drawings arises from the
					art-historical tradition of reclining female figures on beds and sofas. Many of
					these women become an integral part of the inanimate, passive, yet sexually
					inviting surface on which they are reclining. Unlike males Carson identifies
					with the oppressed— the woman/bed—and at the same time, as artist, she takes
					active charge of that surface, penetrates it with a giant screw
						(<title>Screw</title>), converts it into a carton of eggs (<title>Fasy
						Lay</title>), severs it with a saw blade (<title>Edge of Night</title>), or
					crowns it with a giant camera (Easy Shot).
				These surreal visualizations are take-offs on popular puns, which function as
					titles and were often the starting points for the drawings. The series began as
					a macabre though humorous comment on popular sexist consumerism. What emerges is
					a violent denunciation of sexual roles, until finally the bed—former haven of
					consumer pleasure—disintegrates from within (<title>Cracking Up</title> and
						<title>Shattered Dreams</title>), smashing any illusions we might still have
					about bed and woman. In these most recent drawings the formerly inanimate object
					erupts uncontrollably, and its fragments fly into space. What is commonly
					labeled Women’s Liberation is in fact, as Carson expresses it, an excruciatingly
					painful process beginning with the recognition of exterior oppression, leading
					to the experience of oppression from within and finally building toward a
					complex re-integration—represented by the artist's new work—collages in which
					the torn and mutilated fragments are reunited on a cohesive surface.
				<quote>would say that these drawings were intentionally propagandistic.... It had to
					do with consumer and sexual politics. The frame of mind that ! was in when I did
					these drawings was severe frustration over treatment by men. The drawings were
					also politically charged for me because ! talked about them to all kinds of
					groups from Valley housewives to a continuation high school culture-hour class;
					thought people would be bored by these draw<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_078.jpg"
					/>ings and they weren’t. They seemed to have a good time, and related to the
					drawings immediately. Now, it is not necessary to have a good time when viewing
					art, but there was blanket recognition of the issues. When 1 looked in the
					newspaper I noticed that you could apply sexual politics, directly or
					indirectly, to almost every image in the advertisement world; every image
					implies sexual oromises. My original fantasy was that ! would have enough money
					to take out a full page ad in the L.A. Times, and just change the images a
					little bit. Obviously the most political thing about that was my fantasy about
					how many people 1 could reach that way. It is the nature of good political art
					to be recognizable and understandable by a lot of people and maybe at a visceral
					level too. Political art is often satirical, and probably most effective at that
					level.</quote>
				The exhibition provided an opportunity to witness the heightened impact of
					contemporary feminist art when viewed by a "non-art“ audience—a cross-section of
					middle America that normally would not encounter art, and specifically by a
					female audience alienated from feminism. (The negative response came primarily
					from women<note type="scholarNote">The men seemed to react neutrally to the
						show, probably because the art did not expose their experience, and
						possibly, as was suggested to me by Glenda Madrid, because they are more
						prone to intellectualize and thus more removed from the level of emotional
						response the show raised for women.</note>) It can also be seen as a test
					case for implementing a long-desired goal —bringing art into a public daily work
					environment.
				Had the show at Aerospace been exhibited in any number of established or
					alternative gallery spaces, it probably would not have caused unusual debate,
					and certainly it would not have prompted any doubt about the artistic merit of
					the work.<note type="scholarNote">When I curated the Aerospace exhibition ! did
						censor myself at one point: l did not include Chicago's Red Flag lithograph
						even though, dealing with menstrua tion, it would have fit well into an
						exhibit on female experience in art. Its literal character prevented me from
						exhibiting it in that context, as l anticipated that it would be shocking to
						the audience.</note> In the Cafeteria Conference Rooms of Aerospace,
					however, the exhibit infiltrated a male environment that ordinarily would not
					display women's work made from a feminist perspective and certainly would not
					give it public acclaim. The work was predominantly considered scandalous: it
					engendered passionate objections and firm negative judgments. The show was
					labeled pornography rather than art by people who were unlikely ever to have
					considered what is or isn’t art.
				This disclaimer was the protesters' attempt to dismiss such threatening and
					upsetting material. Casting it as pornography implied that the art lacked any
					real esthetic value and therefore need not be taken seriously. The level of
					naiveté of the critical responses—when opposed to the more sophisticated
					criticism to which we are accustomed from much of the art world— was refreshing
					in its directness. One letter of protest stated:
				<quote>I object to the Art Exhibition. 1 find it degrading. As a woman, and
					hopefully a lady, find it extremely offensive. 1am unable to lower my sights to
					the gutter level of this exhibit. In my opinion, it is lewd, vulgar, obscene and
					immoral. Since when did good taste and modesty go out-of-style?<note
						type="scholarNote">Orbiter, Vol. 15, No. 17 (1975), p. 2.</note></quote>

