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+
+--- Newsletter Page 1 (PDF page 2) ---
+Vol. 1 No. 8
+Panel
+-
+Women Artists
+NEWSLETTER
+-
+GENDER IN ART AN ONGOING DIALOGUE
+A.I.R. Dec. 15
+Nancy Spero, Mod.; Nancy Kitchel,
+Laurace James, Lucy Lippard, Mary
+Miss, Rosemary Mayer, Elizabeth
+Weatherford, Panelists.
+by Sophie Rivera
+A group of women artists decided
+to express their growing disen-
+chantment with the women's movement.
+"Gender in Art An Ongoing Dia-
+logue," was a title just vague
+enough to attract a large turnout
+of artists at the AIR gallery.
+-
+Following a brief slide presen-
+tation, moderator/artist Nancy
+Spero set the tone with an opening
+statement full of vague references
+to a meeting the artists had held
+several years ago. Spero mentioned
+neither the topics discussed nor
+the conclusions formulated, just
+that they had discussed "a common
+bond between women."
+The panel, in trying to redefine
+"feminist," "feminine," and "fe-
+male," were unable to agree, but
+initially opted for "female." Ac-
+cording to artist Rosemary Mayer "a
+feminist esthetic is a very precise
+thing; a feminine esthetic is a
+lousy term; and a female esthetic
+could possibly have meaning."
+Before Mayer could elaborate on
+the "possibility of meaning," artist/
+anthropologist Elizabeth Weatherford
+challenged the choice of "female."
+She preferred "feminist" to describe
+women artists' work but conceded
+that "certain stylistic choices are
+made."
+Critic Lucy Lippard said, "If a
+woman is thinking about her work as
+by a woman she is probably pre-femi-
+nist, post-feminist, or something-
+or-other-feminist."
+Artist Nancy Kitchel said, "so
+little imagery is left to be ap-
+plied to female, feminine, and femi-
+nist art." After using the panel's
+terms, Kitchel bemoaned the fact
+that "art has been separated by its
+terminology out of the stream of
+human activity" so far as to become
+a "separate category alien to the
+artists' intentions."
+Spero pointed out that Rosemary
+Mayer's sculptures were titled with
+the names of great and powerful
+women. Yet Mayer claimed her in-
+tention was not really feminist.
+"My work was feminist to the ex-
+tent that I thought people should be
+aware of the lives and activity of
+'those women. It was not feminist
+to the extent that I thought those
+forms were female," answered Mayer.
+She elaborated on the stereotypes
+associated with art done with
+stitching and fabric. There was no
+general agreement about the rele-
+vance of techniques learned by wom-
+Continued Page 4
+1975 Women Artists Newsletter
+THOUGHTS PROVOKED BY A "GENDER-IN-ART" PANEL
+by Joan Semmel
+The impetus for the woman's move-
+ment in the art world was blatant
+discriminaion, exclusion and isola-
+tion. It was important for many of
+us in the early years to have the
+opportunity to see each other's
+work, and to gain the confidence to
+further develop and expand our own
+work. We then returned to our pri-
+vate worlds to work intensively,
+gradually gaining exposure, first in
+women's shows, then in wider contexts.
+The profusion of women's panels
+this season is a signal that we are
+once again seeking nurturance from
+each other, and that the movement is
+readying itself for the next stage
+in its development. Unfortunately
+many of the panels have failed to
+deal with the substantive issues and
+have left us with an aftertaste of
+frustration and negation.
+A panel that calls itself "Gender
+In Art-An Ongoing Dialogue" and then
+refuses to deal with content or
+sources, or gender itself except in
+terms of careerism, does a disser-
+vice to us all.
+Because women's work has been
+discriminated against for years,
+many women are paranoid about having
+their art described as distinc-
+tively female, feminist, or femi-
+nine. Some think women's art should
+be accepted because it is the same,
+or as good as, men's. I want it to
+be accepted because it is dif-
+ferent. Therein lie its power and
+its possibilities.
+Has art made by women been ex-
+cluded from the cultural mainstream
+simply because of the prevalence
+of discriminatory practices against
+women? Or because it also often
+validates an experience, a female
+experience, one from which the male
+world feels excluded? Is it not from
+this very validation that women's
+art derives its special authenti-
+city? Is it not time that the female
+Continued Page 4
+Photo: Dottie Attie
+AIR Invitational, opened Jan. 3
+Some other same day Soho openings:
+Kate Millet at Noho, Cynthia Mail-
+man at Soho 20, Harmony Hammond at
+Lamagna. Also: 4 women at O.K. Harris.
+50 cents
+January 1976
+ART OFFENDS
+AT DOUGLASS
+by Anne Marie Rousseau
+Bibi Lencek, 41st in the Women
+Artists Series at Mabel Douglass
+College Library, showed, thru Nov.
+21, paintings of a young couple
+(modelled by Lencek and companion)
+in various positions of lovemaking.
+Done in a cool realistic style, the
+paintings used such "banal" details
+as patterned sheets, tissue box,
+wall plug, and potted plant to give
+a "sense of place." Ms. Lencek says
+that although the figures are prom-
+inent, she considers them "merely a
+part of an indoor landscape."
+In a letter to Targum, the Rut-
+gers newspaper, Douglass Student
+Barbara Ambler protested the show.
+It was, she said, distracting, "un-
+dermining the quality of my life"
+as a Christian. She wished to lead
+a life "pleasing to God," but sex
+"in the wrong situation...can de-
+stroy us." Another letter from a
+more worldly student protested the
+portrait of Alexander in the Alex-
+ander Library, because "each time I
+see it I begin to fantasize about
+sex."
+Although most students seemed
+neutral or unconcerned, the dis-
+tress of the minority was so acute
+that an open forum was held, Nov.
+11.
+Protestors included Ms. Ambler
+and other members of the Intervar-
+sity Christian Fellowship. Espous-
+ing a "Christian Ethic," they ob-
+jected to public display of work
+which aroused sexual fantasy. Sex
+is "a beautiful gift from God,"
+they said, but belongs only within
+the bonds of "Holy Matrimony." One
+student read from the Bible of Adam
+and Eve's recognition of their na-
+kedness and covering themselves,
+from which he inferred the sinful-
+ness of the naked body. Turning to
+Ms. Lencek, he said, "The Devil
+speaks to us in many ways."
+A more lenient faculty and ad-
+ministration noted that artists
+have for centuries depicted male
+and female nudes in secular and re-
+ligious paintings, mentioning Ti-
+tian, Rubens and Ingres. One fac-
+ulty member observed, "These are Feming
+not sweaty paintings," noting that
+no genitalia were portrayed. Re-
+viewer Lynn Bershak said, "Lencek Am
+alters the positions of the lovers
+as one would re-position flowers or
+Serial
+fruit in a bowl...lovemaking is a A79)
+subject for genre painting" like
+nursing mothers or children at play.
+Robert Tanksley, Co-ordinator for
+Religious Affairs, noted that spir-
+itual asceticism is achieved by
+confrontation and transcendance,
+not avoidance.
+Assistant Professor Gloria Oren-
+stein said that after her trip each
+Continued Page 4
+4/19/76
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:29:47 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 2 (PDF page 3) ---
+EDITORIALS
+A Philadelphia Story
+The Philadelphia Museum of Art
+sent a form letter to galleries
+(picked up by a WAN correspondant at
+a Solo Co-op) inviting entries for
+an American Family show in '76. The
+letter specified conditions of sub-
+mission in detail--photos and slides
+to be returned, Xeroxes not, etc.
+Taking this at face value, WAN
+reprinted the information for its
+readers (Nov.). But the museum was
+annoyed to receive such entries,
+even those including return enve-
+lope. Tara Glass Robinson, Co-ordi-
+nator of Exhibitions, wrote us that
+this was not an open show, and that
+it was, in fact, already selected
+(reported in Dec. WAN).
+Please tell us--when is an in-
+vitation not an invitation?
+What is an open show?
+Alternatives
+Quote #1: A December Visual Dia-
+log article on alternative spaces
+quotes Trude Grace writing in Art
+Journal: Artists Space in NYC...
+avoids the...'system in which deci-
+sion making is by critics, curators,
+committees and dealers.'
+Quote #2: A recent letter from
+the Committee for the Visual Arts
+names a "possible panel" to select
+work for Artists Space in '76--
+Linda Cathcarte, Curator...Al-
+bright Knox... Whitney Museum/Doug-
+Las Crimp...past curatorial stabb
+Guggenheim Museum/ Edit de Ak... Art-
+Rite...Art in America/Peter Frank...
+Art News, Art in America.../Linda
+Shearer, Assistant curator Guggen-
+heim Museum/Roberta Smith.. Art Forum
+Museum of Modern Art, Paula Cooper
+Gallery.
+The letter requests suggestions
+of additional critics, curators and
+gallery people as well as sugges-
+tions of artists.
+What is happening to the "Alter-
+native?" Is it becoming "The Sys-
+tem?"
+PAINTERLY
+REPRESENTATION
+ARTISTS TALK ON ART Nov. 21.
+Louis Finkelstein, Mod.; Rosemarie
+Beck, Paul Georges, Wolf Kahn,
+Raoul Middleman, Paul Resika,
+Panelists.
+I loved this panel for its
+warmth and camaraderie, even or es-
+pecially for its practiced passions:
+Resika rhapsodizing on a tear duct;
+Georges in a funny and fiery attack
+on the Met, the French show, the
+academic mind and "naked represen-
+tation"; Kahn in a confessional
+mood: Middleman in two hilarious
+anecdotes on the clues to likeness
+or how we recognize each other;
+Beck more reserved and thoughtful;
+moderator Finkelstein saying affec-
+tionately, but probably meaning it,
+that if Georges were any more suc-
+cessful, he'd be unbearable.
+I loved the panel's intimacy
+with the works which concerned it.
+Though I knew they'd fought these
+fights before, I could even empa-
+thize with their delight in landing
+a few blows on the dead horse of
+abstraction. Lastly, Georges on
+Leslie's second O'Hara: "I was so
+happy to see the improvement--he
+finally got that big foot out. The
+trouble is, that painting needed a
+big foot!"
+P.2
+-Pat Passlof
+Art Workers News and the Council
+Is it naive to expect a govern-
+ment body, such as the New York
+State Council on the Arts, to fund
+a group criticizing it, in this case
+the Foundation for the Community of
+Artists?
+Letters To The Editor
+Dear Editors,
+A propos of Phoebe Hellman's re-
+marks reported in Women Artists
+Newsletter Nov. 1975: the tampaxes
+distributed at the Whitney Museum
+five years ago in the Ad Hoc pro-
+The grounds originally given by tests were nice clean ones, marked,
+the Council for de-funding the Com- as I recall, "50% women" (refer-
+munity were that it and its publica- ring to the Annual), not, in any
+tion, Art Workers News, are no long-case, tainted by the "dirt" some
+er needed. Given the present legal, well-conditioned people still asso-
+economic and tax status of artists, ciate with menstruation!
+that statement is absurd.
+Art Workers News can be dull and
+unfocused, but no more so than a lot
+of art funded by the Council. AWN in-
+vestigations of dangers of art ma-
+terials, workings of art bureau-
+cracies, studies of legislation, and
+programs of insurance for artists
+may not make titillating reading,
+but they benefit all artists. If
+some of AWN's advocacies have been
+unrealistic, their reports on appli-
+cations of art moneys are indeed
+real, and their protests led the
+council to establish appeals pro-
+cedures where none had existed, and,
+for the first time, to promulgate a
+set of guidelines.
+There should be open guidelines,
+publicly accounted for--a necessary
+antidote to bureaucratic whim. For
+instance: funds should go to pro-
+jects the private sector can't or
+doesn't provide, should deliver for
+artists, not administrators, and be
+allocated according to a merit sys-
+tem more impersonal than the pre-
+sently operative one.
+One thinks of NYSCA projects that
+are the cosy fiefdoms of a few and
+their cronies. The Community of
+Artists operates in the general in-
+terest, as advocates of all artists.
+It should have the funds to do a
+proper job.
+COLOR, LIGHT & IMAGE,
+Work and Statements
+An International Invitational, cu-
+rated by Alice Baber. Women's In-
+terart Center, NYC, thru Jan. 30.
+Excerpts from an interview,
+Constance Kane with Alice Baber:
+KANE: You have the makings of a
+book as well as a record of works
+in the exhibition.
+BABER: ...Some artists sent in a
+poem. Others wrote a biographical
+statement, sent photos of them-
+selves, or works in the show, or
+other works. There are four vol-
+umes on display. Of course the
+ideal situation would have included
+more space, more time, and many
+more countries.
+KANE: Current trends are recog-
+There have been so many inaccu-
+rate accounts of the early days of
+the women artists' movement that I
+guess the time has come to start
+correcting the basic facts, even as
+minor as this one.
+And, incidentally, while my view
+of what happens at these panels
+doesn't always coincide with that of
+your writers, I think it's a ter-
+rific idea to cover them so thor-
+oughly. Many thanks.
+--
+Dear Ms.
+Lucy R. Lippard, New York
+My entry form for the Marietta
+Art Show has arrived and I notice
+it is an all man selection jury--I
+enclose their aims (see below). I
+am not entering this show.
+-Carolyn Berry, Monterey, CA.
+Mainstreams '76 will promote the
+concept that the qualities in art
+to which man personally reacts are
+those that are symbols of man's
+existence and his involuntary quest
+for beauty. These qualities bridge
+all centuries, all art styles, and
+are, apparently, very close to the
+essence of man's communication with
+man. Our purpose is to bring, inso-
+far as possible, the best examples.
+of painting and sculpture to our
+college and community.
+(reprinted without permission)
+Sleigh Letter Corrected
+WAN has shot its proofreader at
+dawn. Sylvia Sleigh's letter last
+month was intended to clarify, not
+further confuse. A WAN quote, "It's
+time for a major museum to do a ma-
+jor show of women, not one started
+and paid for by women," might in
+the context have been taken to refer
+to the Women Choose Women show at
+the NY Cultural Center. In that
+show, as Sleigh wrote, "The only
+obligation on exhibiting artists
+was to deliver their work, and the
+catalog was funded."
+But many, like Louise Nevelson,
+Betty Parsons, Ruth Frankin, Hedda
+Sterne, and Addie Herder simply
+seem to be doing their own thing
+nizable. For instance, collage el- and always have.
+ements...in the work of Mimi
+Schapiro and the sculpture of
+Eugenie Gershoy. Patterns in Joyce
+Kozloff's paintings have echoes of
+the American Indian, as well as
+quilt-like pattern that recalls
+Appalachian handiwork....
+...Joan Semmel's work has
+more to do with the current inter-
+est in erotic art. Alice Neel has
+always done her own thing in those
+penetrating, uncomfortable por-
+traits. She has always held up a
+taut psychological mirror. But, I
+can't say that it's particularly
+female. Perhaps Sylvia Sleigh's
+interest in subject matter is femi-
+nine, but the work itself is not...
+I think Elise Asher's work has al-
+ways been crisply feminine, in a
+very pretty and poetic way--rather
+like a self-portrait in calligraphy.
+Did you have trouble getting
+work from such countries as Turkey,
+Iran and India?
+BABER: Luckily I was able to bor-
+row those from the Grey Gallery at
+NYU. It was important to show that
+women all over the world from many
+diverse backgrounds are working in
+the arts. Yes, many countries
+don't allow paintings to be sent
+out of the country, or, in some
+cases, to return. Getting work
+through customs can be a serious
+problem.
+KANE: ... I know how much time a
+project like this can take. What
+satisfactions did it give?
+BABER: ... Showing some of these
+artists for the first time in NY
+was gratifying, especially in in-
+ternational women's year... It was
+an exciting experience...
+CALENDAR
+ELISE ASHER-Large
+iglass 1972-75, U
+mond, Va. Jan 11-
+mens Art Center,
+D.C. Feb 8 thru M
+Art"-Standing Plex
+tures-Fendrick Ga.
+Jan 9-Feb 8.
+HELENE AYLON-Pain
+Gallery, San Fran
+Gallery, Cambridg
+April 9.
+ANNE BELL-Abstract
+Aames, 93 Prince,
+MIRIAM BRUMER-Abs
+Lotus Gallery, 81
+Feb 13.
+SIGRID BURTON-Pai
+Space, 155. Wooste:
+DIANE CHURCHILL-P
+forms. SoHo 20, 9
+Jan 28.
+LOIS DODD-Paintin
+dio interiors & n
+Mt. Gallery, 135 c
+Jan 22.
+CHRISTINE DOLINIC
+Drawings. Middlese
+N.J. thru January
+LAUREN EWING-Vide
+155 Wooster, NYC,
+HARRIET FEIGENBAU
+Configurations of
+ings. CUNY Grad C
+NYC, Jan 21-Feb 23
+ANN FREILICH-Works
+Gallery, 90 E 10 S
+EUNICE GOLDEN-"Bod
+Paintings & Photo
+20, 99 Spring, NYC
+JANE GREER-Diary
+112 Greene St. Gal
+Jan 15.
+DOROTHY HELLER-Red
+Betty Parsons Gall
+Feb. 3-21.
+HARMONY HAMMOND-AH
+Lamagna Gallery,
+thru Jan 27.
+SUZANNE HODES-Abst
+Phoenix, 939 Madis
+Jan 23.
+GILLIAN JAGGER-Imp
+Lerner-Heller Gall
+NYC, thru Jan 17.
+STEPHANIE BRODY LE
+Work. Central Ha
+Main St., Port Was
+Jan 25.
+SUSAN LEITES-Paint
+Space, 155 Wooster
+INVERNA LOCKPEZ-Wa
+Space, 155 Wooster
+ETHEL MAGAFAN-Moun
+town, 11 E 57, NYC,
+JEAN MAGGRETT-Mart
+Books Plus, 3910 2
+thru Feb 13.
+CYNTHIA MAILMAN-La
+the automobile. Sc
+NYC, thru Jan 28.
+JUANITA MCNEELY-Ni
+St. Gallery, 106 F
+Jan 23-Feb 11.
+SUSAN MIDDLEMAN-Pa
+ings. Wolfe St. Ga
+ington, Alexandria
+KATE MILLETT-"Smal
+Sculptures of figu
+NoHo Gallery, 542
+thru Jan 21.
+CONSTANCE MORRIS-E
+Gallery, 103 Waver
+RENE MURRAY-Recent
+wich House Pottery
+thru Jan 31.
+KATHRYN PERRY-"Se
+abstract painting.
+NYC, thru Jan 24.
+ELLEN PHELAN-Fans.
+155 Wooster, NYC,
+PERLE FINE-Grid paint
+20 E 69 St, NYC. Jan.
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:29:47 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 3 (PDF page 4) ---
+advertisement
+Merle
+Marsicano
+ANNOUNCES
+SPECIAL CLASSES IN DANCE
+FOR WOMEN IN THE ARTS
+day and evening classes
+STUDIO: 42 W. 15th Street
+CALL: 929 5983
+January 15 through February 7, 1976
+Anita Steckel
+Elise Asher
+Paintings on Plexiglass 1972 - 1975
+UNIVERSITY OF RICHMOND - MARSH GALLERY
+Richmond, Virginia
+January 11 through January 31, 1976
+and
+WASHINGTON WOMENS ARTS CENTER
+Washington, D.C.
+February 8 through March 28, 1976
+The Soho Center for Visual Artists
+114 Prince Street, New York, N.Y. 10012
+Exhibition hours: Tues.-Fri. 1-5 p.m. Sat. 11-5 p.m.
+sponsored by The Aldrich Museum of Contemporary Art, Ridgefield, Conn.
