The Dinner Party 1979. Mixed media 48′x42′X3′. Triangular table on white tile floor. Photograph by Donald Woodman (2010) From Prebles’ Artforms , Tenth Edition Patrick Frank published by Prentice Hall
In the late 1960′s, many women artists began to speak out against the misogyny that always blocked them in their careers. It has always been difficult for women to be taken seriously. Our patriarchal society has always looked at what was produced by women as less than. For women artists it has been difficult to have their work shown in galleries, in artists’ groups. Galleries have been and continue to be more willing to accept the art made by men than by women. This has long been a problem for women artists and women in general. If a woman is entering a jar of preserves or a pie in the county fair, fine. But real creation has been considered the product of men. Women in the 60′s were afraid to allow their art to reflect their problems producing artwork in the male dominated world.
In the early 70′s, feminist artists, in New York and California began to take action. They wanted the art world to be a more balanced world where their work wouldn’t languish in obscurity. Lucy Lippard, an art critic and feminist wrote, “The overwhelming fact remains that a woman’s experience in this society—social and biological—is simply not like that of a man. If art comes from the inside, as it must, then the art of men and women must be different, too.”
The work of some women artists is definitely influenced by their gender and their interests in feminist issues. The two groups worked differently. California feminists tended to work together in collaborations. They tended to make use of media that had been used traditionally in “craft work” and with women: ceramics and textiles. The upper photograph, The Dinner Party, was a collaboration of many women and a few feminist men. Judy Chicago organized this work over a period of five years.
“A large triangular table contains place settings for thirty-nine women who made important contributions to world history. They run a wide gamut, from Egyptian Queen Hatshepsut to Georgia O’Keefe. The names of 999 additional women of achievement are inscribed on ceramic tiles below the tables. Each place setting includes a hand-embroidered fabric runner and a porcelain plate designed in honor of that woman. Some of the plates are painted with flat designs, others have modeled and painted relief motifs, many are explicitly sexual, embellished with flower-like female genitalia.” (Description from Prebles’ Artforms)
New York feminists were more pointed in their protests. Some of them formed the group Women Artists in Revolution (WAR), which picketed museums. In response to dealers who were reluctant to exhibiting female artists, they formed their own collaborative gallery, Artists in Residence (AIR). Nancy Spero, a leader in feminist circles on the East Coast participated in both groups. Her work used uncommon media such as paper scrolls, stencils and printing to document subjects such as the torture and abuse of women.
The bottom photograph is of a work by Nancy Spero. It is called the Rebirth of Venus. Venus is the ancient goddess of love. And in this art piece the goddess is split open to reveal a woman sprinter who runs directly towards the viewer. The contrast is strong, women as love object releases a woman who is strong and a achiever.
Women still have to fight for recognition in the art world. Women still have to fight for everything including equality. But women will never give up and go back to being subjected quietly by society. We will never be quiet again.Nancy Spero Rebirth of Venus detail 1984 Handprinting on paper. 12″ x 62′ Photograph David Reynalds From Prebles’ Artforms , Tenth Edition Patrick Frank Published by Prentice Hall