In another letter signed by 36 people-almost a petition—the art was called:
				<quote>...in poor taste, bad character, and a definite infringement on the rights of
					all women anc men who give sex the dignity, respect and honor that was intended
					for the human race. The Aerospace Corporation has drastically changed its
					practices since the 1960s to allow this type of "smut“ to be exhibited, and the
					employees were encouraged through desk-to-desk distribution and advertising to
					view the exhibition.<lb/> We are sure that with much less expense to the
					Company, the representatives... could have arranged for a display of
					pornography, pictures and books from one of the adult bookstores in the Los
					Angeles Area, and at a lower insurance premium. The Aerospace Women's Committee
					does not speak for all of the female employees, as there are those of us who
					still adhere to the old principle that we were liberated immediately when we
					were born in America, we enjoy being treated as a woman and we are definitely
					Miss or Mrs. and not Ms.<note type="scholarNote">12. Ibid.</note></quote>
				Clearly these female viewers at Aerospace "saw" in the art their own worst fears
					of feminism. Their objections though focused on the exhibition, were rooted in
					their alienation from the organized women's movement. Confronted by art that
					dealt with an oppression familiar in most of their lives, real images that did
					not correspond to the illusion of the American dream presented a powerful
					threat.
				The art was perceived as offensive precisely because it was not placed in a
					neutralizing environment like a gallery, where viewers can easily hide behind
					anonymity. The art invaded their own daily working sphere where it threatened
					how they were viewed in their professional positions. Brought into the work
					context, the art reflected more directly upon them. The heightened emotional
					reactions caused a strong need to disassociate themselves verbally from the
					picture of womanhood presented in the show.
				While identification with female experiences and values is threatening in any
					situation in a patriarchal society, such identification may be virtually
					impossible when introduced into a work environment dominated by male values and
					power. Such an environment, by implication, and as a condition for the
					possibility of working there, demands a woman's identification with patriarchy
					over a recognition of her own oppression. To admit that what was expressed in
					the art is real—women's powerlessness and powerfulness their sexual feelings and
					experiences, and the fact that women are rape victims—is to shatter the very
					myth that has sustained traditional womanhood all along. It is admitting
					publicly to an embarrassing, private part of woman's experience which she has
					attempted to conceal even from herself in an effort to preserve the "human
					dignity" of which <pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_079.jpg"
					/> she is robbed daily. This response is one we all felt during initial stages
					of our feminism, when we first became conscious of the shame and self-dislike we
					had buried for so long, before we were ready to reshape our own feelings by
					taking pride in ourselves other women, and art that dealt with these
					subjects.
				The reactions of the women at Aerospace are not, I suspect, uncommon. I doubt
					very much that a minority of Black workers in a predominantly white work
					environment would find it any easier to respond to an exhibition of art exposing
					painful aspects of the experience of being Black in American society; or that
					Detroit factory workers for example, readily identify with the realistic
					presentation in Rivera’s mural of the hardships of factory work.<note
						type="scholarNote">Joanne Parent (one of the authors of "The Fourth World
						Manifesto“) told me the following incident. While she was working in a
						factory, experiencing first-hand the hardships involved, she understood how
						well Rivera's mural portrayed those; but when she commented on that to her
						fellow workers they negated or at least minimized their own experience of
						oppression compared to its heightened portrayal in the mural. The similarity
						to women's situation is that workers who (consciously or unconsciously) feel
						powerless in their jobs deny the pain of their experiences if its expression
						would jeopardize the only wage-earning option available to them. It is no
						accident that women all over the country first explored their oppression in
						the private, safe, and supportive context of consciousness-raising groups,
						removed from the institutions in which they experienced that oppression in
						their daily lives.</note> There is, however an important difference between
					the situation of women and other workers. Regardless of their status, women are
					subject to their oppression as women which crosses class boundaries. In âddition
					to their job or profession—whether factory worker teacher nurse, doctor engineer
					or scientist—women still do the unpaid, endless, menial labor of housework, bear
					children and carry the sole responsibility of raising them. All women are
					potential rape victims, and all women live in a male-dominated society which is
					based on various cultural versions of enslavement and denies women's
						culture.<note type="scholarNote">It is for this reason that feminism and
						feminist art have validity for all women. For the same reason, the Marxist
						model of workers' oppression does not ultimately address itself to women's
						oppression, beyond that of working-class women. For an extensive analysis of
						these issues see "The Fourth World Manifesto," reprinted in: Radical
						Feminism, Anne Koedt. Ellen Levine, Anita Rapone, eds. (New York, 1973), pp.
						322-357.</note>
				Those women who had not attempted to step out of female role-conditioning in
					their jobs at Aerospace were more oppressed than other workers because they
					received lower wages and had lower professional status. They were the most
					offended by the show The middle-class women who rebelled against female
					role-conditioning in their jobs at Aerospace (the engineers programmers
					scientists) were the only ones who had developed a feminist consciousness and
					reacted favorably to the exhibition. For example, in a letter of support, one
					woman expressed her response to the exhibition and the protesters' views:
				<quote>That women have suffered personally and professionally from conditions
					ranging from lack of opportunity to manipulation and even exploitation on the
					basis that they are women is uncomfortable to face.<lb/> The Art Exhibition, a
					high quality collection of some very honest and courageous works, was unusually
					rich in content for those of us who in some way or another have "been there."
					Although there was a deliberate intent to shock, it was as a means to focus
					emotionally on the art; it was not propagandistic. These are personal and
					esthetic interpretations of some of the hard truths encountered by women, and
					the obscenity lies in the fact that these wrongs arise because of wide-range
					departure from good human values.<lb/> Those who want to oppose smut should look
					for it in our politics, in our mores, in the management of our corporations, in
					our personal relationships.<note type="scholarNote">Orbiter, Vol. 15, No. 20
						(1975), p. 2.</note></quote>
				In her review of the exhibition <persName key="Melinda Wortz"
						ref="http://www.wikidata.org/entity/Q18207039">Melinda Worz</persName>
					concluded:
				<quote>The Female Experience in Art offers a wide panorama of contemporary women's
					attitudes. It is gratifying to see such a high quality showoutside the
					established sacred halls of art, as part of a working environment.<note
						type="scholarNote">Art Week, Vol. 6, No. 29 (Sept. 6, 1975)</note></quote>
				In thinking now about this exhibition, 1 realize that it was unrealistic to
					expect an enthusiastic reception, or even acceptance, for art like this among
					female viewers who were not already feminists or somewhat sympathetic to
					feminism. It might have seemed that the work was not perceived for what it
					was—but on the contrary it was in fact accurately perceived, and found
					objectionable. Such response is typical when feminism is introduced into a
					male-dominated culture.
				For those women at Aerospace who were sympathetic to feminism, the exhibition was
					a positive experience providing a new awareness of the existence of women's
					culture created by contemporary feminists. In that sense the exhibition did
					broaden the audience for contemporary feminist art. For some of these women who
					previously had no particular interest in art, the exhibition was a beginning of
					what has since become an ongoing interest and commitment to women's art.
				<quote>I am still thinking about one piece in the show which 1 would like to own if
					1 had money. decided that if 1 bought art, it would be women's art because of my
					commitment to feminist artists.<note type="scholarNote">Glenda Madrid, in a
						recent conversation with the author. Madrid was also a major source of
						information for the responses to the exhibition and the statistics and
						position of women employees at Aerospace.</note></quote>
				Earlier that same summer, my colleagues and in <orgName>the Feminist Studio
						Workshop</orgName><note type="scholarNote">The Feminist Studio Workshop is
						the first alternative institution for women in the arts and humanities; it
						is housed in the unique context of the Woman's Building in Los Angeles.
						Since it was founded in 1973, over 100 women have received their education
						at the Feminist Studio Workshop, and several thousand students have
						participated in the Extension Program at the Woman's Building.</note> had
					come to a collective definition of feminist art based on our goals, experiences
					and observation of our students' work. We defined the function of feminist art
					as raising consciousness inviting dialogue, and transforming culture. It became
					clear to me that both the individual art exhibited at Aerospace and the
					exhibition as a whole in fact realized these goals to the extent that was
					possible in that time and space. 
			</div>
		</body>
		<back>
			