+-
+ART TO HEART TALK
+Panel-HUMANIZING THE ART WORLD-12/13
+Joellen Bard, Mod; Diane Burko, Rich-
+ard Karp, Cindy Nemser, Jonathan
+Price, Jacqueline Skiles, Panelists.
+The seemingly well-fed, well-
+dressed, well-educated "humanists"
+on this panel about "Humanizing the
+Art World" are outraged at a system
+which has allowed them this much,
+but, to date denied them the fame,
+wealth or power they see elsewhere.
+Their talk mixed truth impar-
+tially with nonsense. The salient
+truth was Jackie Skiles' observa-
+tion that the moneys going into Art
+Councils across the land have cre-
+ated thousands of middle class jobs
+with fringe benefits for arts ad-
+ministrators, but have moved
+scarcely an artist into the middle
+class.
+On balance, though, the foolish-
+ness bothered me more than the
+truths roused me, and, wincing at
+the howlers, I began to apply a
+kind of "Yeah, Like" clause in my
+mind, as antidote to the effects of
+blither on my pre-holiday psyche.
+Here, more or less verbatim, are
+some of their sillier assertions
+and my irritated replies:
+THEM: It is content that infuses
+art with vitality.
+ME: Yeah, like the painting of the
+most beautiful object in the world
+is the most beautiful painting in
+the world.
+THEM: Corporations promote ab-
+stract art because aesthetics are
+safe. Stripes, circles, etc. won't
+propagate revolutionary ideas.
+ME: Yeah, like the Constructivists
+The Book As Art-Standing Bookstructures - Painted Plexiglass
+FENDRICK GALLERY - Washington, D.C.
+January 9 through February 8, 1976
+and Futurists did abstract art to
+support monarchy.
+THEM: The artistic object today
+often has nothing to do with the
+world beyond it.
+ME: Yeah, like what is art, anyway?
+THEM: Artists start with warm and
+spiritual, rather than pragmatic
+things.
+ME: Yeah, like crucifixions, flag-
+ellations, battle scenes and grids.
+THEM: Humanism means warmth, ten-
+derness, kindness to neighbors and
+sharing.
+ME: Yeah, like rage and aggression
+are purely aesthetic.
+Rejection is
+THEM: What's wrong with being re-
+fused [from a co-op]?
+humanistic, too.
+ME: Yeah, like "warmth, tenderness,
+kindness to neighbors and sharing."
+If "humanizing the art world" is
+a code phrase to mean wrenching
+power from the fallible humans who
+now possess it, I'm interested, but
+the pious cant is distracting.
+Any extension of human thinking,
+from Fibonacci to the Pyramids, is
+"humanistic." Limiting art to
+"pictures," so-called "explorations
+of self" and a few other minor
+genres, curbs art and intellect as
+much as "inevitable progression"
+ever did. Who needs a know-nothing
+backlash in the name of "humanism"?
+Judy Seigel
+--
+DID YOU OR DIDN'T YOU?
+Maybe you think you did but you
+didn't. Subscribe to WAN, that is.
+Some of our friends were so sure
+they'd subscribed that they were
+WOMEN LOOK AT WOMEN
+"Women Look at Women," the work
+of 30 women photographers from the
+permanent files of the Library of
+Congress closed Dec. 31 in Washing-
+ton. 150 pieces selected from the
+show, from the 1890's through the
+present, will tour the country be-
+ginning in January.
+The exhibitors deserve credit
+for the vision and patience neces-
+sary to sift through the Library's
+vast collection of Imogen Cunning-
+ham, Laura Gilpin, Marion Post
+Wolcott, Gertrude Käsebier, Toni
+Frissell, Dorothea Lange, Diane
+Arbus and others. But the imposed
+subtitles--"As Women Alone," "As
+Modern Women,' " "On the Farm," "As
+Wives," "As Mothers," etc.--are
+often distracting and irrelevant.
+Simple chronology might have better
+paralleled the changes in the women,
+their medium and subject matter.
+But the show is well worth see-
+ing--for the glory of these impor-
+tant artists grouped together--an-
+other reminder of our collective
+wealth.
+--Gail Singer
+very surprised to get a "last courte-
+sy copy" notice. Check the name la-
+bel on your newsletter. If there's a
+number after your name (eg, 975,
+meaning you subscribed Sept '75)
+you're a subscriber. If there's no
+number and you know you subscribed,
+send us a card. We could goof too.
+If you're still on the "courtesy"
+list, won't you please subscribe
+now? We need the subscriptions.
+We need your support.
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:29:47 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 4 (PDF page 5) ---
+INFORMATION ROUNDUP
+NY State Artists not associated
+with commercial or co-op galleries:
+Send resume & 2-20 slides to Un-
+affiliated Artists File, Artist-
+space, 155 Wooster St., NYC 10012.
+Series of exhibitions to be chosen
+by rotating panels, beginning Feb.
+Material, held permanently, may be
+updated or removed by artist.
+Outreach: Celebrate Women-3 hr. TV
+WNET/13, Sunday, Feb.1, 1PM-Panel
+discussions with authorities in
+fields of art, education, finance,
+politics, women and work.
+Kaleidoscope One-Special issue by
+Quest-seeks contributions of ideas,
+insights & inspirations. 2000-5000
+words, & graphics. Deadline Feb. 15.
+Enclose SASE marked "For Kaleido-
+scope"; graphic specifications from
+Alexa Freeman. Box 8843, Wash.,D.C.
+20003.
+Environmental Piece-at Women's Art
+Center, 400 Brannan, San Francisco,
+CA 94107-to include all media-from
+painting to cake decorating; open
+to all women; equal space allotted
+to all-one square foot. Send or
+bring work thru May 31. Include
+return postage.
+Goddard College-MFA Writing Program-
+Prose, Poetry & Drama. 12 day resi-
+dencies. Feb. 8-20, Aug 3-5 & 6
+month projects; distinguished fac-
+ulty. Ellen Voigt, Dir., Box 400,
+Plainfield, Vt. 05667.
+Woman's Work- Works by 18 women
+composers from 1587 to present on
+2-record set dist'd by Gemini Hall
+Records, 808 West End Ave, NYC
+10025. By mail-$10.75.
+Womens Work-Magazine of Performance
+Scores by 15 cont. women artists.
+Anna Lockwood, Music Dept. Hunter
+College, 695 Park Ave, NYC 10021 $5
+PROTEST CIRCULATED:
+A letter from Artists Meeting
+for Cultural Change protesting a
+scheduled Whitney Museum show en-
+titled Three Centuries of American
+Art "entirely culled from the col-
+lection of John Rockefeller III"
+because it "includes no Black art-
+ists and only one woman artist" and
+is "a blatant example of a large
+cultural institution writing the
+history of American art as though
+the last decade of cultural & so-
+cial reassessment had never taken
+place." They "strongly object to
+the...museums & Rockefeller...using
+a private collection of art, with
+its discriminatory omissions, to
+promote upper class values and a
+socially reactionary view of Amer-
+ican art history." Jan. 3 protest
+at the Whitney, plus plans to pro-
+test nationally. Box 728, Canal St.
+Sta., NYC 10013
+SCHEDULE OF EVENTS
+Jan. 22 5:30 PM-Seminar: Bias Free Illus-
+tration. AIGA Gallery, 2059 Third Ave.
+$2.50
+Jan. 28 8:30 PM-New Art Publications-
+Annette Michelson (October), Joseph Ko-
+suth (The Fox), Mike Robinson (Artrite),
+Joyce Nureaux (Scan). Artists Space,
+155 Wooster. $1
+College Art Assoc. Annual Meeting,
+Hilton Hotel, Chicago
+Feb. 1 2-5PM-Art Periodicals Today
+3:30-5:30-Women's Caucus: Workshop:
+Changing the Art World Structure
+Lenček paints from photos made with a de-
+layed shutter release. Above: From an
+Interior Landscape, oil on canvas, 48x50".
+Rousseau continued
+day through the New Jersey oil
+fields, scenes of love were a re-
+lief and reminder of good in human-
+ity. Other staff members agreed
+that the art was a joyous distrac-
+tion from grim reality, and that
+painting gas stations was more
+truly pornographic.
+Several students admitted they
+hadn't really looked at the paint-
+ings. Thinking they had learned
+something about art, they agreed to
+try again. (One said that although
+he came to the library often, he
+hadn't noticed the art until he
+read about it in the paper.) Lynn
+Miller, librarian, and director of
+the series, apologized to those
+whom the show had offended, but an-
+nounced it would remain up.
+Ar-
+Now in its fifth year, the Women
+Artists Series began as an informal
+effort to fly the flag for women
+artists at a woman's college with
+primarily male art professors.
+tist Joan Snyder had approached
+Daisy Brightenback, head librarian
+in 1971, with the idea of using the
+library walls as an alternative
+space for showing women's work. Al-
+though many women were working,
+painting and producing at the time,
+few had opportunities to show. Sym-
+pathetic, Brightenback turned the
+project over to Lynn Miller, then a
+new librarian eager to make the li-
+brary exciting. She and Snyder got
+a little money from the library
+budget, scrambled for transporta-
+tion, hitched trailers to Miller's
+station wagon, rented trucks, got
+parking tickets, argued with po-
+licemen, and working with the ar-
+tists, put together the early shows.
+From the first mimeographed an-
+nouncement to the present profes-
+sional catalog, media coverage, im-
+pressive roster of participating
+artists, and, as Ms. Miller says,
+"everyone in the WORLD sending in
+slides," has been a long road and a
+major achievement.
+Feb. 2 9:30-12Noon-Artists Speak with
+Critics
+12-2PM-Women's Caucus for Art Business
+Meeting
+4:30-6-Women Scholars in the Arts:
+Progress Report
+8:30-11-Women Artists Speak on Women
+Artists
+Feb. 3 12-2PM-Panel: Androgynous Aspects
+of Art
+2-4:30-Chicago: The Gold Lady
+4:30-6-Panel: Women in Museums: How To
+Succeed
+7-8:30-Convocation: Of Men, Women and
+Art, Linda Nochlin Pommer.
+Gender In Art
+continued - Rivera
+en growing up and their application
+to a feminist consciousness in art.
+The discussion had little to do
+with the stated subject. Some of
+the panelists commented on the male
+dominance of the art world--a theme
+which surfaced early, got lost,
+then re-surfaced in response to
+sharp audience questioning. The
+audience expressed feelings of pow-
+erlessness in a male dominated so-
+ciety. Artist Joan Semmel answered
+that women are our audience, that
+women have a gut response to art,
+and that her own art came out of a
+sense of powerlessness (although
+Semmel no longer feels powerless).
+Spero strongly disagreed. One could
+not help get the feeling that we
+were listening to an economic theo-
+ry, that many of the women were in-
+terested only in the marketing and
+marketability of feminist art.
+The heart of the dilemma seems
+to be the intrinsic value versus
+the extrinsic commodity value of
+art. As to whether there is a spe-
+cific female art form--a panelist
+asserted that the traditional fe-
+male approach has been to reach out,
+while the male approach has been to
+look into himself in order to cre-
+ate. This was directly contradicted
+by statements of at least half a
+dozen women about their own crea-
+tivity.
+The confusion deepened when some-
+one mentioned that she had been
+reading a book claiming that people
+were pushed, because of education,
+away from the visual toward the ver-
+bal. This led to the speculation
+that female and male spatial per-
+ceptions are different--a useful
+statement, if true, but taken
+wholly out of context.
+The discussion might more appro-
+priately have been titled: "Dis-
+gruntled Artists Lower Conscious-
+ness." Despite claims of innova-
+tion, the ground had been gone over
+before.
+[Next month: Nancy Spero]
+Semmel continued
+experience became part of the making
+of our collective history, of our
+supposedly collective culture, where
+it may serve to modify some of the
+anti-humanistic tendencies of that
+culture?
+Do we as women artists conscious-
+ly seek the sources of our work?
+Some women are afraid that the seek-
+ing of those sources will be ideolo-
+gically coercive. I disagree. Self-
+knowledge stimulates self-defini-
+tion.
+If women's art encompasses a wide
+range of styles, are there simi-
+larities in content? What in our re-
+lationship to our space, to time, to
+materials, to our sexual roles, is
+different from men's and how does
+this affect our work? Why does so
+much of women's art deal with sexual
+motifs, organic form, autobio-
+graphy, process and craft materials,
+highly personal and non-hierarchic
+form? How does this overlap with
+tendencies in women's writing?
+The questions are endless. It is
+time for an ongoing dialogue.
+P.4
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:29:47 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 5 (PDF page 6) ---
+Painting on Plex-
+of Richmond, Rich-
+31. Washington Wo-
+1821 Q St. NW Wash.
+arch. "The Book As
+iglass Book Struc-
+llery, Wash. D.C.
+tings. Grapestake
+., CA, thru Jan MIT
+e, Mass. March 12-
+t shaped canvases.
+NYC, thru Jan 24.
+tract Paintings,
+DALIA RAMANAUSKAS-New Drawings.
+Hundred Acres Gallery, 456 W. Bdwy,
+thru Jan 24.
+JEANNE REYNAL-Mosaics of People.
+Bodley Gallery, 1063 Madison, NYC
+MARGOT ROBINSON-Abstract Paintings.
+NoHo Gallery, 542 LaGuardia Pl.,
+NYC, thru Jan 21.
+JUDITH ROTHSCHILD-Relief Paintings,
+Annely Juda Gallery, London, Eng.,
+thru Feb 12.
+ETHEL SCHWABACHER-Pastel Portraits.
+Bodley Gallery, 1063 Madison, NYC.
+HAZEL SIEGEL-Geometric Paintings &
+Constructions. Arras Gallery, 29 W
+57, NYC, thru Jan 10.
+Spring, NYC Jan 24 SYLVIA SLEIGH-Paintings. AIR Gallery
+ntings. Artists
+97 Wooster, NYC, Jan 31-Feb 25.
+LOIS SMILEY-Abstract Landscapes.
+r, NYC, thru Jan 31 Carlton, 127 E 69, NYC, thru Jan 31.
+na Hallenbeck, Victoria Lomaugh,
+Leslie Flanders.
+Four Women/1 Man-O.K. Harris Gallery
+383 W Bway, NYC, thru Jan 24. Sharon
+Gold, Mary Gregoriades, Beth Horo-
+witz, Marilynn Gelfman-Pereira.
+Masters Thesis-C.W. Post Gallery,
+Hillwood Commons, Greenvale, NY. Re-
+ception Feb 8, 2-5pm, thru Feb 13.
+Noelle Brosch,. Ann Chapman, Marilyn
+Hockhauser, Margaret Miller.
+From Women's Eyes: Women Painters in
+Canada-Agnes Etherington Art Center,
+Queens University, Kingston, Can.
+thru Jan 30. Historical survey from
+17th Century to present.
+BOOK REVIEW
+Who's Who In Female Art
+Women's Photography Journal
+Calendar
+Nineteen Hundred and Seventy-Six.
+Jo Ann Frank, Jill Freedman,
+Dorothy Gloster, Betty Hahn, Debor-
+ah McCreedy, Mary Ellen Mark, Bar-
+bara Morgan, Lilo Raymond, Sophie
+Rivera, Eva Rubinstein, Naomi Sav-
+age, Ming Smith
+Five dollars and ninety-five
+cents, plus eight percent New York
+City/State sales tax and seventy-
+Allow two
+aintings of organic MIMI SMITH-Drawings with Recordings. A History of Women Artists, by Hugo five cents postage.
+9 Spring, NYC, thru 112 Greene St. Gallery, NYC, thru
+gs of windows, stu-
+ight scences. Green
+Greene, NYC thru
+H-Constructions &
+ex College Gallery,
+o. Artists Space,
+Feb 7-28.
+M-Tuscan Valley
+Hay & Wood & Draw-
+tr Mall, 33 W 42,
+3.
+Dec 31.
+ANITA STECKEL-Paintings & Collages-
+Erotic Fantasies. SoHo Center for
+Visual Arts, 114 Prince, NYC, thru
+Feb 7.
+SARAH SUPPLEE-Realistic Landscapes.
+Lamagna, 380 W. Bway NYC, thru Jan 27.
+SELINA TRIEFF-Figure paintings.
+Prince St. Gallery, 106 Prince, NYC,
+thru Jan 21.
+RUTH VOLLMER-Sculpture/Drawing. Neu-
+berger Museum, Purchase, NY to
+March 14.
+BARBARA ZUCKER-Sculpture. 112 Greene
+St. Gallery, NYC thru Jan 15.
+St. NYC thru Jan 31 Zuka-Collage portraits-historical,
+s on Paper. Roko
+dy Landscapes."
+Parsons, 24 W 57, NYC, thru Jan 24.
+graphic works. SOHO GROUP SHOWS
+C, Jan 31-Feb 25.
+Recordings on wood. AIR Invitational-AIR, 97 Wooster,
+llery, NYC, thru
+cent Paintings-
+lery, 24 W 57, NYC,
+ostract Paintings.
+380 W. Bway, NYC,
+tract Landscapes,
+son, NYC, thru
+pressions 1965-75.
+lery, 789 Madison,
+EDERMAN-Recent
+all Gallery, 52
+shington, NY, thru
+Eings. Artists
+, NYC, Feb. 7-28
+allpieces. Artists
+E, NYC, Feb 7-28.
+ntainscapes, Mid-
+Jan 20-Feb 14.
+cial Arts Drawings,
+24, San Fran., CA,
+andscapes seen from
+OHO 20, 99 Spring,
+ine Panels, Prince
+Prince, NYC,
+aintings & Draw-
+allery, 420 S Wash-
+a, Va. thru Jan.
+11 Mysteries"-
+ares-fenced off.
+LaGuardia Pl. NYC,
+Paintings. Waverly
+cly Pl., NYC, Jan.
+: Ceramics. Green-
+7, 16 Jones, NYC,
+lected Greens"-
+NYC, thru Jan 28. 17 women artists,
+each chosen by an AIR member.
+19th Century American Women Artists-
+Downtown Branch Whitney Museum, 55
+Water St. NYC, Jan 14-Feb 25.
+7 American Women: The Depression
+Decade-Vassar College, Poughkeepsie,
+NY, opening reception Jan 18 2-5 pm
+thru March 3. Lucienne Bloch,
+Rosalyn Bengelsdorg Browne, Minna
+Citron, Marion Greenwood, Doris Lee,
+Elizabeth Olds, Concetta Scaravag-
+lione; curated by Karal Ann Marling
+& Helen Harrison.
+Three Women Painters-Springfield Art
+Asso. Gallery, Springfield, Ill.
+Jan 15-Feb 27. Judith Kingsley,
+Jan Miller, Linda Nyman.
+40 Years of American Collage-Buecker
+& Harpsichords, 465 W. Bway NYC, thru
+Feb 28.
+4 Artists-Women in the Arts Gallery,
+435 Broome, NYC, Jan 17-Feb 14.
+Sanda Aronson, Barbara Asch, Sally
+Friedman, Sophie Newman.
+Munsterberg, N.Y., Clarkson N.
+Potter, Inc., 1975; 150 pp., $12.95.
+A History of Women Artists by
+Hugo Munsterberg is a quick read.
+In 147 pages Munsterberg undertakes
+a global survey of female artists
+from Neolithic times to the present,
+including the so-called crafts and
+devoting more than half the book to
+the twentieth century.
+selective.
+He is very
+Artists are included if their
+age or posterity has found them
+significant,' but what Munsterberg
+himself thinks is not apparent.
+Rarely has a book, even in the sur-
+vey genre, displayed so little
+point of view. Instead of a criti-
+cal stance, Munsterberg keeps score.
+Of Rosa Bonheur:
+"Certainly the praises heaped
+upon her during her lifetime were
+much too extravagant, and there is
+no doubt that several of her male
+contemporaries, who were less suc-
+cessful at the time, have emerged
+as far greater artists. [Also]...
+weeks for delivery.
+Deduct one dollar and fifty
+cents from the calendar price when
+subscribing to "Women's Photography
+Journal" for seven dollars a year,
+which is a two dollar saving from
+the newsstand price of seventy-five
+cents per issue.
+Send money to "Women's Photo-
+graphy Journal," Post Office Box
+118, Manhattanville Station, New
+York City 10027
+advertisement
+ample, by how frequently fathers
+(and husbands) figure in the art-
+ists' development and one wonders
+where the mothers were keeping
+themselves. We're also curious
+about the personal history of such
+artists as Angelica Kauffmann and
+Lily Martin whose husbands devoted
+themselves to their wives' careers,
+cr Labille-Guiard's insistence on
+the right of women to teach art and
+the speculation about what being
+raped meant to Artemisia Gentil-
+esche's art.
+she is surpassed by at least two
+women painters of the period,
+Berthe Morisot and Mary Cassatt.
+However, it may be that as the em-
+phasis upon formal values declines
+Whichever figures strike one,
+...the narrative and naturalistic
+qualities of her work will be again more can be said, and in this con-
+there isn't any doubt that much
+appreciated."
+The excerpt is representative,
+and while this survey of women art-
+ists is a sympathetic one (forget
+his use of 'one-man' show), its
+scorekeeping is silly and unneces-
+sarily defensive. Joan Mitchell
+isn't Picasso but neither is
+De Kooning. Anyway, who cares: we
+are not buying stocks.
+Attempting to rank the sexes
+would involve, moreover, examining
+25 American Artists-Andre Zarre Gal- under what conditions art is pro-
+lery, 20 E. 69, NYC, thru Jan 17, Jo duced and Munsterberg doesn't do
+Baer, Lynda Benglis, Ronnie Elliott, this. Instead, there are capsule
+Perle Fine, Marisol, Pat Lipsky, etc summaries of each artist's life and
+Black and White/Drawings & Prints- work, including over 100 reproduc-
+York College Library, 150-14 Jamacia tions of rather poor quality. These
+Ave., Jamacia, NY, thru Feb 27.
+summaries, particularly the anec-
+Margorie Apter-McKevitt, Carol Craw- dotal material, make one want to
+ford, Hope de Felice, Jacqueline
+Freedman, Carole McCully, Florence
+Siegel, etc.
+American Painters in Paris-New Con-
+vention Center, Paris, France. Cel-
+ebrating America's Bicentennial.
+Thru Jan 15. Elena Urbaitis, etc.
+The Woman's Studio-Members Show-1643
+E.Genesee St., Syracuse, NY, thru
+Jan.
+Two Printmakers-Graphic Eye Gallery,
+111 Main St., Port Washington, NY,
+thru Jan 25. Sara Amatniek & Cass Shaw
+. Aames, 93 Prince, Four Person Show-Ward-Nasse Gallery,
+131 Prince, NYC, thru Jan 30.
+. Artists Space,
+New Works-Babcock, 805 Madison, NYC,
+thru Jan 31.
+thru Jan 28. Margit Beck, Helen
+Hoie, etc.
+tings. Andre Zarre,
+. 20 Feb. 14.
+Women on the Waterfront-South Street
+Seaport Museum, 9 Fulton, NYC. Pomo-
+hear more.
+One is struck, for ex-
+RECOMMENDED READING
+Visual Dialog - California quarter-
+ly special issue "Women in the
+Visual Arts" includes an introduc-
+tion by Cindy Nemser, interview
+with Joyce Kozloff by Judy Seigel,
+visual arts sources bibliography by
+DeRenne Coerr, analysis of prevail-
+ing statistics on sex discrimination
+in the arts by Eleanor Dickinson &
+Roberta Loach- and more. $3 each.
+from Box 1438, Los Altos, CA 94022
+La Mamelle - West Coast quarterly
+of contemporary art activity; $7/
+year, P.O. Box 3123, San Francisco,
+CA 94199. Also functions as an
+information & support network for
+nection, it's a pity that Munster-
+berg did not include a bibliography.
+He's also evasive about gender de-
+scriptions of art, telling us for
+example that Laurencin's work is
+usually seen as "feminine, meaning
+that it is gentle and poetic rather
+than bold and expressive." And his
+views about stature and influence
+can be questioned along with the
+odd suggestion that "for some rea-
+son, women are more gifted ver-
+bally than visually." But the
+book's limits make our questions,
+or complaints about the omission of
+(say) American quiltmakers, or
+Grace Hartigan, beside the point.
+However, Munsterberg does whet the
+appetite and his work should en-
+courage others to go further.
+Susan Manso
+--
+artists with exhibition space, book
+store specializing in art periodi-
+cals & publications by artists,
+videotape series of artists' pro-
+jects. Also grant funds.
+Midwest Art - Articles, reviews &
+most comprehensive show calendar
+for Ill., Wisc., Missouri, Ind.,
+Mich., Ohio. $5/year-10 issues.
+Box 07419, Milwaukee, WI 53207.
+tion of Women's Year in Canada -
+Art magazine/24 Issue in celebra-
+Women's Year Roundup (exhibitions,
+publications), profiles, photo-
+graphs & articles on women artists-
+the breadth of Canada. $2.50.
+234 Eglinton Ave. E., Toronto, Ont.
+M4P1K5
+P.5
+-
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:29:47 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 6 (PDF page 7) ---
+BOOK REVIEWS
+ISABEL BISHOP
+by Karl Lunde
+Harry N. Abrams, Inc. NYC 1975 $37
+171 illustrations, including
+50 plates in full color
+"No painting ever seems 'fin-
+ished, even after many months of
+work: there is simply a time when
+she can do no more with it. She
+tries to express in a painting the
+unfinished quality of life." So
+writes Karl Lunde of the work of
+Isabel Bishop in his introductory
+essay to the recent volume repro-
+ducing paintings, drawings, and
+etchings. Isabel Bishop has been
+captivated primarily by one subject
+--the men and women who live and
+work in the vicinity of her Union
+Square studio. She depicts their
+everyday gestures and momentary,
+unconscious actions, making us see
+the monumental in the commonplace
+and transitory.
+This book does justice to Isabel
+Bishop's work. The reproductions
+are excellent, the etchings full
+scale in most cases. Bishop first
+does studies, then etchings and
+aquatints, which prepare for the
+paintings. This process is de-
+scribed with great sensitivity.
+Isabel Bishop is a truly beautiful
+book; it gives the feeling of pos-
+sessing the works of the artist.
+STAFF
+-- Susan Schwalb
+MEMBER
+COSMER
+WIFE OF SMATE MAGAZINE
+STORE AND FLAHERS
+Editor: Cynthia Navaretta
+Feature Editor: Judy Seigel
+Design Director: Susan Schwalb
+Contributors: Helen Burr, Constance Kane,
+Susan Manso, Pat Passlof, Sophie Rivera, Anne
+Marie Rousseau, Joan Semmel, Gail Singer.
+SUBSCRIBE
+WOMEN ARTISTS NEWSLETTER relies
+heavily on reader enthusiam to
+spread the word and "sell" sub-
+scriptions. We need your help. If
+you like the Newsletter, please--
+TELL YOUR FRIENDS! (Group rate for
+5 or more subscriptions is $3 each.)
+WOMEN ARTISTS NEWSLETTER, published
+ten times a year by Midmarch Asso-
+ciates, NYC, is available by sub-
+scription, $5 per year, or by single
+copies at selected bookstores, in-
+cluding Jaap Rietman and Womanbooks,
+and at A. I. R., Artists Space, Hansen
+and Ward-Nasse Galleries in NYC,
+50¢ per copy.
+WOMEN ARTISTS NEWSLETTER is support-
+ed by a grant from the Coordinating
+Council of Literary Magazines made
+through funds received form the New
+York State Council on the Arts, sub-
+scriptions and other contributions.
+SUBSCRIPTION FORM
+WOMEN ARTISTS NEWSLETTER
+P.O. Box 3304, Grand Central Sta-
+tion, NYC 10017
+Subscription $5/year. Institutions
+$6. Student & group rate (minimum
+of 5 subscriptions) $3/year. Addi-
+tional Postage (all air mail): Ca-
+nada $1.50, other foreign $2.00
+Name
+Address
+City
+"The Nude in Photography," by
+Arthur Goldsmith. Ridge and Playboy
+Press, 1975. $19.95
+This lap-sized, pseudo-intell-
+tual presentation of the mostly fe-
+male nude as seen by fine-art and
+commercial photographers would have
+fared better as two books.
+In the chapter called "Scandalous
+Beginnings," we are drawn to the
+strength of Muybridge's still-photo
+action sequences of the male and fe-
+male model, to the delicacy and
+great charm of the French picture
+postcards, to Bellocq's keen and
+sympathetic portrayal of a New
+Orleans prostitute, and to the
+unique visions of Weston, Lange and
+Morgan. The Playboy-style pictures
+done by Look, Life and SatEve Post
+photographers appeal to other sensi-
+bilities. The final chapters are an
+unhomogeneous mix of commercial,
+semi-pornographic, fine-art (the
+primal nudes of D. Niccolini) and
+experimental work. The text should
+have been set apart from the pic-
+tures--not placed on most of the
+pages as small bits of chattery
+prose.
+However, if you received ‘this
+book for Christmas, it is fun--if
+you are a woman, to compare your
+body with the great variety of nudes
+here, and, if you are male, to pick
+and choose and daydream over all
+the girls.
+--Helen Burr
+Paula Modersohn-Becker
+Next month: Modersohn-Becker & Kollwitz
+Women Artists
+NEWSLETTER
+Box 3304, Grand Central Station
+New York, N.Y. 10017
+Art on the Edge - Harold Rosenberg.
+Macmillan Publishing Company, 1975
+$12.95
+Rosenberg's tall figure stalking
+the art world or sitting back,
+stiff leg out, observing the events
+to which the professional art watch-
+er must attend--developments of the
+past fifteen years have forced him
+to an ironical distance. The
+ideals, however, of the early years
+as poet, Marxist and friend of the
+artist remain the standard against
+which all else is measured.
+Seen from Rosenberg's distance,
+the busy-ness of the art world
+takes on a faint Swiftian tint--is
+silhouetted and flattened. For ex-
+ample: his use of the word, "Mof-
+fetters" to refer to those who
+agree with curator Kenworth Mof-
+fett's assessment of Olitski.
+this one mild word, Rosenberg
+dwarfs the actors on the stage;
+they grow down, quaint and squat,
+the "preeminence" of Olitski with
+them.
+With
+These "Moffetters" are to be
+found astride the first segment of
+Rosenberg's new book, "Art on the
+Edge," in which 28 essays in three
+sections called Creators, Reflec-
+tions and Situations are assembled
+and directed to a point. The book's
+title derives from one of the con-
+cluding chapters, "On the Edge,"
+in which the Brobdingnagian feats
+of "Dccumenta 5" are discussed.
+the foreword Rosenberg states:
+"...this prolific support of art
+and hyperanimation of the art scene
+themselves carry the danger of pro-
+pelling painting and sculpture over
+the edge that separates them from
+the crafts, commercial design and
+the mass media. "
+In
+We know that the significance of
+"Documenta 5" was inflated precise-
+ly by the sum of two million dol-
+lars but can this be seen as "pro-
+lific support of art"--an extrava-
+ganza which includes a token few
+paintings & sculptures under the
+banner "Art is Superfluous"? If
+official salons are accurate in-
+dexes of the direction art is tak-
+ing, then art is heading "over the
+edge."
+--
+Pat Passlof
+NONPROFIT ORG.
+U.S. POSTAGE
+PAID
+New York, N.Y.
+Permit No. 8166
+State
+Zip
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:29:47 UTC
+All use subject to https://about.jstor.org/terms
\ No newline at end of file
diff --git a/genai/Newsletter_OCR_LLM_Project/OCR_versions/1979_03-01_Vol.4_No.9_compressed_ocr.txt b/genai/Newsletter_OCR_LLM_Project/OCR_versions/1979_03-01_Vol.4_No.9_compressed_ocr.txt
new file mode 100644
index 0000000..64769a4
--- /dev/null
+++ b/genai/Newsletter_OCR_LLM_Project/OCR_versions/1979_03-01_Vol.4_No.9_compressed_ocr.txt
@@ -0,0 +1,2279 @@
+
+--- Newsletter Page 1 (PDF page 2) ---
+photo Gina Shamus
+photo: Carole Rosen
+ISSN 0149 7081
+75 cents
+Women Artists News
+Vol. 4 No. 9
+First Annual WCA Awards for Outstanding Achievement in the Visual Arts
+photo: Carole Rosen
+Joan Mondale and Mary Ann Tighe
+join the applause for Louise Nevelson
+On the White House lawn, after presentation of awards by President in Oval Office:
+(from left) Charlotte Robinson, Selma Burke, Louise Nevelson, Alice Neel, Ann
+Sutherland Harris, Isabel Bishop, Lee Anne Miller
+Sen. Harrison Williams addresses the Coali-
+tion of Women's Art Organizations.; Joyce
+Aiken, Judith Brodsky, and Louise Wiener
+at the dais (see page 2 for Coalition story)
+GHON A
+CAJOUS FOR HET
+photo: Carole Rosen
+photo: Gina Shamus
+THE
+EMBASSY RO
+WOMEN
+SPEAK TO
+Awards Ceremony
+Isabel Bishop, Selma Burke, Alice Neel, Lou-
+ise Nevelson, and Georgia O'Keeffe received
+citations from President Carter in a ceremo-
+ny at the White House Jan. 30. They were
+then honored by the WCA at the Embassy
+Row Hotel in the First Annual WCA Out-
+standing Achievement in the Visual Arts
+Awards ceremony.
+Speakers at the WCA ceremony were:
+1979, Women Artists News
+Above, President Carter giving citation to Isabel Bishop, flanked by,
+left, Selma Burke, right, Joan Mondale
+Left, Pat Mainardi giving her portrait of Cindy Nemser to Alice Neel
+Charlotte Robinson, WCA conference pro-
+gram director; Lee Anne Miller, WCA presi-
+dent; Mary Ann Tighe, Deputy Chair, NEA;
+Ann Sutherland Harris, awards selection com-
+mittee chair; Joan Mondale, honorary chair,
+Federal Council on the Arts & Humanities.
+Citations and acceptance remarks were fol-
+lowed by the presentation of a work of art to
+each of the five women by a "younger
+woman artist."
+Isabel Bishop-citation by Eleanor Tufts; work
+of art by Ora Lerman
+Selma Burke-Tritobia Benjamin, citation; Lilli
+Thomas, work of art
+Alice Neel-Ann Sutherland Harris, citation;
+Pat Mainardi, work of art
+Louise Nevelson-Athena Tacha, citation and
+work of art
+Georgia O'Keeffe-Ruth Weisberg, citation and
+work of art
+Awards selection committee-Ann Sutherland
+Harris, Lucy Lippard, Linda Nochlin, Athena Tacha,
+Eleanor Tufts, Ruth Weisberg
+Feming W8725
+Serial
+Am
+47130/21/79
+II->>
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+March 1979
+--- Newsletter Page 2 (PDF page 3) ---
+Second Annual CWAO Convention
+Coalition Day in Washington
+Monday, Jan. 29, 1979: Signs, buttons,
+delegates... The day-long convention of the
+Coalition of Women's Art Organizations
+opened at the Embassy Row Hotel in Wash-
+ington, DC. Upon registering, all delegates
+(representing organizations or attending as
+individuals) received a packet with the jam-
+packed program for the day, political infor-
+mation (how to talk to one's legislator, how
+a bill becomes law), booklets on arts legisla-
+tion and the status of women in art, a state-
+ment of CWAO goals for the coming year,
+and documentation of CWAO activities since
+last January's convention.
+CWAO president Joyce Aiken opened the
+meeting promptly at 9 a.m., welcoming the
+approximately 200 delegates who packed the
+hall and formally introducing CWAO officers.
+Speakers included Gail Rasmussen, executive
+director, and Bella Schwartz, president, of
+Artists' Equity Association, DC chapter.
+Both stressed the need for artists to be in-
+volved in government. (CWAO has been
+working with Artists' Equity on such issues
+as the Art Bank Bill.)
+Next, representatives voted to accept a
+position statement presented by Ruth Weis-
+berg, CWAO Vice-President for Programs and
+Goals. This included proposals for a federal
+agency arts access directory, actions in art
+education against the monopoly of Janson
+and Gardner textbooks, and formation of a
+national network to influence legislation
+directly.
+Then, evoking the spirit of Houston,
+La Verne M. Love, Women's Coordinator,
+Smithsonian Institution, asked us to join
+hands in a prayer for sisterhood. Love stress-
+ed the importance of reaching out to include
+more minority women.
+Ellouise Schoettler, CWAO Executive Di-
+rector, presented a legislative report referring,
+among other things, to the vicissitudes of the
+White House Conference on the Arts, which
+may now be held in 1980 if funds are appro-
+priated. A spirited discussion followed her
+reading of a resolution in support of the Art
+Bank Bill, raising the issues of equitable rep-
+resentation for women and minorities, as
+well as the need for contracts to protect the
+rights of artists whose works might be pur-
+chased. As currently written, the legislation
+includes a deaccession policy that has upset
+many artists. The resolution was tabled for
+further discussion.
+Proceeding promptly in the crowded
+agenda, Louise Weiner from the Dept. of
+Commerce discussed a time-motion study
+on culture being conducted by her depart-
+ment. She spoke also of ways Commerce can
+work with artists' groups for mutual goals.
+Next was Judith Brodsky, who, with a
+stirring tribute to his accomplishments, intro-
+duced one of the key speakers of the morn-
+ing, Senator Harrison A. Williams of her
+home state of New Jersey. Williams has been
+an active supporter of the arts in Congress
+for 20 years and is a sponsor of the Art Bank
+Bill. He emphasized that we as artists must
+communicate ideas not only through our
+works, but with our voices to the legislature.
+He spoke glowingly of the potential of the
+Art Bank-both for those who produce art
+and those who will be inspired by art in the
+workplace.
+photo: Gina Shamus
+Closing the morning program, Mayor Mari-
+on Barry of the District of Columbia de-
+page 2/ WAN/ March 1979
+scribed his plans to incorporate art into city
+agencies. These include rotating exhibits by
+local artists in the mayor's office and setting
+up an arts advisory board. According to
+Mayor Barry, "We gauge our cities by their
+art and artists," and these are often key
+tourist attractions.
+Adjourning to the Rayburn House Office
+Building on Capitol Hill, delegates lunched
+with women working in the State Depart-
+ment and in other Washington institutions.
+Rep. Sidney Yates (D-Ill.), who might be de-
+scribed as a "converted feminist" on art is-
+sues, read the depressing statistics he had pre-
+sented to a congressional committee, which
+detailed the minuscule representation of
+women on grant panels and in national col-
+lections. (Women at my table from the per-
+sonnel of the department National Gallery of
+Art removed their identity badges in embar-
+rassment at these statistics.)
+The floor was then taken by June Wayne,
+our eloquent principal speaker. She came to
+Washington first in 1939 to protest dismiss-
+als of artists from the WPA project. Describ-
+ing the success of that initial artists' contin-
+gent, Wayne reiterated the need for adequate
+statistics on the number of women in public
+collections, noting that all museums receive
+public funds. She discussed other issues, in-
+cluding the inequity of tax laws for artists,
+the limited number of grants given to women
+artists, and her ambivalence about the Art
+Bank Bill (deaccession being her major ob-
+jection). Inspired by this message, delegates
+then went to plead the case of women artists
+directly with their legislators. For many it
+was a first experience of political lobbying.