				<persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/"><persName>Ruth
						Iskin</persName></persName> is a feminist art historian living in <placeName
					key="Los Angeles" ref="http://www.wikidata.org/entity/Q65">Los
					Angeles</placeName>, formerly co-director of <orgName key="Womanspace"
					ref="http://viaf.org/viaf/306281115/">Womanspace</orgName> and the editor of
					<orgName>Womanspace journal</orgName>. Now she is director of the <orgName
					key="Woman's Building Galleries" ref="http://thewomansbuilding.org/">Woman's
					Building Galleries</orgName>, on the faculty of the <orgName
					key="Feminist Studio Workshop" ref="http://viaf.org/viaf/146971828/">Feminist
					Studio Workshop</orgName>, and an editor of <orgName
					key="Chrysalis: A Magazine of Women’s Culture"
					ref="http://www.wikidata.org/entity/Q16958172">Chrysalis: A New Magazine of
					Women's Culture</orgName>. 
		</back>
	</text>
</TEI>

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Women and Honor: Some Notes on Lying

La Roquette, Women's Prison

The Art of Not Bowing: Writing by Women in Prison

Foys, Floozies ond Philosophical Flaws

The Esthetics of Power in Modern Erotic Art

Toward Socialist Feminism

Feminist Abstract Art–A Political Viewpoint

The Pink Glass Swan: Upward and Downward Mobility in the Art World

"Female Experience in Art": The Impact of Women's Art in a Work Environment