+At a debriefing meeting and wine-and-
+cheese party later, participants were general-
+ly enthusiastic about their afternoon. Most
+had been able to speak directly with mem-
+bers of Congress or their staffs. The flush of
+excitement was on the faces of all I spoke
+with, and they were optimistic about our
+issues. (On a more realistic note, I am sure
+that our initial contact in Washington is only
+the beginning of many such actions.)
+In conclusion: It was an impressive day
+of hard work, well planned. My only regret
+is that more artists could not afford the trip,
+and I hope that future CWAO national
+events can be organized to include the voices
+of more artists.
+Other notes: On Tuesday, at the panel
+"Folk Art and Neo-Folk Art," Pat Ferrero
+showed slides of a former art instructor of
+mine, Grace Earl, from Carnegie-Mellon U.,
+my special favorite during her one brief sem-
+photo: Carole Rosen
+"Evoking the
+spirit of Hous-
+ton."
+Below:
+Coalition
+board mem-
+bers Harriet
+Lyons (center)
+& June Wayne
+interviewed
+on DC TV
+ester. I had so few women instructors in my
+university days that I was delighted to find
+Earl once again. She lives now in a small
+apartment in San Francisco, where she cre-
+ates fantastic quilts.
+The ceremony for "Outstanding Achieve-
+ment in the Visual Arts" brought tears to
+my eyes as I watched my dear friend and
+mentor Isabel Bishop receive an award. Along
+with most others in the room, I was over-
+whelmed by the presence of these distin-
+guished women, each with her own person-
+ality Louise Nevelson with inch-long eye-
+lashes; Alice Neel, crying from the lights or
+the moment; the formidable Selma Burke.
+(O'Keeffe sent a brief telegram.) I loved see-
+ing each artist being herself and presenting
+yet another perspective as role model. At the
+exhibition of the artists' work that opened
+at the Middendorf Lane gallery after the cere-
+mony, numbers of women-some shy, some
+bold couldn't resist asking for an autograph
+or to have their picture taken with one of the
+artists. Isabel Bishop found herself placed in
+front of her portrait by Alice Neel and was
+surrounded by admirers.
+At Wednesday's "Performance and Events"
+panel, I was especially impressed by Suzanne
+Lacy's frank discussion of use of the media.
+This was the first time I had heard an artist
+describe publicly how she had organized an
+event so that no matter how it was picked up
+by media her message (in this case, on rape)
+would get through. More artists should talk
+about how they gain publicity for shows
+and events.
+During the week I met women I had
+known only by name or through correspon-
+dence; others were old friends from a year
+ago. Home now, tired, back at school and
+studio, I think of next year. WCA says it may
+take art and politics to New Orleans.
+-Susan Schwalb
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 3 (PDF page 4) ---
+"Evolution" 84" x 52" oil
+ANNETTE
+NACHUMI
+"The Visible
+Interior"
+New Paintings
+February 27 -
+March 17, 1979
+Reception
+Saturday,
+March 3, 3-7 p.m.
+SHIRLEY
+GORELICK
+March 24-
+April 18, 1979
+SOHO 20
+99 Spring St.
+New York City
+Viridian gallery
+24 West 57 St., New York, NY 10017/(212) 245-2882
+Tuesday to Saturday, 11 a.m. to 6 p.m.
+Gunny and Lee
+80" x 40" acrylic
+FORG
+PLEIADES GALLERY
+152 Wooster St. N. Y. C. 10012
+JOELLEN BARD
+MARCH 27 APRIL 15, 1979
+WASH
+ART 79
+MAY27
+INTERNATIONAL
+MEETING OF FINE ART DEALERS
+D.C. NATIONAL ARMORY
+12 TO 9 PM
+For information concerning advance dealer registration, advance
+tickets, catalog, and special events, write or call:
+ART: IMFAD, 1800 Belmont Road, N.W.
+Washington, D.C. 20009 Tel. (202) 234-5000
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 4 (PDF page 5) ---
+Decoration Day
+at ArtistsTalkOnArt
+"If there's anything I'm certain of at this
+moment, it's that ornament and decora-
+tion have become dead arts in the west."
+Clement Greenberg, Art International,
+January 1975
+That quotation, batting around in my files
+for four years, came to mind on the auspici-
+ous occasion of "Decoration Day" in Soho
+last month. Whether Greenberg was thinking
+primarily of something like the squiggles
+stamped by General Electric onto refrigera-
+tor doors to "ornament" or "decorate'
+them, or whether he had the fine arts sector
+in mind, is not clear. Either way, he should
+have read his Wölfflin. In Principles of Art
+History (1932) Wölfflin said, "The history
+of art is not secondarily but absolutely pri-
+marily a history of decoration."
+For Greenberg, and anyone else who may
+have missed it, here's a rundown on the first
+of two recent panels about modern art that
+declares itself, first and foremost, decoration:
+'Interior (and Exterior) Decoration'
+ATOA panel, Jan. 26
+Robert Jensen, mod.; Valerie Jaudon, Ned Smyth,
+Robert Kushner, Joyce Kozloff, Scott Burton,
+Miriam Schapiro, Arlene Slavin, speakers.
+There was an air of Old Home Week at the
+"Interior (and Exterior) Decoration" panel
+Jan. 26. When a man in the audience called
+out to Joyce Kozloff, "Louder-we can't
+hear you!" everyone laughed, because they
+knew it was her husband Max. Miriam Scha-
+piro's husband, Paul Brach, also made some
+fine points from the sidelines, including the
+fact that in ancient Greece the artist who
+carved the capital of a column received exact-
+ly the same wage as the one who "sculpted"
+the figures in the pediment.
+The program opened with slides: each
+panelist whipped through a set of wonders
+that ranged from the Piazza Italia in New
+Orleans, designed by Charles Moore, and the
+Dag Hammarskjold Plaza fantasy in concrete,
+"Five Arcades," by panelist Ned Smyth, to
+Miriam Schapiro's collages-of-kimono shown
+side by side with the antique kimonos that
+inspired them. (Schapiro noted later that art-
+ists have always used resources-"their stu-
+dios are filled with reference materials"-but
+in the recent past have been skittish about
+owning up to it.)
+I say the artists "whipped through" their
+slides because with eight speakers one might
+have expected the show to drag a bit, as it
+can when hungry artists bask too long in the
+spotlight. But, perhaps bullied by their lead-
+ers, or perhaps because each of them has had
+PUBLICATIONS
+The Anti-Coloring Book. Susan Striker, Edward
+Kimmel. NY: Holt, Rinehart & Winston, 1978.
+Paper. Written by two art teachers, The Anti-
+Coloring Book is carefully designed to stimulate a
+child's artistic imagination and self-expression.
+Contains 45 art projects, each presenting a partial
+drawing with limitless possibilities for completion.
+A fun, challenging workbook. -SB
+The American Film Institute Guide to College
+Courses in Film and Television. Dennis Bohnen-
+kamp, Sam Grogg, Jr., eds. Peterson's Guides,
+Box 2123, Princeton, NJ 08540. 1978. 430 pp:
+$9.75 paper. This comprehensive and well-organ-
+ized compilation of all US college film and TV
+courses includes alphabetical listings by state and
+school, with notes on facilities, faculty, courses,
+etc. Foreign TV and film schools are also listed,
+and there are sections on career info, festivals,
+and awards. Appendix.
+photo: Ron Forth
+Photo at top is "Cincinnati Tile Wall," 1978,
+tile and grout on plywood, by Joyce Kozloff
+Photo below is from Miriam Schapiro's
+Vestitute Series, 1977, acrylic, collage
+photo: John Art Studio
+considerable recognition already, the panel-
+ists proceeded smartly, even a bit too smart-
+ly. I would have liked a little lingering-to
+ply the secrets of Miriam's intense kimonos,
+for instance, or the underglaze magic of
+Joyce Kozloff's tile wall constructions.
+Scott Burton, an anomaly in this context,
+earned his place with a concise review of as-
+pects of the history of furniture as decora-
+tion, and earned forever a place in my heart
+by describing the pink, light blue, and yellow
+painted on sections of his child's furniture
+as "babied-out" versions of the primaries.
+Discussion after the slides was desultory,
+picking up only mildly when one would-be
+The Rubber Stamp Album. Joni K. Miller, Lowry
+Thompson. Workman Publishing, 1 West 39 St.,
+New York, NY 10018. 1978. 215 pp: $6.95
+paper. The Rubber Stamp Album covers the prac-
+tical, creative, and unusual aspects of rubber-stamp
+lore (e.g., "stampable edibles"). It contains every-
+thing: stamp trivia, catalogs, pads, hygiene, collec-
+tions, art. Original, detailed, well illustrated, it also
+contains a complete listing of stores and museums
+offering stamps, and a list of rubber-stamp reading
+material.
+-AK
+Oil painting lessons in your own home!
+Let a qualified instructor teach you this easy
+and exciting glazing method. Complete a
+painting in one session. Send $10 for basic
+lesson: Rodehaver, 5017 Timberwolf,
+El Paso, Texas 79903.
+photo: Judy Seigel
+Young Turk declared from the floor that
+decoration lacks "confrontation." (His own
+work is, he allowed, based on the sundial.)
+Joyce ended this confrontation by sweetly
+but firmly explaining that their premise is
+decoration for its own sake. The absence of
+further confrontation may have been due to
+current general acceptance-even ascendance
+-of the art. In fact, pattern painting, a major
+form of the new decoration, has recently
+been declared by the popular press to be not
+only "the rage of Europe," but "the most
+vital" current style!
+In the audience were other non-confron-
+ters, including Mimi Weisbord, who has sur-
+vived a move to Soho and gotten a CAPS
+grant for her book; Yale Epstein, who estab-
+lished a WAN first by liking his picture with
+the WAN writeup of his panel; Judith Solod-
+kin, now of new large Solo Press premises at
+461 Park Ave. South; a phalanx of Heresies
+women, particularly from the Women's Tra-
+ditional Arts issue on which both Schapiro
+and Kozloff worked; a flock of regulars;
+ghosts of panels past; and probably just plain
+decoration groupies like myself-some of
+whom may also have been at the first ATOA
+panel on pattern painting moderated by Peter
+Frank at the Open Mind on Greene Street,
+Feb. 7, 1975 (perhaps the first "public" ap-
+pearance of the topic up from the under-
+ground, one month after Greenberg's cer-
+tainty).
+When they dipped the gallery lights, then
+threatened to eject us forcibly, small compa-
+nies began to peel off in search of bars to
+continue the reunion. But when set upon by
+jukeboxes, strolling minstrels, or other anti-
+conversation devices of management, I cede
+the field immediately. I mean I went right
+home.
+-Judy Seigel
+Note: The next ATOA panel, Feb. 2, was "Sources
+of Patterning and Decoration," with Carrie Rickey,
+moderator, and Brad Davis, Richard Kalina, Robin
+Lehrer, Tony Robbin, and Barbara Zucker, speakers.
+Scott Burton with Helene Aylon at the Amy
+Goldin Memorial Exhibit, AIR, summer '78
+DANCE EVENTS
+Mar 6/13/20/27 8pm Mary-Jean Cowell, Myrna
+Packer, Leslie Rudden, Christina Svane, et al.-
+'Choreographers Showcase.' ATL, 219 W 19.
+Res: 924-0077.
+Mar 11-18 Jan Van Dyke-Corcoran Gall, 17 St &
+NY Ave NW, Wash, DC. For times & info: Mel-
+ane Kinney, (202) 462-1321.
+Mar 23-24 8pin / Mar 25 5pm Carol Conway-
+Marymount Manhattan Thr, 221 E 71. $4.50;
+TDF+$1. Res: 674-8034.
+STAFF Editor Cynthia Navaretta / Feature Editor
+Judy Seigel/ CETA Staff Jennifer Arndt, Leslie
+Satin Designer Lori Antonacci | Typographer
+Lucinda Cisler / NY Distribution Jessica Seigel/
+Student Interns Susan Bellows, Katie Bull, Anita
+Karl Contributors Harriet Alonso, Barbara Aubin,
+Jeanette Feldman, Sylvia Moore, Susan Schwalb
+page 4/WAN/March 1979
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 5 (PDF page 6) ---
+art almanac /
+SOLO SHOWS
+March 1979 prepared by almanac staff under CETA Title VI program, New York City Department of Employment
+Fritzie Abadi-Paintings, collages. Phoenix, 30 W
+57, Mar 17-Apr 5.
+Ida Applebroog-Recent bookworks. Franklin Fur-
+nace, 112 Franklin, to Mar 3.
+Rita Baragona-Paintings & prints. Bowery, 135
+Greene, Mar 9-28.
+Joellen Bard-Plexiglass, paper, & canvas. Pleiades,
+152 Wooster, Mar 27-Apr 15.
+Linda Bastian-Paintings, drawings, prints, silks.
+Soho 20,99 Spring, to Mar 21.
+Siri Berg-'Black Series' & 'The 4 Elements.' Paint-
+ings. The New School, 66 W 12, Rm 410, Mar
+2-27.
+Susan Lynne Berger-Rug-hooked tapestries. Craft
+Alliance, 6640 Delmar Blvd, St Louis, MO, to
+Feb 28.
+Colleen Bickman-'Cloisonne in Reverse.' 171
+Spring St Enamels, Mar 10-Apr 22.
+Nell Blaine-Oils, watercolors, & drawings. Fisch-
+bach, 29 W 57, Mar 31-Apr 25.
+Dorothy Block-Retrospective exhib'n of paintings.
+47 Bond, Mar 18-Apr 7.
+Cheryl Bowers-New paintings. Hamilton, 20 W 57,
+to Mar 3. Schaffner, 8406 Melrose Ave, LA, to
+Mar 10.
+Nancy Honea Bragg-'Hodge Podge,' paintings.
+Georgia Tech Student Ctr Art Gall, Atlanta, GA,
+to Mar 3.
+Judith Brodsky-'Diagrammatics,' 32 intaglio prints,
+1976-78. AAA, 1614 Latimer St, Phila, to Mar 6.
+Moira Brown-Drawings. HERA, 560 Main, Wake-
+field, RI, to Feb 25.
+Colleen Browning-Paintings. Kennedy, 40 W 57,
+to Feb 17.
+Diane Burko-Recent paintings & drawings. Gene-
+sis, 41 E 57, Mar 7-31.
+Julia Margaret Cameron-'A Centennial Exhibition,'
+photographs. Neuberger Mus, SUNY, Purchase,
+NY, to Mar 18.
+Cynthia Carlson-Paintings on paper. Barbara Toll
+Fine Arts, 138 Prince, to Feb 24. Paintings & in-
+stallation. Marian Locks, 1524 Walnut, Phila, to
+Feb 22.
+Edith Carlson-'Progression of Light,' drawings.
+CUNY Grad Ctr, 33 W 42, to Mar 27.
+Peggy Cassen-Oil & encaustic paintings. 80 Wash
+Sq E, to Mar 2.
+Sonia Chusit-Drawings & constructions. Morris
+Mus, Normandy Hts Rd, Morristown, NJ, to
+Feb 28.
+Rosemary D'Andrea-Paintings. Unitarian-Univer-
+salist Church, Stewart Ave/Nassau Blvd, Garden
+City, NY, to Mar 22.
+Mary Beth Edelson-'Inner Passages: To Get Us
+Through,' drawings, photos, sculptural installa-
+tion. Henri, 21 & P Sts NW, Wash, DC, to Feb 8.
+Josefina Fontanals-Photographs. Spain Art, 665
+Fifth Ave, to Feb 16.
+Claudia Fouse-Paintings. Work of Art, 87 Atlantic
+Ave, Bklyn, NY, to Mar 4.
+Emily Fuller-Paintings, Paperwork, & Shrines.'
+55 Mercer, Mar 20-Apr 7.
+Carol Goebel-'Flower Series,' pastels. Levitan, 42
+Grand, Mar 3-31.
+Elsa M. Goldsmith-'Women on the March,' draw-
+ings & paintings. Great Neck, NY, High School.
+Freyda Grand-Paintings. Center Gall, 426 W Gil-
+man, Madison, WI, to Jan 18.
+Elise Gray-'Dream Sherds.' 14 Sculptors, 75
+Thompson, Mar 21-Apr 8.
+Ilise Greenstein-Art is a Language.' An Alterna-
+tive, 13329 NE 17 Ave, N Miami, FL, to Feb 28.
+Gini Hamilton-Sticks & Stones,' sculpture. Just
+Above Midtown, 50 W 57, to Mar 6.
+Amy Hamouda-‘Unsalable Images,' sculpture.
+Noho, 542 LaGuardia Pl, Mar 6-25.
+Ila Kamper-Sculpture. Center Gall, 426 W Gilman,
+Madison, WI, to Feb 15.
+Gertrude Käsebier-'A Pictorial Heritage,' photo-
+graphs. Del Art Mus, 2301 Kentmere Pkwy, Wil-
+mington, DE, Mar 2-Apr 22.
+Hanna Kay-Paintings. Hansen, 17 S William, to
+Mar 31.
+Elena Kepalas-Bronze sculpture. Phoenix, 30 W
+57, to Feb 22.
+Margaret Israel-Works in clay. Greenwich House
+Gall, 16 Jones St, Feb 27-Mar 24.
+Kochta-Oil paintings. Guild, 1145 Madison Ave,
+to Mar 1.
+Pat Lasch-Paintings & sculpture. AIR, 97 Wooster,
+to Mar 7.
+Mimi Korach Lesser-Family Album,' paintings.
+Pindar, 127 Greene, Mar 20-Apr 8.
+Barbara Levy-Photographs. Artists Space, 105
+Hudson, to Mar 10.
+Lauren Lindsay-Recent work, mixed media on
+canvas. Viridian, 24 W 57, Mar 27-Apr 14.
+Rita Lintz-Alternatives,' photographs. CUNY
+Grad Ctr, 33 W 42, to Feb 16.
+Marcia Lippman-'Undercurrents,' photographs.
+Camera Club of NY, 37 E 60, to Mar 19.
+Gerilyn Lischin-Paintings & collages. Nat'l Art
+Ctr, 484 Broome, to Feb 18.
+Winifred Lutz-Paper. Marilyn Pearl, 29 W 57, to
+Mar 1.
+Margo Margolis-Paintings. Miami-Dade Comm
+Coll, Miami, FL, to Feb 15.
+photo: Nina Howell Starr
+From Nina Howell Starr's show, "A Room
+of My Own," Interart Gallery
+Margaret Miller-'Games,' sculpture & drawings.
+Just Above Midtown, 50 W 57, Mar 6-31.
+Sabra Moore-Paintings & works on paper. Salena
+Gall, LI Univ, Flatbush/DeKalb Aves, Bklyn,
+NY, to Mar 6.
+Marguerite Munch-Works on paper, & objects.
+Myers, 19 E 76, to Feb 8.
+Annette Nachumi-'The Visible Interior,' new
+paintings. Viridian, 24 W 57, to Mar 17.
+Elaine Perlman-Photo-Onanism.' Photographica
+Gall, 315 W Erie, Chicago, Mar 2-23.
+Alice Phillips-Paintings & drawings. Interart, 549
+W 52, Mar 6-Apr 10.
+Linda Plotkin-Color ink washes. Einstein, 243 E
+82, to Feb 3.
+Barbara Raleigh-Foil constructions. 171 Spring St
+Enamels, extended to Mar 4.
+Bridget Riley-Works 1959-78. Neuberger Mus,
+SUNY, Purchase, NY, to Mar 18.
+Faith Ringgold-Pre-Feminist Paintings from the
+1960s. Summit, 101 W 57, to Mar 17.
+Judith Rothchild-'Sideo's Garden,' relief collages.
+Landmark, 469 Broome, to Mar 8.
+Savannah-Drawings & photographs. Nat'l Art Ctr,
+484 Broome, to Feb 14.
+Miriam Schapiro-'An Approach to the Decorative,'
+works on paper. Gladstone/Villani, 38 E 57, to
+Feb 28. Lerner-Heller, 956 Madison, to Feb 28.
+Edith Schloss-'Sunsets,' oils & watercolors. Ingber,
+7 E 78, Mar 10-Apr 4.
+Katherine Schmidt (1898-1978)-Drawings. Zabris-
+kie, 29 W 57, Mar 6-31.
+Barbara K. Schwartz-"Traces,' acrylic paintings.
+Viridian, 24 W 57, Mar 6-26.
+Geraldine Serpa-Rubber stamp art. Kauri Shell,
+1023 H St, Arcata, CA, to Mar 3.
+Arlene Slavin-'Waterbird,' mural. Milliken, 141
+Prince, to Mar 8.
+Sandra Slone-Sculpture. Nat'l Art Ctr, 484
+Broome, to Mar 4.
+Mimi Smith-Sculpture/drawings, 1966/1978.
+Douglass Coll Lib, New Brunswick, NJ, to Mar 9.
+'Color TV Drawings.' 55 Mercer. to Mar 17.
+Jenny Snider-Black Books & Earlier Works,' oil
+pastel drawings. Franklin Furnace, 112 Franklin,
+to Feb 10. Works on paper. Hamilton, 20 W 57,
+to Mar 3.
+May Stevens-'Mysteries & Politics.' Steinman Ctr,
+Franklin & Marshall Coll, Lancaster, PA, to
+Mar 12.
+Shaw Stuart-Box sculpture. Studio Gall, Stamford,
+CT, Mus, Mar 5-31.
+Anne Tabachnick-New paintings & drawings.
+Ingber, 3 E 78, to Mar 7.
+Susanna Tanger-Recent paintings. Droll/Kolbert,
+724 Fifth Ave, to Mar 3.
+Meryl Taradash-Collage paintings. Tanglewood,
+165 Duane, to Mar 22.
+Margaret Taylor-Paintings, etchings, drawings.
+47 Bond, to Feb 3.
+Rosa Thummel-Oil paintings. Nat'l Art Ctr, 484
+Broome, to Feb 18.
+Joyce Timpanelli-Mantle Pieces.' Droll/Kolbert,
+724 Fifth Ave, to Mar 3.
+Gail Vernon-'Evernon & the Introduction of Re-
+lated Strangers,' clay sculpture & wall pieces.
+Clay Place, Pittsburgh, PA, Mar 12-Apr 5.
+Idelle Weber-Chatham Coll, Pittsburgh, PA, Mar
+4-24.
+Lucinda Wilner-Paintings. Chrysalis Gall, Fair-
+haven Coll, Western Wash U, Bellingham, WA.
+Janica Yoder-Photographs. Corcoran, 17 St/NY
+Ave NW, Wash, DC.
+Wilfred Zogbaum-Welded sculpture. Zabriskie,
+29 W 57, Mar 6-31.
+GROUP SHOWS
+Pacific Ocean Interface-Bayard, 456 W Bway, to
+Jan 27. Sculpture, Shirley Lancaster; paintings,
+Marie Tharp; et al.
+Conseil de la Peinture de Quebec -Pleiades, 152
+Wooster, to Mar 4.
+Brooklyn '79-Paintings, sculpture. Comm Gall,
+Bklyn Mus, Eastern Pkwy, to Mar 4. Abrams,
+Acosta, Ahkao, Bangs, Benincasa, Bohman,
+Brody, Brown, Campbell, Dingledy, Fink, Gard-
+ner, Grodnitzka, Isaacs, La Rosa, Liebman, Lloyd,
+Matsushima, Nii, Sikes, Todd, Wallin, et al.
+Patterns & Sources of Navajo Weaving-Queens
+Mus, Flushing, NY, Mar 3-Apr 22.
+Winter Show-106 Prince, to Mar 7. Monica Ber-
+nier, Sharyn Finnegan, Ora Lerman, Janet Schnei-
+der, Norma Shatan, Frances Siegel, Selina Trieff,
+Gina Werfel, et al.
+Visual Works by Choreographers-Mixed media.
+Buecker & Harpsichords, 465 W Bway, Mar 10-
+Apr 28. Mura Dehn, Sophia Delza, Simone Forti,
+Midi Garth, Anna Halprin, Sylvia Palacios Whit-
+man, et al.
+Industrial Sights-Photographs. Whitney Down-
+town, 55 Water, to Feb 28. Berenice Abbott,
+Hilla Becher, Margaret Bourke-White, et al.
+Private Icon-Mixed media. Bronx Mus of the Arts,
+851 Grand Concourse, Mar 1-Apr 22. Donna By-
+ars, Alexandra Coote, Natalie Dymnicki, Mary
+Beth Edelson, Wendy Ward Ehlers, Ana Mendieta,
+Betye Saar, Eileen Spikol, Carolee Thea, et al.
+2 at Midtown Y Gallery-Photographs. 344 E 14,
+to Feb 25. Mona Zamdmer et al.
+3rd Annual Competition-'Small Works,' mixed
+media. 80 Was Sq East, NYU, to Feb 9. Cathey
+Billian, Marcella Nelson, Linda Schrank, Doris
+Whitlock, Abbie Zabar, et al.
+3 Artists-Lynn Kottler Gall, 3 E 65, to Mar 2.
+Carol Chevian, Linda Fisher, et al.
+Contemporary Landscape-Seagram Bldg, 375
+Park Ave, to Apr 26. Vija Celmins, Nancy Graves,
+Georgia O'Keeffe, et al.
+Nat'l Assn of Women Artists Exhibit-Paintings,
+graphics, sculpture. Equitable Life, 1285 Sixth
+Ave (51 St), to Mar 16.
+New Work-Touchstone, 118 E 64, to Feb 28.
+Toby Buonagurio, Nancy Brett, Gloria Kisch,
+Stephanie Rose, Charlotte Shoemaker, Helen
+Soreff, et al.
+Visions: Inner-Outer-Photographs. Interart, 549
+W 52, to Mar 2. 'A View of India,' Stella Snead.
+'A Room of My Own,' Nina Howell Starr.
+March 1979/WAN / page 5
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 6 (PDF page 7) ---
+GROUP SHOWS
+Art Forms by Women-WIA, 435 Broome, Mar 3-
+24. Julia Barkley, Joan Giordano, Paula Ross,
+Meryl Taradash.
+Bronx Women's Art Festival-Friends of Bx Comm
+Art Gall, Bx Comm Coll, Mar 18-31.
+CCF/CETA Site Work-Multi-media. World Trade
+Ctr, Tower 1, 43rd flr, to Mar 2. Beaumont, Berk-
+ley, Bricker, Erickson, Halvorsen, Hook, Jones,
+Keller, Kraut, Kuo, Mailman, Mattia, Maksymo-
+wicz, Morse, Ortega, Portnow, von Rydingsvard,
+Thompson, Waterman, Werner, et al.
+5 at Max Protetch-Paintings, 37 W 57, to Mar 3.
+Louisa Chase, Hermine Ford, et al.
+MA, the Japanese Concept of Time & Space-Multi-
+media. Cooper-Hewitt Mus, 2 E 91, Mar 13-
+May 27.
+Indelible Images Contemporary Advertising Design
+-Cooper-Hewitt Mus, 2 E 91, to Mar 25.
+The Dream King Ludwig II of Bavaria-Drawings.
+Cooper-Hewitt Mus, 2 E 91, to Mar 25.
+The Invented Landscape-Photographs. New Mus,
+65 Fifth Ave, to Apr 14. Bonnie Donohue, Mar-
+tha Madigan, Tricia Sample, Gwen Widmer, et al.
+Drawings & Collages-Ericson, 23 E 74, to Mar 8.
+Ynez Johnston, Yvonne Thomas, et al.
+Sculpture-Jackson-lolas, 52 E 57, to Mar 24.
+Claude Lalanne et al.
+The Planar Dimension: Europe, 1912-1932-Sculp-
+ture, reliefs, objects. Guggenheim Mus, 1071
+Fifth Ave (89 St), Mar 9-May 6.
+3 Riverdale Artists-Mixed media. Wave Hill Ctr,
+675 W 252, Bronx, to Apr 4. Abby Karp, Lois
+Smiley, et al.
+Images from a Neglected Past-Chinese in America.
+Loeb Student Ctr, NYU, 566 LaGuardia Pl, to
+Mar 1.
+Gallery Artists-Rhoda Sande, 61 E 57, to Feb 3.
+Siri Berg, Aline Geist, Ruth Klein, Marion S. Rise-
+man, Raffaela Schirmer, Jane Schneider, Netty
+Duell Simon, Janet Suisman, et al.
+Unpublished Masterpieces-Photographs. Daniel
+Wolf, 30 W 57, to Mar 3. Julia Margaret Cameron
+et al.
+Calves' Heads, Eels' Tartar, & Little Birds on Toast:
+NY Eats 18th/19th/20th-century menus. N-Y
+Hist Soc, 77 St/CPW, Mar 7-June.
+Friends of Puerto Rico-Cayman, 381 W Bway,
+to Mar 10.
+The American Scene on Paper-19th-cent. water-
+colors. N-Y Hist Soc, 77 St/CPW, to Aug. Baron-
+ess Hyde de Neuville et al.
+Provincetown Septet-Collector's Gall, 51 E 10, to
+Mar 15. March Avery, Inger Jirby, et al.
+2 at Leslie-Lohman-Etchings, drawings. 485
+Broome, to Mar 3. Rolande & Sandy De Sando.
+Women's Open Art Show-Auragyns, 601 Allen St,
+Syracuse, NY, to Feb 10.
+Eastville Artists-Paintings, prints, photographs.
+Woodhouse, Guild Hall, 158 Main, E Hampton,
+NY, to Mar 6. Nanette Carter, Gaye Ellington,
+Hazel Gray, Rosalind Letcher, Frances Miller.
+2 at Visual Studies Workshop-31 Prince St, Roch-
+ester, NY, to Feb 23. Xerox drawings, litho-
+graphs. Joan Lyons et al.
+Alternative Images-Everson Mus, Syracuse, NY, to
+Apr 1. Charlotte Brown et al.
+The Artist's Progress A Time Show-Boston Visual
+Artists Union, 77 N Wash St, Boston, to Mar 31.
+WEB Winter Show-All media. 80 Belmont St, Fall
+River, MA, to Mar 2.
+Photogenerations-photographs, photoconstruc-
+tions, sculpture. Craft Ctr, 25 Sagamore Rd, Wor-
+cester, MA, to Mar 16. Shelly Farkas, Paula Gross,
+Susan Haller, Jo Hanson, Ellen Land-Webber,
+Amy Stromsten, et al.
+Fantastic Illustration & Design in Great Britain
+1850-1930-Mus of Art, RI School of Design,
+224 Benefit St, Providence, Mar 29-May 13. Kate
+Greenaway, Beatrix Potter, et al.
+Downtown at CMU-Architectural design projects.
+Entrance Gall, Mus of Art, Carnegie Inst, Pitts-
+burgh, PA, to Mar 31.
+French Prints-Mus of Art, Carnegie Inst, Pitts-
+burgh, PA, to June 10.
+Eye on the '70s - Color Prints of Our Decade-
+Phila Mus of Art, to Feb 28. Cathey Billian, Hel-
+en Frankenthaler, Sylvia Mangold, Martha Zelt,
+et al.
+Masks for Unmasking-Anne Hathaway Gall, 201 E
+Capitol SE, Wash, DC, to Feb 4. Pat Barron, Lucy
+Blankstein, Nancy Cusick, Laura Huff, Monica
+page 6/ WAN/ March 1979
+Nikki Schrager, curator of the National Les-
+bian Arts Festival, with her painting (Un-
+titled, 1976). The Festival took place Sept. 1-
+Oct. 8, 1978, at the Top Floor Gallery in
+San Francisco and included performances
+and a poetry reading as well as the mixed
+media exhibition. The sponsors hope to find
+funds for a National Lesbian Arts Festival in
+1979, but at the moment the situation looks
+doubtful.
+Lundegard, Carol Ravenal, Ellouise Schoettler,
+Rose Mary Stearns, Ann Zahn.
+WCA Honors: Bishop, Burke, Neel, Nevelson,
+O'Keeffe-Middendorf/Lane, 2014 P St NW,
+Wash, DC, to Mar 6.
+Limitations Unlimited-Wash Women's Arts Ctr,
+1821 Q St NW, Wash, DC, to Feb 24.
+Private Spaces-Photographs. Wash Women's Arts
+Ctr, 1821 Q St NW, Wash, DC. Barringer, Boddy,
+Bond, Brown, Clem, Edelman, Edmondson,
+Fram, Garrison, Giesecke, Hadley, Hassan, Mos-
+ley, Peabody, Rebhan, Samour, Stevenson, Su-
+dow, Tackney, Ward, Wexler.
+Drawings by Washington Artists-Works on paper.
+Corcoran, 17 St/NY Ave NW, Wash, DC, Anne
+Truitt et al.
+2 at Warehouse-Alexandria Campus, Northern VA
+Comm Coll, 3447 S Carlyn Spgs Rd, Alexandria,
+VA, to Feb 15. Marian Van Landingham, Lynn
+Pruitt.
+MFA Thesis Show-Weatherspoon Art Gall, Univ
+of NC, Greensboro, to Jan 28. Ann Badgett, Mel-
+isa Bristol, Doreen Coyne, Margaret Anne Glenn,
+Jane Goco, Bunny Ryals, et al.
+American Paintings from Corporate Collections-
+Mus of Fine Arts, 440 S McDonough St, Mont-
+gomery, AL, Mar 6-May 7. Helen Frankenthaler,
+Helen Lundeberg, Georgia O'Keeffe, Hedda
+Sterne, et al.
+6 California Artists-Mixed media. 61 W Hubbard,
+Chicago, Mar 10-31. Betsy Pacard et al.
+Narrative Imagery-ARC, 6 W Hubbard, Chicago,
+to Mar 3. Nancy Boswell-Mayer, Phyllis Bramson,
+Joanne Carson, Linda Cohn, Renee DuBois, Bev-
+erly Feldmann, Thelma Heagstedt, Ellen Lanyon,
+Kay Rosen, Cathy Ruggie, et al.
+Loosely Proportionate & Semi-Structural-Ctr Gall,
+426 W Gilman St, Chicago. Page Coleman, Kathy
+Field, et al.
+2 at Craft Alliance-Blown glass. 6640 Delmar
+Blvd, St Louis, MO, to Feb 28. Sally Wicht et al.
+3 at WARM-414 First Ave N, Minneapolis, MN.
+'Alluvial Fans,' Barbara Kreft-Benson. 'Other In-
+tuitions,' Linda Magozzi. 'Thermal Moods,'
+Terry Genesen-Becker.
+ARC Exchange-WARM, 414 First Ave N, Minne-
+apolis, MN, to Mar 17.
+Arte Postcards-Lee-Hoffman Gall, 538 N Wood-
+ward, Birmingham, MI, to Feb 21.
+3 at Art Space-10550 Santa Monica Blvd, LA, CA.
+to Feb 23. Elaine P. Feldman, Arlene Golant,
+June Sobel.
+Feminist Perspectives-Univ of CA, Santa Barbara,
+to Feb 9. Nancy Fried, Myrna Shiras.
+Ancient Near Eastern Art-with 'Ancient Art of
+the Asian Steppes & Highlands.' Public Lib, 600
+E Mariposa St, Altadena, CA, to Mar 4. Exposi-
+tion Park Pub Lib, 3665 S Vermont Ave, LA,
+Mar 5-11. Arroyo Seco Regional Branch Pub Lib,
+6145 N Figueroa St, LA, Mar 12-18. Pub Lib,
+20 N Harvard Ave, Claremont, CA, Mar 19-25.
+Portrait of the Woman as a Young Artist-Weber
+State Coll Art Gall, Ogden, UT, to Feb 23. Down-
+ing, Elliott, Goldstein, Licini, Maitland, Marfia,
+Mathers, McClelland, Meier, Metzger, Murphy,
+Perry, Quinn, Redman, Shark, Swartwood.
+First Western States Bienniel Exhibition-Art Mus,
+Denver, CO, Mar 7-Apr 15. Georgia O'Keeffe,
+Helen Lundeberg, et al.
+Pleiades Gall to Montreal-conseil de peinture ...
+de Quebec, Arts Club, 1410 Guy St, Montreal,
+Canada, to Feb 26.
+SCHEDULE OF EVENTS
+Mar 6 8pm READING-Jana Harris, Bette How-
+land, Jill Johnston. Manhattan Thr Club, 321 E
+73. $3.50. Info: 472-0600.
+Mar 8 8pm READING-May Swenson. George
+Sand Books, 2076 Westwood Blvd, LA, CA. $1.
+Info: (213) 473-4685.
+Mar 9 8pm PERFORMANCE-'The Mexican
+Tapes,' Jacki Apple. 80 Langton St, SF, CA
+94103; (415) 626-5416. $2; $1 mem.
+Mar 9 9pm PANEL-'Alt'ive Approaches to Repre-
+sentational Art,' Gary Eriksen, mod. ATOA, Land-
+mark, 469 Broome. Info: Lori Antonacci, 868-
+3330.
+Mar 10 9am-5pm CONFERENCE-Women's Stu-
+dies. Panel on women's aesthetics. May Stevens,
+artist-in-residence. Steinman Ctr, Franklin-Mar-
+shall Coll, Lancaster, PA 17604.
+Mar 10 7:30pm FILMS-'With Babies & Banners,"
+'With Cuban Women.' Wash. Irving HS, 16 St &
+Irving Pl. $3 don. Child care provided. Info:
+255-0352.
+Mar 11 2pm PERFORMANCE-Contemp Amer
+Indian poetry, trad'l folk tales, chants. Queens
+Mus, Flushing, NY; 592-2405. Free.
+Mar 11 3pm LECTURE-Pictorial Art of the Six
+Dynasties,' Annette Juliano. LA County Mus of
+Art, 5905 Wilshire Blvd, LA, CA; (213) 937-
+4250. Free.
+Mar 13 8pm READING-Jane Cooper, Jean Valen-
+tine, et al. Manhattan Thr Club, 321 E 73. $3.50.
+Info: 472-0600.
+Mar 14 8pm LECTURE-Troubleshooting of
+painting-technical problems,' Russell Woody. 435
+435 Broome. $1. WIA genl mtg: 7pm.
+Mar 15 8pm READING-Barbara Abercrombie,
+Norma Almquist, Jeanne Nichols. George Sand
+Books, 2076 Westwood Blvd, LA, CA. $1. Info:
+(213) 473-4685.
+Mar 16 8:30pm CONCERT-17th/18th-cent mu-
+sic for harpsichord & flute, Andrea Garrone,
+Eileen Hunt. Aldrich Mus, 258 Main St, Ridge-
+field, CT 06877. $2. Res: (203) 438-4519.
+Mar 16 9pm PANEL-'What Artists Expect from
+Critics & What Critics Expect from Artists, Part
+2'; Solomon Ethe, mod. ATOA, Landmark, 469
+Broome. Info: Lori Antonacci, 868-3330.
+Mar 18 1pm LECTURE-DEMO-'Navajo Spinning,
+Weaving, Dyeing, & Folklore.' Queens Mus, Flush-
+ing, NY; 592-2405. Free.
+Mar 18 8pm PERFORMANCE-'Glass'; visual &
+sound event. Claudia Chapline. I.D.E.A., 522
+Santa Monica Blvd, Santa Monica, CA. $3. Info:
+(213) 395-0456.
+Mar 18-31 BRONX WOMEN'S ARTS FESTIVAL.
+Info: Lilian Whitaker, 920-7709.
+Mar 19 8pm READING-Cynthia MacDonald.
+Poetry Ctr, YM/YWHA, 92 St/Lex Ave. $3.
+Mar 20 8pm READING-Alexis Deveaux et al.
+Manhattan Thr Club, 321 E 73. $3.50. Info:
+472-0600.
+Mar 20 4pm LECTURE-Technological Change
+& the Roles of Women'; Ester Boserup. Lehman
+Aud, Altschul Hall, Barnard Coll. Info: 280-2067.
+Mar 20 8pm LECTURE-Elyn Zimmerman on her
+work. MCAD, 133 E 25 St, Mpls, MN 55404;
+Auditorium 109.
+Mar 22 8pm LECTURE-'This is Black Music';
+Ntozake Shange. Marvin Ctr, Rm 404, Geo Wash-
+ington U, 800 21 St NW, Wash, DC. Info:
+WWAC, (202) 332-2121.
+Mar 23 & 30 9pm PANELS-ATOA, Landmark,
+469 Broome. Info: Lori Antonacci, 868-3330.
+Mar 23-25 WOMEN'S JAZZ FESTIVAL-Info:
+Dianne Gregg, WJF, Box 22321, Kansas City,
+MO 64113.
+Mar 25 ART & ARCHITECTURE TOUR-LA
+County Mus of Art, 5905 Wilshire Blvd, LA, CA.
+Info: (213) 937-4250, ext 372.
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 7 (PDF page 8) ---
+SCHEDULE OF EVENTS
+Mar 25 2:30pm CONCERT-Deborah Awner,
+pianist. N-Y Hist'l Soc, 77 St/CPW; (212) 873-
+3400. $1 for non-members; $.50 students/elderly.
+To Apr 15 Sat/Sun 2&4pm CHILDREN'S THEA-
+TRE-The Incredible Feeling Show,' by Eliza-
+beth Swados; Meridee Stein, dir. First All Chil-
+dren's Thr, 37 W 65; (212) 873-6400.
+Mar-May Sats 11am THEATRE-New works-in-
+progress. Thr of the Open Eye, 316 E 88.
+INFORMATION ROUNDUP
+• Available: NYC Resource Sheet for Visual Art-
+ists, prepared by Gina Shamus. Send $.30 coins or
+stamps to Task Force on Discrimination, FCA, Rm
+412, 280 Bway, NYC 10007.
+⚫1980 Sculpture Conference will be in Wash.,
+DC (not Mexico City as announced). Info from
+Internat'l Sculpture Ctr, U of Kansas, Lawrence,
+KS 66045.
+• The Art Hazards Info Ctr has available a series
+of one- and two-page bulletins ($.25 ea), four arti-
+cles ($.50 ea), and The Health Hazards Manual for
+Artists ($3.50 ppd). For info: 5 Beekman, NYČ
+10038; (212) 227-6220.
+First Nat'l Congress on Women in Music-plans
+for fall '79 mtg; focus on women in classical music,
+hist'l or contemp. Proposals being accepted for
+papers, panels, wkshops. Jeanie Poole, WIM, Box
+436, Ansonia Sta, NYC 10023.
+• Greece Through New Eyes-tour, Aug 26-Sept
+9. Theme is struggle of Greek women, past and
+present. Deadline Mar 30. Info: Women's Union of
+Greece, 34 Panepistimiou St, Athens 143, Greece.
+• Medieval World-Jan-June '79. Lectures, exhi-
+bits, etc.; some wkshps require pre-registn. Info:
+U of Wis, LaCrosse, WI 54601; (608) 785-8900.
+Barnard Coll Women's Ctr has published papers
+from 'The Scholar & the Feminist' conferences and
+the Reid Lectureship. $1-$2 ea. Info: BCWC, 606
+W 120, NYC 10027; (212) 280-2067.
+• Printnews-new bimonthly int'l digest for print-
+makers. Only avail to mems of World Print Council,
+Fort Mason Ctr, Bldg 310, Laguna & Marina Blvd,
+SF, CA 94126; (415) 391-5016.
+The Feminist Ctr-nonsexist, feminist therapy,
+counseling for women, men, couples, families. Free
+walk-in counseling & referrals, Sat 1-4pm; Women's
+Career Support Group, Tues 12n-2pm ($5); wkshps
+& courses on various topics. Shelburne Hotel, main
+flr, 303 Lexington Ave, NYC 10016; (212) 686-
+0869/683-6192.
+• Harlem Cult'l Council-membership incl news-
+letter, discount tkts for various activities, free tkts
+to Linc Ctr & Bway thr events, special events info,
+acctg/bookkeeping svcs avail for member cult'l orgs.
+Info: 1 W 125, No. 206, NYC 10027; (212) 860-
+8640.
+•WNET/13's TV Lab-9 video artists-in-residence
+(incl Kit Fitzgerald, Gunilla Mallory Jones, Steina
+Vasulka) at work on experimental pieces for 1979
+pgm on grants from $3-16,000. Info: Harold Hol-
+zer, WNET, 356 W 58, NYC 10019; (212) 560-
+3004.
+• Visual Arts Referral Service Files-slides of
+2500 artists avail for viewing at Creative Artists
+Public Svc Pgm, free. Info: Nancy Kaufman, CAPS,
+250 W 57, NYC 10019; (212) 247-6303.
+• Women-Identified Erotica-written & graphic
+material needed for book; anonymity OK. Send to
+Pamir Productions, Box 40218, SF, CA 94140.
+COURSES & WORKSHOPS
+• 2 Ceramics Seminars-'Oxidation Firing & Glaze
+Chemistry,' Monona Rossol, Mar 9-11; $40. 'Glaze
+Palette,' Marylyn Dintenfass, Mar 24-25, Apr 7-8;
+$70. The Moving Image-looks at diff modes of
+film & video. 8 mtgs beg Mar 6; Tues & Thurs 6-8
+pm. The Visual Arts-Pat Saab, intra-media artist.
+8 mtgs beg Mar 1; Wed & Thurs 3:30-5:30pm. Info:
+Women's Interart Center, 549 W 52, NYC 10019;
+(212) 246-1050.
+"Smoke Palette," Marylyn Dintenfass
+• Interior Design & Appraisal Studies Courses-
+CW Post College, LI Univ, Greenvale, NY 11548;
+(516) 299-2451.
+Script Writing-for film & video, Ed Bowes,
+Mar 26-30; $30. Poetry Workshop-Heather Mc-
+Hugh; write/call for dates & fee: ČEPA, attn:
+workshops, 30 Essex St, Buffalo, NY 14213; (716)
+883-0582.
+Tice; Mar 23-25, Jack Mitchell. The Silver Eye, 631
+• Weekend Photog Wkshops-Mar 9-11, George
+Gettysburg St, Pittsburgh, PA 15206; (412) 687-
+7122.
+•Health Hazards in the Arts IV-Mar 22; $20
+(incl lunch, mat'ls). School of the Art Institute,
+Columbus Dr. & Jackson, Chicago. Info: Ms.
+Scholl, (312) 243-2000, ext. 69.
+•Performance Wkshop-Joan Jonas, Mar 26-28.
+Info: 80 Langton St, SF, CA 94103; (415) 626-
+5416.
+⚫ Feminist Visions of the Future-Mar 24. Regis-
+tration $35. Info: Gayle Kimball, Ethnic & Wom-
+en's Studies, Calif State U, Chico, CA 95929.
+Gala Benefit for the
+New York Feminist Art Institute,
+to open fall 1979.
+Louise Nevelson, guest of honor
+Friday, March 30, 6-9 pm, 1 World Trade Ctr
+$25 contrib. payable at door, or in advance;
+mail to: Nancy Azara, 46 Great Jones St.,
+New York, NY 10012.
+Info: (212) 982-2058/ OR 5-5343.
+'Whitney Museum-Jane Heffner is new Develop- Consult an expert
+ment Officer; will be responsible for fund-raising,
+membership expansion.
+OPPORTUNITIES
+Performers, Artists, Musicians Wanted-for 1st
+Bronx Women's Arts Festival, Mar 18-31. For info
+re: exhibiting, selling, teaching, performing, con-
+tact Lilian Whitaker, North Central Bx Hospital,
+3424 Kossuth Ave, Bx NOW, Rm 15B-18, Bronx,
+NY 10467; (212) 920-7709.
+⚫ Job-distribute "For Art's Sake" to 50 points
+monthly; 5 hrs in last 3 days of month. Pay: $35
+plus mileage (own transpn nec). Info: Sandra Wag-
+enfeld, SICA, c/o Pouch Terminal, 1 Edgewater St,
+Staten Island, NY 10305.
+$3500 Artists Fellowships-avail to MA artists
+(over 18 yrs, non-student) in ptg, printmkg, sculpt,
+photog, poetry, fiction, playwriting. Deadline Mar
+15. Info: Artists Fellowship Pgm, Artists Fdn, 100
+Boylston St, Boston, MA 02116; (617) 482-8100.
+in artists' tax problems
+Call on a professional to prepare your
+federal, state, and city income-tax returns
+Claim all possible expenses and deductions
+•Understand the rules on use of your home for work
+File for an early return
+• Set up a tax-free pension plan
+Establish a simple record-keeping system
+Ruth Tabak ⚫ Tax Consultant
+East Village location
+Phone (212) 777-0573 for an appointment
+Duncan Replies
+In "When is a Panel Not a Panel?" (Jan.
+WAN) Donna Marxer reported on the Nov.
+18 panel on communication between artists
+and writers on art. Carol Duncan: "Criticism
+is... the invisible power that converts poten-
+tial art into the real thing... channels art
+into a thin trickle, which works pretty well."
+Marxer: "No one groaned... when [Duncan]
+said flatly that there is no conspiracy in the
+art world." Here, Duncan elaborates on her
+intended meaning.
+Marxer quoted correctly from the paper
+I read but didn't quite get my meaning. I did
+say that there is no "conspiracy" in the art
+market. As I then tried to explain, I meant
+that few people in the art world will admit
+to being party to any art market conspiracy.
+Even "important" trend-setting dealers and
+critics can claim that they are exercising
+their individual free choice and basing their
+decisions on judgments of "quality." They
+really believe that and do not experience
+themselves as acting in some kind of conspir-
+acy. My point is, the "conspiracy" is usually
+not conscious. It has its roots in the social
+relations of our society and in the seemingly
+innocent values we internalize and act upon.
+The conditions that so many artists find op-
+pressive are reinforced by the aspirations and
+beliefs of the artists themselves. It is useless
+to get angry at critics, who are not as power-
+ful as artists imagine. We must understand
+how our own values and beliefs about art
+contribute to our own oppression. ■
+LETTER TO EDITOR
+In the Nov. WAN... a CETA artist wrote to cor-
+rect an error of fact in your Summer 1978 article
+"CETA Artists at Work." She was not on welfare,
+as had been stated, but on unemployment insur-
+ance "the latter [as opposed to welfare] having
+been earned." Contained within her correction and
+statement are some hidden value judgments, which
+should be addressed.
+Since public assistance, or welfare, is paid out
+of monies collected in federal and state taxes, we
+have all earned our right to receive it when it is
+necessary. People requiring this assistance, be it in
+the form of Aid to Families with Dependent Chil-
+dren, Supplemental Security Income for the Dis-
+abled, Blind, and the Elderly, or Home Relief, have
+"earned" it just as much as the citizen who receives
+various forms of subsidies, tax credits, and tax de-
+ductions.
+"The worthy poor" vs. the "unworthy poor" is
+a distinction we must transcend. The CETA pro-
+gram accepts job-seeking artists, be they on unem-
+ployment insurance or other forms of public assis-
+tance. -Judith Stein, Philadelphia
+Skowhegan Summer
+The directors of Skowhegan summer
+school of the arts tell us that this year their
+painting faculty will be largely women-a
+point of special interest because faculty are
+"elected" by students.
+Frances Barth, Agnes Denes, Lois Dodd,
+and Susan Shatter are listed as painting resi-
+dent faculty. Chuck Close, Elaine de Koon-
+ing, and Nancy Graves will be painting visit-
+ing artists. Other faculty include Louise Bour-
+geois in sculpture and Lucy Lippard as Wil-
+lard W. Cummings Lecturer.
+The nine-week session on 160 acres in
+central Maine offers painting, sculpture,
+drawing, and fresco. Tuition and board cost
+$1,950. More info from Skowhegan, 329
+East 68 St., NYC 10021; 861-9270. ■
+March 1979/WAN/ page 7
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 8 (PDF page 9) ---
+Marxist Caucus at CAA
+Marxist Approaches to Art History'
+Panel, Caucus for Marxism & Art, Feb. 1
+Eunice Lipton, Carol Duncan, moderators; David
+Kunzle, Ken Lawrence, Gary Tartakov, Josephine
+Gear, Adrian Rifkin, speakers.
+It's no news that art history is generally
+taught in a context apart from, or above, his-
+tory-as though artists, by the nature of their
+work, have no social responsibility. At this
+year's CAA convention, the Caucus for
+Marxism and Art presented an alternative to
+this general situation and to the convention
+itself with the panel "Marxist Approaches
+to Art History."
+Eunice Lipton, opening the session, noted
+the presence of three British speakers out of
+the five panelists. The first three papers dealt
+with the connection of art to imperialism;
+the other two were specific subjects seen
+from a Marxist perspective.
+David Kunzle discussed the role of art in
+Chile during the Allende regime and under
+the current military dictatorship, seeing art
+as a part of, not a response to, social change.
+At first, he said, murals and posters avoided
+confrontation with the enemy, later grew
+less passive. Since the coup in '73 and the
+concurrent attempts at destruction of popu-
+lar, political art, new forms of underground
+art have appeared. For example, arpilleras,
+fabric wall hangings made by Chilean women.
+Like the quilts of early American women,
+they involve individual origin and collective
+production. Many of the arpilleras contain
+explicitly political messages; some are less
+overt and some are simply beautiful. (Both
+slides and actual examples were shown.)
+Women are able to earn money through the
+sale of this work, frequently supporting fami-
+lies splintered by the junta. Pinochet's govern-
+ment finds this and other art with a similar
+perspective threatening, and has tried, unsuc-
+cessfully, to co-opt the arpillera movement.
+Ken Lawrence provided a refreshing
+break from the recent deluge of Tut-dom.
+Showing how the African-ness, the Egyptian-
+ness of the Boy King has been distorted, the
+conflicts of that period of history de-empha-
+sized, Lawrence discussed the way art is used
+by imperialism because it's "not political."
+Gary Tartakov defined exotica as what is
+"incomprehensible and irrational to us." The
+title of his talk was "Exoticism and the Im-
+perialist Vision of 19th-Century European
+Photography of India." Showing some of
+these photographs in slides, he demonstrated
+the way that subjects viewed out of context
+can give an entirely false view of a country
+and its people. For example, the familiar im-
+age of a man lying on a bed of nails conjures
+up visions of asceticism, pain, and strange-
+ness. Actually, this is a painless, safe religious
+act done for money by the very poor-at the
+bottom of the photo, generally cropped, is
+the receptacle into which to throw coins.
+Josephine Gear's topic was "The Cult of
+the Baby in 19th-Century Art." Using extra-
+ordinary slides of British art, all containing
+two figures (mother and child), she spoke
+about baby worship and its relationship to
+the conditions of the time. The creation of
+nuclear families brought about upheavals in
+male-female relationships amounting to "the
+husband producing labor, the wife producing
+love." Along with this came an idealization
+of motherhood and, as a result, of babies.
+The repressed sexuality of the time was also
+page 8/WAN/March 1979
+expressed in the strong eroticism of some of
+the work (this relationship apparently having
+been the only acceptable place for women's
+sexuality). Other paintings reflected moods
+ranging from adulation to fun. In this con-
+text, the discussion of women's rights in Eng-
+land became especially meaningful.
+Adrian Rifkin, speaking about the cultural
+context of the Paris Commune, showed an-
+other collection of beautiful slides. Most of
+these were of cartoons demonstrating the for-
+mation of class alliances within the political
+struggle. The degree of physical violence de-
+picted in these cartoons-on both sides-was
+high. The women's movement was seen as
+the most socialist of the left at that time.
+In the question-and-answer period, there
+was some discussion about the Caucus and its
+work within the CAA. In a brief exchange,
+Carol Duncan politely refused to agree with
+CAA representative Beatrice Farwell that the
+CAA is a democratic organization. Gary Tar-
+takov characterized the difference in objec-
+tives as "kings and queens, not Queens and
+Bronx."
+photo: Mel Rosenthal
+Rose Weil (1.) of CAA calls "time" on
+Marxist panel, Martha Rosler (r.), mod.
+Artists and Community
+in the Context of Social Change'
+Panel, Caucus for Marxism & Art, Feb. 2
+Martha Rosler, Alan Sekula, moderators; Mel
+Rosenthal, Suzanne Lacey, Fred Lonidier,
+speakers.
+The second meeting of the Caucus for
+Marxism and Art at the CAA convention was
+a step out of art history and into making art
+today-specifically, making art that effects
+social change. Because the Caucus had been
+granted a very brief time slot, only three art-
+ists were scheduled to speak, each to discuss
+her/his work in the context of social change.
+Martha Rosler, in her introduction, noted
+that each artist was dealing with violence:
+physical violence or social violence. Later,
+she tied this to the responsibility of political
+artists to gain control of language, to move
+away from the media definition of "violence."
+Photographer Mel Rosenthal described his
+discomfort with audiences that skim over the
+political content of his photographs, respond-
+ing only to the form of the work. In his pho-
+tographs of the South Bronx, Rosenthal has
+insisted not only on the political meaning of
+the subject, but on the relationship between
+the art and the subject-the people of the
+area. His original idea was to make portraits
+of everyone living on the street where he
+works at a health center. It became apparent
+that many of these people had never seen
+accurate photos of themselves; in the course
+with them through his work. The photo-
+of a year, Rosenthal became very involved
+graphs show the subjects as very real people-
+in very real poverty-not just another burned-
+out-South-Bronx photo in the media.
+Suzanne Lacey presented much of the ma-
+terial she'd covered in a previous panel on
+performance and environmental art from a
+somewhat different perspective. She and Les-
+lie Labowitz co-founded Ariadne to work
+against violence against women. Discussing
+several projects on rape, murder, and violence
+in the record industry, Lacey explained her
+use of the media. This entails not only get-
+ting the personal cooperation of local govern-
+ment officials and journalists, but actually
+setting up performances and exhibits to ac-
+commodate the media. Underlying this is
+Ariadne's analysis of the role played by
+media in preventing or allowing political
+change.
+Fred Lonidier spoke about reaching a
+labor-union audience. Believing that the
+whole structure of the workplace must be
+changed to affect occupational health prob-
+lems in a major way, Lonidier created a pho-
+to exhibit. He took photographs of the re-
+sults of work-caused diseases and added a
+text about the historical context of these
+diseases and injuries within the work situa-
+tion. The exhibit did attract many union
+members. At the panel, he spoke of the diffi-
+culties of reaching such "non-art" audiences.
+$
+When our time in the Lincoln Room ran
+out (we were reminded of this by another
+CAA rep), we were left hanging in mid-dis-
+cussion. Then it was discovered that another
+spot was, unofficially, available. Perhaps 40
+of us sat in a circle there and continued to
+talk and talk about the role the media play
+for the political artist, about the difference
+between (performance) art and political activ-
+ism (is Phyllis Schlafly a performance artist?),
+about political art as a process of self-identifi-
+cation (for example, the exhibit of shopping-
+bag ladies' art at the Met, organized by Anne
+Marie Rousseau), about definitions of "cul-
+tural worker." -Leslie Satin
+Just out...
+Guide
+to
+Women's
+Art Organizations:
+Groups, Activities, Networks,
+Publications
+only reference work
+of its kind
+painting/sculpture/drawing/photography
+architecture/design
+film/video/dance/music/theatre/writing
+Order your copy now!
+is enclosed for copies of the Guide,
+at $4.50 each, postpaid (institutions: $5)
+Special rates available for bookstores: ask!
+name
+address
+city/state/ZIP
+Mail check or m.o. (payable to WAN) to:
+Women Artists News, for Midmarch Assocs.,
+Box 3304, Grand Central Sta., NYC 10017
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 9 (PDF page 10) ---
+An Evening with
+Paula Modersohn-Becker
+AIR Monday Night Programs since 1973
+have ranged from male critics discussing
+women's art to a Heresies open meeting. The
+biggest audience of the year-more than 50
+people-turned up November 20 to hear art
+historian Diane Radycki read from her recent-
+ly completed Letters of Paula Modersohn-
+Becker. The volume includes translations
+from the German of selected letters and jour-
+nal entries by Becker, plus chapter introduc-
+tions and annotations supplying the artistic
+and feminist contexts of the period.
+To date Paula Becker (1876-1907), a
+painter long acclaimed in Europe, has been
+virtually unknown in this country. But there
+has recently been an awakening of interest
+about her life, work, and times.
+Becker, like her husband, Otto Moder-
+sohn, was a member of the Worpswede art-
+ists' colony, near Bremen, Germany. A 15-
+minute color film opening the reading gave
+an idea of the village and the surrounding
+moors as they were at the turn of the cen-
+tury, as well as a survey of Becker's art. (The
+movie was rented for the evening by AIR;
+artist Cathey Billian provided the projector.)
+During October and November, Becker's
+work was being shown at La Boetie Gallery,
+in an exhibition entitled "Three German Art-
+ists' Colonies: 1890-1914: Worpswede, Mor-
+itzburg, Murnau." Had she lived longer,
+Becker might not be remembered as a Worps-
+wede artist, for from the start her work dif-
+fered radically from that of the colony's
+other artists.
+The new interest in Becker, it seems, is in
+her person and experience as well as her art.
+Adrienne Rich's recent book, The Dream of
+a Common Language, contains a poem, "Let-
+ter from Paula Becker to Clara Westhoff"
+(Becker's closest friend, a sculptor and wife
+of Rainer Maria Rilke). This "letter" from
+one woman artist to another explores issues
+and feelings, gathered from Becker's writings,
+that are stunningly moving and contempo-
+rary.
+In 1906, Becker left Worpswede and her
+husband and stepdaughter to paint in Paris;
+Radycki's reading focused on this year in
+France.
+"I couldn't stand it any longer and I'll
+probably never be able to stand it again,
+either. It was all too confining for me and
+not what-and always less of what-I needed."
+Radycki writes: "It was marriage and the
+provincialism of Worpswede; . . . it was not
+being taken seriously by anyone but a dear
+man whose art took no risks; . . . it was out-
+BOOK REVIEW
+Plain and Fancy: (American Women and Their
+Needlework, 1700-1850). Susan Burrows Swan.
+New York: Holt, Rinehart and Winston, 1977. 42
+color photos, 123 b&w photos. $14.95 (cloth).
+Plain and Fancy is a very important book. It's an
+intelligent and informative piece of needlework his-
+tory as well as a source of women's history, weav-
+ing the threads of needlework with the course of
+history. We have all read about Elizabeth (Betsy)
+Ross and Martha Washington and their needlework;
+we've also seen a lot about costume and fashion
+history. But Swan is concerned with wider events.
+She traces the development of needlework from
+1700 to 1850, as well as the lifestyles and social
+and economic and political pressures on women
+during these times. The reader realizes that needle-
+workers have never created in isolation, but have
+always been formed by the outside world.
+The book begins with a description of the diffi-
+cult lives of our foremothers, their lack of materials,
+their confined lifestyles. We see the indenture form
+filed for Sarah Wade in 1826, a contract that
+Paula Modersohn-Becker Self-Portrait, 1906
+growing heavy skies and artistic moralism; it
+was turning 30; it was frustration and it was
+ambition."
+Among the all-too-familiar, recurrent
+themes-financial problems, familial pressure
+-there emerges a picture of this young artist,
+her conflicts, her defiance of guilt, and her
+passion: "I'm getting there. I'm working tre-
+mendously...I am going to be something-
+I'm living the most intensely happy period of
+my life. Pray for me. Send me 60 francs for
+models' fees. Thanks. Never lose faith in me."
+But as the year went on, the pressure
+from husband, family, and friends mounted,
+until in November 1906, Becker allowed her
+husband to visit her in Paris.
+"By March she was pregnant, by May they
+were back in Worpswede, in November she
+was dead."
+Radycki ended her. reading with "Letter
+from Paula Becker to Clara Westhoff," Rich
+herself being unable to attend. During a
+question-and-answer period, Helen Serger
+from La Boetie Gallery spoke from the floor
+about Becker's surviving family. Interest was
+high and discussion continued informally.
+The impact of the evening on many could
+be summed up in the words of sculptor Erica
+Rothenberg:
+"I had never heard of this artist. I walked
+into the reading one woman and I'm walking
+out another. To hear elucidated so vividly
+and passionately so much of her identity, so
+many of her struggles... gave me a sense of
+history and tradition, the knowledge that the
+things I face today, someone faced 70 years
+ago. These were the struggles of an artist of
+genius." -Jennifer Arndt
+forced her to work for a family in exchange for
+certain "education" and a hope chest of sorts.
+While the woman was assigned to the home, to
+spinning, darning, marking linens, cleaning, cook-
+ing, and raising children, the men ventured out to
+pursue business affairs. Women in isolated areas
+created their own art forms from this isolation,
+such as the Deerfield embroideries.
+During the 18th century, samplers were very
+popular. In the many boarding schools opened to
+accommodate young girls, little was taught about
+"intellectual subjects," but needlework, music, and
+art were emphasized. In this, Swan points out, the
+girls were taught to be docile and demure. They
+were being prepared not to be independent and
+self-supporting, but to be charming and dainty.
+At the same time, they were prepared for the poor
+health and widespread diseases of the times. Most
+sampler verses are very depressing. In time, schools
+changed (thanks to some independent-minded wom-
+en) and eventually needlework disappeared from
+the curriculum.
+In Chapter 3, "The Golden Years of Needle-
+work," Swan paints a wonderful portrait of life in
+Neel & Stein at WCA-NY
+Alice Neel and Judith Stein spoke at the
+January 21 meeting of the New York chap-
+ter of the Women's Caucus for Art, an even-
+ing in the chapter's ongoing program series.
+More than 50 members came to Wendy
+Meng's studio for the discussion, which fo-
+cused on Philadelphia's Moore College of
+Art, the first women's art school in the
+United States.
+Art historian Stein's research into the his-
+tory of the college, established in 1848 as the
+Philadelphia School of Design for Women,
+brought to light 19th-century attitudes to-
+ward art and the female sex. Since women,
+considered especially well suited for pains-
+taking work, could practice the arts at home,
+their work as designers would neither con-
+flict with domestic tasks nor bring them into
+open competition with men. Neither would
+it expose them (heaven forbid) to sexual
+temptations through contact with males on
+the job. In fairness, Stein pointed out, the
+founders genuinely desired to provide needy
+women with professional training, and also
+believed that exposure to art would improve
+character.
+It was the energetic, compassionate Sarah
+Peter who initiated the effort to found a
+school of industrial art. Early students prac-
+ticed drawing, textile design, lithography.
+wood engraving, and other practical subjects.
+By 1921, when Alice Neel enrolled as an illus-
+tration student, the school's name had been
+changed and fine arts added to the curricu-
+lum. Neel, the school's most famous alumna.
+confessed that she chose a woman's college
+in part to be able to concentrate on her work
+without male distraction. Her lively and wit-
+ty reminiscences were interspersed with seri-
+ous advice to young artists ("Train your
+memory!").
+The problem was, scarcely any art stu-
+dents were present at the meeting. A discus-
+sion of the discrimination that many women
+students still encounter would have given per-
+spective to the historical background of wom-
+en's art education. For example, consider the
+devastating account by Patt Likos (Feminist
+Art Journal, Fall 1975) of the pressures she
+experienced as a student at Moore College.
+We need to research women's history in
+art, to honor and learn from venerable wom-
+en artists. But we must encourage today's
+students to speak out and we must heed their
+testimony if art education is to contribute to
+equality of opportunity for all artists.
+WCA-NY invites the participation of art
+students. Information from Kathy Schnap-
+per, 242-1941. ■ -Sylvia Moore
+the home. It becomes clear why furniture was so
+important, why women worked so hard to em-
+broider chair covers and bed curtains. The home
+was the center of all entertaining. A discussion of
+the early feminist movement includes the first
+women's rights convention in 1848 at Seneca Falls,
+and stories of Mary Wollstonecraft and other wom-
+en who fought for the right to be independent after
+their husbands died. (At the time, Swan explains,
+married women were permitted by law to own vir-
+tually nothing.) The reader sees the effects of the
+Industrial Revolution on needleworkers, the effects
+of new leisure time and of better education for
+women.
+I loved every minute of Plain and Fancy. I rec-
+ommend it to needleworkers, feminists, and the
+male chauvinist who lives down the block.
+-Harriet Alonso
+Harriet Alonso is a Brooklyn-based needle artist and
+embroidery instructor. Her work has been exhibited
+in Brooklyn, Pittsburgh, and Cuba.
+March 1979/WAN / page 9
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 10 (PDF page 11) ---
+Texas Letters-Part Two
+Another letter from Jeanette Feldman
+continues the story begun in last month's
+WAN She writes here about recognition,
+choosing between art and crafts, moving on
+in her work, coming to terms with Texas...
+July 18, 1978
+I'm glad you liked the material. I was
+afraid you might be expecting something
+heavier, about WOMEN struggling together
+against the art establishment, issuing mani-
+festos right and left-instead of our very sim-
+ple, selfish reasons for organizing....
+In answer to your question, the "Chisos"
+piece is one of 12 fiber works based on a
+three-day trip we took several years ago. We
+began at Big Bend Park in the Chihuahuan
+Desert of southwest Texas; the Chisos moun-
+tains and Basin are in this unique, wild, erod-
+ed area. Then we traveled from Presidio (the
+asshole of Texas and always the hottest spot
+in this terribly hot state) to Mexico. The
+train started at 4 p.m. and went through the
+desert as the sun was setting. I was mesmer-
+ized by the shadows in the buttes and the
+purplish, grey and brown landscape. The
+next morning we took a train through the
+Sierras (shades of John Huston and Humph-
+rey Bogart) across Mexico to Los Mochis;
+then a train home. The object of the trip was
+the trip. Indian culture, Spanish culture, and
+the power of nature just exploded in my
+head. I began working with shapes from the
+desert and Indian and Mayan-Aztec forms
+infiltrated...
+The flag variations are patchwork with
+machine and hand stitchery and applique, all
+in regular home sewing fabrics, nothing fan-
+cy or unique. "Hope" has stars and letters in
+silver stretch dress fabric. I can't afford fan-
+cy fabrics and I like the challenge of modify-
+ing materials to suit my needs. For instance,
+I used semi-sheer fabric with dark machine
+stitching over a different color cloth to get
+just the exact red I needed-a fiber "glaze"
+like glazing in oils. Some of the flags are in
+Regina Bartley's book on machine stitchery.
+... I showed the flags in October '76 at
+Mind's Eye, a gallery in the Montrose area
+here, which shows craft media as well as
+"fine" arts. But I've always minded the craft
+category for myself. The search for mastery
+of technique and material is all very well and
+important, but I missed the involvement with
+currents of contemporary art-making. Finally
+I withdrew from local craft groups and the
+American Crafts Council, and resumed paint-
+ing and drawing along with the fiber work-
+a felicitous decision.
+I had started in fibers ten years ago, begin-
+ning with traditional crewel stitches. Gradu-
+ally I got into all aspects of fiber (except
+weaving-warping the loom was my Water-
+loo) and every possible technique-stitching
+over dye-painted areas, beading, applique
+(my favorite), patchwork, working in fabric
+with beads, sequins, and wonderful threads
+was a sensuous delight. I made all kinds of
+feelies with fur and feathers, suede and lace.
+Then I felt I'd mastered the medium-fiber
+became another technique, not the only one.
+I added drawing and painting again, and a
+kind of funky wood sculpture and surrealism
+... Your last question is the hardest-
+about my life today. I'm 48 years old and as
+an artist always just beginning, starting again.
+Every new piece seems to be the first-a new
+learning process. I had assumed these would
+be my harvest years, instead of always seed-
+page 10 / WAN/ March 1979
+ing the ground...
+"Chisos" by Jeanette
+Feldman. "Handsewn
+and stuffed... beige
+brown and black felt
+with loose threads of
+fine wool and little
+brass washers and
+thingies added. I see
+it as a kind of papoose
+carrier to hang in an
+Indian chief's long-
+house."
+I'm still married to Norm, 23 years, and
+still like him. Ann, 15, and Henry, almost
+19, are growing... I wanted it all: art, hus-
+band, home, children. I wasn't going to "give
+up" anything when I married and I have not.
+I haven't singlemindedly pursued recognition,
+but I have kept painting...
+As for living in Houston, and the some-
+what traumatic removal from the northeast-
+I like Houston, a lot! It's different: the trees
+are different, shrimp plant grows out-of-
+doors, the sky is fantastic. When I walk down
+the street and see date palms and agave and
+cactus, I get a terrific zing. I find the whole
+crazy, fierce Texas society exuberant and ex-
+pansive. A lot of people here have Indian
+grandparents-I like the Mexican and Indian
+and cowboy flavor. . . (We'd been living in
+rural New Jersey, near exit 5 of the Turnpike,
+and believe me, when you talk about nothing,
+you are talking about South Jersey.) Hous-
+ton is not New York, but there's great poten-
+tial and economic opportunity for my kids,
+too.
+As for art, though, it's a hard go here.
+There aren't many galleries and two recently
+closed. The most successful ones show estab-
+lished New York and California artists and
+well-known Texans. The Museum of Fine
+Arts is a good institution, but does not in-
+volve itself in local art. The Contemporary
+Arts Museum tries, but has had all kinds of
+mad, incredible management problems. Local
+artists seem timid about alternative spaces.
+(New York artists are much more aggressive,
+right?) Many of them feel almost invisible if
+they aren't affiliated with a gallery, but from
+what I hear, when they do get into a gallery,
+their troubles may just be starting.
+I entered the Milliken Rug Competition
+in January '78 (found it in WAN) and just
+got a certificate of merit from them, a gor-
+geous big thing with a gold seal and all kinds
+of calligraphy... I've been in a good many
+juried local, regional, and national shows and
+have some work in books about fiber art...
+So I continue just working. I figure things
+will develop for me and for the arts in gen-
+eral in Houston ...
+I really enjoyed writing this letter.
+Regards,
+Jeanette
+Post Script: A recent note from Jeanette
+says she's "doing a wild and crazy series of
+drawings based on the Statue of LIBerty-
+and dinosaurs. When my son was eight, he
+thought there were dinosaurs in Texas...
+Now, older and wiser (both of us), I'm doing
+drawings of dinosaurs in Texas. And still get-
+ting to know the city-the people and the
+sub-currents-fascinating."
+BOOK REVIEW
+Playing the Art Machine
+by Judy Seigel
+Copy Art. Patrick Firpo, Lester Alexander,
+and Claudia Katayanagi; opening text by
+Steve Ditlea. NY: Richard Marek, 1978.
+$7.95, paper.
+What possessed the makers of this marvel-
+ous book to wrap it in the world's tackiest
+cover beats me. Maybe it was the publisher's
+bright idea to be "commercial." The blurb.
+says, "Turn your local copier into a personal
+arts and crafts center," and "Here at last is
+an introduction to today's hottest new art
+medium." There are three grammatical errors
+in the preface, and the first section opens
+with these unctuous, inane lines: "Welcome
+to the age of Copy Art. Now anyone has the
+potential to be an artist or designer at the
+push of a button."
+So what you do is go directly to page
+eight, there to cast your eyes on "Glove
+Mudra" by Les Levine and his penetrating
+statement:
+In order to use copying machines to make art,
+three things are absolutely necessary. The first is
+crazy wisdom. The second is fearless compassion
+and the third is a magic dagger which should be
+plunged into the brain one second before the but-
+ton on the copying machine is pressed. If all these
+three rules are adhered to, a perfect work of art
+will result.
+It seems that the authors of Copy Art dis-
+agreed among themselves about how to de-
+scribe the background and contribution of
+each, so they left that part out-there is no
+biography or crumb of information about
+Patrick Firpo, Lester Alexander, Claudia
+Katayanagi, or Steve Ditlea; we don't even
+learn what city, or for that matter, country.
+they live in. One feels the lack. Still, the
+book belongs in the library of anyone inter-
+ested in copying, printing, photography, ani-
+mation, limited editions, crafts-indeed, of
+anyone interested in the art of the 20th cen-
+tury. It is the smashing catalog for a show
+we haven't quite had yet-but maybe some
+heads-up curator will get the idea.
+After the salvo from Levine, the opening
+sections give a rundown on the state of the
+art and its history and practitioners, begin-
+ning with Sonia Landy Sheridan, who initia-
+ted the first copier course at the School of
+the Art Institute of Chicago in 1970. (Today
+the Generative Systems Department at the
+Art Institute offers a master's degree.)
+Sheridan says, "We live in an era when art
+and science are coming together after having
+been split since the Renaissance. Da Vinci
+would have had no problem with using a
+copier for art."
+We read that the 3M Color-In-Color ma-
+chine (developed in part with Sheridan as
+artist-in-residence) was "truly interactive,
+allowing its operator to alter color relation-
+ships, values, and density at will." It was driv-
+en off the market in 1975 by Xerox Model
+6500, which gives color "muddy by compari-
+son," but at one third less cost.
+There's human drama, too. It took Ches-
+ter F. Carlson three years to create the dry-
+copy process, then nine more to make a
+penny on it. In the interval it cost him "his
+marriage, his health, and just, about every
+spare cent he earned at his job as a patent
+attorney." (Not to worry; he did eventually
+become a multi-millionaire.)
+Then a "Quick Guide to Copy Processes"
+explains the salient features of electrostatic
+transfer and electrostatic direct processes,
+plus thermographic and photo-chemical
+<-11
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 11 (PDF page 12) ---
+photo: Gina Shamus
+Awards Ceremony
+Quote...End Quote
+<-1
+Ann Sutherland Harris said, "These are artists
+we admire... Awards are not carrots, but
+represent the values of our society. . . Thank
+goodness women live a long time and we
+won't run out of women to give awards to...
+No woman gets sufficient recognition... It's
+still difficult to find good books and good
+reproductions of the work of even these
+famous women."
+Eleanor Tufts said: "If I were a painter,
+I'd paint like Isabel Bishop."
+Isabel Bishop told a story about Jose De
+Creeft, who, awarded a medal, said "Thank
+you" and sat down. Pressed to say more, he
+smiled brilliantly at the audience and said,
+"Work! Work!"
+Selma Burke said, "Thank God for this
+SNOULD FOR
+NU GRUENS POR CKT
+day." She also thanked the WCA: "The day
+would never have come without them." And
+again, "Work is the answer..
+Ann Sutherland Harris, introducing Alice
+Neel, said that in 50 years of painting, Neel
+has "created a visual record of New York and
+its people." Her portraits are "profoundly
+democratic." Alice Neel said her father told
+her, "I don't know what you'll do-you're
+only a woman."
+Louise Nevelson said the day was impor-
+tant, "not only for American women, but for
+women all over the world... We've had gods
+Art Machine
+non-silver processes, with diagrams.
+<-10
+But the heart and joy of the book is the
+"Copy Art Art Section" with reproductions
+of work by some 50 artists, a few words on
+how each was made, and a statement from
+the artist. You may not fully grasp Thomas
+Norton's use of a 3-M color copier in a sys-
+tem designed by Dr. Robert D. Solomon of
+Solotest Corp., in which a black-and-white
+video camera picks up an image on a TV
+screen and introduces it to a copier, which
+transfers it to paper, adding colors in a pro-
+cess that takes up to 10 minutes; but the
+next image is Peter Thompson's "Phases," a
+plant "simply laid on the copier template."
+(The image after that, though, is Thompson's
+"Print #13.9 from Unit 13," about which I
+could understand only that it is made on a
+3-M Remote Facsimile Telecopier.)
+Johanna Vanderbeek, Kasoundra, Sari
+Dienes, Sonia Landy Sheridan, Kris Krohn,
+William Gray Harris, Larry Rivers-famous or
+Above: a moment during WCA book-signing party.
+Left: another moment with Neel and Nevelson at awards ceremony.
+long enough." Also, "I did build an empire,
+and I think it fits me like a glove."
+Ruth Weisberg read a telegram of thanks
+from Georgia O'Keeffe and said, "She speaks
+with the flower, bone, and rock... our
+shared inspiration."
+Mary Ann Tighe said WCA is "one of the
+best examples of work by women." During
+five years of asking, "Where are the women
+artists?" it became a catalyst in national af-
+fairs. Tighe said also that the political activ-
+ism of women was a factor in her own ap-
+pointment to the position she holds at NEA.
+unknown, the artists have seduced, coaxed,
+or bullied their machines into dazzling per-
+formances, from five-cents-plain (but elegant)
+black and white to melting color, collaged,
+matrixed, mounted, or alone.
+The statements, except for the inevitable
+pompous or lackluster remark, are another
+education. Harris informs us that "When
+printed with care and regard to the sensitive
+technicalities... a 3M color copy has all
+the qualities of a Fine Art Print." Margot
+Lovejoy says, "Since the color dyes of the
+machine are covered with polymer and are
+permanent, if the work is printed on rag sup-
+port paper, the resulting print is of archival
+quality." From Charlton Burch: "I believe
+that the copying machine is perhaps the
+greatest reproduction and image-making
+tool of the 20th century." Patricia Abbot
+says wryly, "The copy machine may have
+created a new breed of gambler-the color
+copier junkie, unable to stop 'playing it' un-
+til it spits out that perfect print." (I must
+add here that the book has no index or list
+Now the NEA is setting up a "sex-blind ap-
+plication review" system, using applicants
+first initials instead of first names. Although
+there is bound to be "some recognition" of
+well-known surnames, she said, "90 percent
+of applications are from people whose names
+are not known."
+WAN is sponsored in part by a grant from the
+National Endowment for the Arts in Washington, DC,
+a federal agency, and
+by the New York State Council on the Arts
+of the artists, which is outrageous and unfor-
+givable. Even as a casual "cookbook" kind of
+affair it should have had an index.)
+The last section of the book, "Copy
+Crafts," gives a page or so to each of 30 pro-
+cesses, from heat transfers (yes, tee-shirts)
+and mail art (like postcards) to animation,
+masks, and "The Home Press." Under "Tiles"
+we find Charlotte Brown's drawings or parts
+of paintings that have been run through a 3M
+machine onto heat transfer material, then
+ironed onto a standard unglazed H&R John-
+son Company tile. And for those with access
+to one, the Telecopier (3M Remote Facsimile
+Machine) boggles the mind with its possibili-
+ties.
+Imagine: "If you transmit an image at four
+minutes and receive it in six minutes, the
+image will be compressed... Several people
+have experimented with using synthesizers to
+modulate Telecopier sounds and therefore
+image patterns."
+Imagine.
+March 1979/WAN/ page 11
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
+photo: Carole Rosen
+photo: Gina Shamus
+At WCA pre-
+sentation,
+Bishop (left),
+Burke, and
+Mondale
+--- Newsletter Page 12 (PDF page 13) ---
+NAJZ AY
+Folk Art & Neo-Folk Art
+WCA Panel, Jan. 30, Washington, DC
+Judith Stein, Univ. of Pa., mod.; Betty MacDowell,
+Mich. State Univ. ("The Legacy of the Lady Lim-
+ners: Folk Portraiture by American Women"),
+Rachel Maines, Center for the History of American
+Needlework, Pittsburgh ("The Designer and Artisan:
+The Ancient Contract"), Pat Ferraro, San Francis-
+co State Univ. ("Quilts in our Lives"), Miriam
+Schapiro, Amherst College, and Melissa Meyer,
+NYC ("Femmage," Heresies).
+The first WCA panel program, "Folk Art
+and Neo-Folk Art," was both exhilarating
+and illuminating. Panelists touched on impor-
+tant points of original research, while much
+of the territory explored was new. Well-cho-
+sen slides introduced the work of unknown
+women past and present and relevant pieces
+by well-known contemporaries. A cloud of
+doubt may still linger as to where and when
+folk art and naivete give way to professional-
+ism, however. MacDowell and Maines assert-
+ed that training is the key, but Ferraro, Scha-
+piro, and Meyer freely interspersed untrained
+artists' work with that of others, without
+identification. One was left to make one's
+own deductions.
+In her introduction, moderator Stein said
+that Folk Art as a subject was "discovered"
+in the 1920s and that the topic was a first for
+both CAA and WCA. She suggested that this
+might be because art historians have trouble
+dealing with Folk Art as art. Now feminism
+makes us aware that women have long stu-
+died, collected, and documented (primarily
+for themselves and their families) artifacts
+and objects of folk art by other women. In a
+sense, then, art history has been a means of
+social control. Then again, much of this art
+is made with relatively cheap materials and/
+or discards, and it is possible that art histo-
+rians really had difficulty understanding and
+appraising it. Now there appears to be a grow-
+ing revolution in taste allowing us to begin,
+at last, to evaluate and document.
+Betty MacDowell, author of a new book,
+Artists and Aprons, pointed out that 18th-
+and 19th-century women's folk art was
+shaped by American culture. Rigid roles in
+marriage and parenthood meant that wom-
+en's lives were filled with domestic responsi-
+bility. Their education stressed needlework,
+penmanship, and watercolor along with the
+"social graces." Fine arts as a field was dis-
+couraged, for women were not to study the
+live nude male model! Women channeled
+their creativity into the domestic scene; por-
+traiture was a natural exploration-familiar
+and available faces of family and friends
+could be done quickly in pastels or water-
+SUBSCRIPTION FORM
+I enclose $.
+as follows:
+Regular subscription-$6 a year
+Student (or Group: 5 or more)
+at $4 each
+Institutional subscription-$8.50 a year
+addl postage-Canada $2.80; other foreign (air)
+$7.30
+(surface mail) $3.60
+renewal (please enclose mailing label)
+single issues @ $.75-months/yrs:.
+name
+_ tax-deductible additional contribution
+address
+city
+colors, between chores. Women took the
+scissors of domesticity to cut paper profiles,
+also. MacDowell said repeatedly that the art
+had to fit around the accepted patterns of
+a woman's life; it rarely even approached a
+full-time activity.
+By the mid-1800s, demand for portraits
+by self-taught artists lessened, due to the ad-
+vent of the camera. People preferred the like-
+ness of photography to record friends and
+family. The disappearance of the naive artist
+began.
+Rachel Maines traced the professional rela-
+tionship between designer and artisan. While
+the individual artist has been important since
+the Renaissance, little has been written about
+the division of labor between the creator of
+an idea and the maker-constructor, a division
+that may in Europe and America be made
+according to class and sex. The designer has
+always reigned over the technician. Mechani-
+zation of textiles reduced the artisan's role
+to mere machine-tender (and began the pro-
+ducer-consumer division). The designer-arti-
+san contract was originally intended to re-
+solve technical problems encountered in the
+initial design stage.
+photo: Carole Rosen
+In early history, embroiderers tended to
+be at a higher level socially. The designer was
+part of the staff in wealthy households, and
+full-time employment included not only de-
+signing the intricate details of clothing, but
+also devising patterns for linens, curtains,
+rugs, and furniture. Folk embroidery, how-
+ever, was produced from designs without di-
+rect contact between artist and designer.
+Folk artisans borrowed motifs freely from
+many diverse traditions and sources and tend-
+ed to combine them. Samplers were the work
+of students learning stitchery and thus held
+even more incongruities.
+The earliest commercial needlework used
+charts for needlepoint and was done in quad-
+rants. At first the designs were hand-painted;
+later they were printed. Thread and yarn
+manufacturers discovered the advantage of
+professional designs, hiring women to draft
+patterns derived from popular magazines and
+pamphlets. After 1870, charts were available
+for beadwork, filet lace and crochet, and
+Midmarch Associates
+Women Artists News
+Box 3304 Grand Central Station
+New York, New York 10017
+counted cross-stitch.
+In the late 1960s, a change began. Now
+needleworkers and textile artisans often want
+concept and design wed together, although
+some do still favor the designer-artisan divi-
+sion.
+Pat Ferrero traced the life transitions of
+women folk artists through their quilts. Baby
+quilts could be utilitarian or elaborate or
+both at the same time. Quilting skills were
+passed from generation to generation, older
+women teaching young children. The engage-
+ment party was often the occasion for quilt-
+ing, while the "masterpiece" was usually the
+wedding quilt-carefully conceived and pains-
+takingly rendered during the engagement.
+The widow's quilt drew on a rich store of
+memories. Ferrero showed a quilt made from
+a Victorian mourning coat, which had been
+opened up to become a ground for both
+quilting and embroidery. A coffin in the cen-
+ter was surrounded by vignettes of the
+quilter's life.
+Grace Earl, a transplanted Chicagoan now
+working in San Francisco, was seen in several
+slides with an incredible array of patterned
+fabrics of every description, which, sitting in
+her crowded one-room apartment, she pieces
+into intricate coverlets of exquisite skill and
+conception. (Ferrero has also made a film on
+Earl.)
+Mimi Schapiro and Melissa Meyer devel-
+oped their thesis of "femmage," and also had
+a document on the subject, which they hand-
+ed out to the audience. This included their
+definitions of collage, assemblage, decoupage,
+and photomontage as background for their
+jointly coined phrase, "femmage." The basic
+premise here is that "leftovers" are essential
+to a woman's experience. Schapiro pointed
+out that most of the classic written works on
+collage refer to male artists. Therefore, she
+and Meyer developed "femmage" to mean
+the same form made solely by women.
+Meyer and Schapiro listed several criteria
+for "femmage," but were careful to state
+that not every one need appear in each ob-
+ject. But for the work to be "appreciated" as
+"femmage" at least half of the criteria must
+be met. These include: being made by a wom-
+an, recycling of scraps, saving and collecting,
+themes relating to the life context, covert
+imagery, diaristic nature, celebration of pri-
+vate or public events, expectation of an inti-
+mate audience, drawing or handwriting
+"sewn" in, silhouetted images fixed on other
+material, inclusion of photographs or printed
+matter, recognizable images in narrative se-
+quence, abstract pattern elements, and the
+possibility of a functional as well as an esthet-
+ic life for the work. -Barbara Aubin
+179R
+Northwestern Univ Lib
+Serials Dept/1AAJ8719
+Evanston, IL 60201
+NONPROFIT ORG.
+U.S. Postage
+PAID
+New York, NY
+Permit No. 8166
+16
+S
+state
+WOMEN ARTISTS NEWS
+ZIP
+March 1979
+P.O. Box 3304, Grand Central Station, NYC 10017
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 14:42:00 UTC
+All use subject to https://about.jstor.org/terms
\ No newline at end of file
diff --git a/genai/Newsletter_OCR_LLM_Project/OCR_versions/1991_01-01_Vol.15_No.4_compressed_ocr.txt b/genai/Newsletter_OCR_LLM_Project/OCR_versions/1991_01-01_Vol.15_No.4_compressed_ocr.txt
new file mode 100644
index 0000000..863e044
--- /dev/null
+++ b/genai/Newsletter_OCR_LLM_Project/OCR_versions/1991_01-01_Vol.15_No.4_compressed_ocr.txt
@@ -0,0 +1,3147 @@
+
+--- Newsletter Page 1 (PDF page 2) ---
+WOMEN ARTISTS NEWS
+WOMEN OF MEXICO
+VOLUME 15, NO. 4
+$3.00
+Winter 1991
+WOMEN OF MEXICO
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+WOMEN OF MEXICO
+Feming
+Serial
+Am
+W8725
+A791
+3-11-91
+--- Newsletter Page 2 (PDF page 3) ---
+Feminist Critique: A Short Note
+Feminist art theory and practice in the 1990s has moved way
+beyond critiquing the exisiting patriarchy. It is now proposing
+new questions that are expressed in art - for instance, shows
+like Mary Ann Wadden's "Original Sin" at the Hillwood Art
+Gallery (C.W. Post Campus, L.I. University) and find their
+starting point in the elsewhere of evolving American feminist
+art criticism, i.e. Jane Kaufman. These activist practices are
+incredibly threatening to the patriarchy and certain of their
+assumptions.
+The relationship that has been in force between the sexes has
+been male dominant. To question this and construct different
+alternatives or, as postmodernist jargon would have it,
+"discourses" became the task of feminists in the 1970s.
+Accused of simple-mindedness by male critics who had been
+supportive during the male-defined "golden age" of feminist
+art and criticism, i.e., Lawrence Alloway, feminist art critics
+of the 1980s attempted to create conceptions that rejected male
+experience as "universal." Unfortunately, this process led
+many to bind themselves to male authority in order to refute it.
+Take for instance the English feminists who concentrated on
+the "Woman Question" first identified by Engles and Marx or
+the new postmodern feminists who bound themselves to the
+male dominant theories of Foucault or Lacan. All of these
+masculine-based theories of culture and about women had
+biases of their own which rarely paid attention to the reality of
+women's experience within their own sphere, i.e., biochemis-
+try and the body. They were essentially resistant to feminist
+interventions, and although savvy women were able to write
+See page 13 for exhibition reviews of Sue Collier and Katie Seiden
+essays on the cutting edge of criticism, these writings were
+mainly shaped by ideas originating in white Euro-centric
+discourses, i.e., Plato, Hobbes, Hegel, Freud, Marx and Sartre
+to mention only a few. The most radical feminist critics
+generally found themselves shut out of the major trade
+journals and could find a voice only in magazines which were
+marginal to the established and centrist mainstream. Many
+found themselves publishing their best work in catalogs and
+popular media.
+This is a short overview of the past two decades of discussions
+centering on the feminist critique in the arts, which brings us
+to the threshold we now stand on. The 1990s promises
+well,.but proponents of activist criticism have their work cut
+out for them. Racism and sexism within the feminist move-
+ment itself may handicap us from our aspirations. It is absurd
+to assume we all have the same goals. What we have to do is
+recognize our various concerns and the common ground we
+share as women in a sexist society. We must honestly
+examine our approaches, philosophies and attitudes. Concepts
+of gender and difference are at the forefront of developing
+feminist perspectives; this will require us to broaden our
+horizons, risking crossing borders that are foreign to us. How
+we are going to (re) construct our differing aims and eliminate
+male bias in creating systems and theories using feminist
+methods is the big question for feminist critics and artists in
+the 1990s.
+-Cassandra L. Langer
+D. James Dee
+Elizabeth Collier, "Reflections of a Woman" 1990
+Katie Seiden, "Medusa I"
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 3 (PDF page 4) ---
+WOMEN ARTISTS NEWS
+PUBLISHER and EDITOR, Cynthia Navaretta
+CONTRIBUTING EDITORS, Rena Hansen,
+Cassandra L. Langer, Sylvia Moore
+REGIONAL CORRESPONDENTS,-
+Volume 15 No. 4
+CONTENTS
+Winter 1991
+EXHIBITIONS
+Washington, DC, Nancy Cusick,
+2
+Texas, Joy Poe
+CONSULTING EDITOR, Judy Seigel
+5
+CIRCULATION, Lynda Hulkower
+PASTE UP, Two Lip Art
+6
+7
+8
+9
+10
+Women Artists News is regularly abstracted and
+indexed in RILA, the International Repertory of
+the Literature of Art and in the Alternative Press
+Index, Baltimore, MD. Relevant articles are
+abstracted in ARTbibliographies, published by
+Clio Press, LTD, Oxford, England.
+11
+12
+13
+Copyright 1990 by Women Artists News. All
+rights reserved. No part of this publication may
+be reproduced without written permission from
+Women Artists News.
+15
+Women in Mexico by Cassandra Langer
+Locations of Desire by Kathleen Paradiso
+The Queer Show by Cassandra Langer
+Ellen Banks by Alicia Faxon
+The Emporer's New Clothes by Devorah Knaff
+Jane Kaufman,
+Linda Cunningham and
+Christina Schlesinger by Cassandra Langer
+Femmes d'Esprit: Women in Daumier's Caricature and
+Sue Collier by Rena Hansen
+Katie Seiden by Marilyn Benson
+PERFORMANCE & DANCE
+Endangered Species choreography by Martha Clarke,
+SSN 0149 7081
+Published by Midmarch Arts
+reviewed by Janet B. Eigner
+Malling address:
+16
+Rachel Rosenthal reviewed by Jo Hanson
+Post Office Box 3304, Grand Central Station,
+18
+Dances For a Century
+New York, NY 10163
+Telephone (212) 666-6990
+19
+Cover: Frida Kahlo, "Marxism
+Heals the Sick" Museo Frida
+Kahlo, Mexico City
+choreography by Doris Humphrey & Ruth St. Dennis and
+Classical Indian Dance choreography by Hema Rajagapolan,
+reviewed by Effie Mihopoulos
+PANEL & SYMPOSIUM
+20
+Women in Mexico by Cassandra Langer
+21 Abstract Expressionism: Other Dimension by Cynthia
+Navaretta
+BOOK REVIEWS
+22
+23
+Bertha Morisot by Anne Higonnet reviewed by Sylvia Moore
+Women in Mexico by Dr. Edward L. Sullivan reviewed by
+Cassandra Langer
+Short Reviews
+ALMANAC
+26
+29
+30
+31
+Exhibitions Solo and Group
+-
+Slide Calls & Opportunities
+Events, Conferences & Symposia
+ARTICLES
+Crafts in the Art Marketplace by Pamela Blume Leonard
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 4 (PDF page 5) ---
+Women in Mexico /
+National Academy of Design, NYC
+September-December, 1990
+by Cassandra L. LANGER
+Fall 1991 in New York will long be remembered for the city-
+wide exhibitions at museums and galleries of the art of
+Mexico. The most exciting event, and the one generating the
+greatest interest, was the National Academy's landmark show
+on women artists. The exhibition, catalog and symposium are
+all reviewed in these pages.
+No matter how you say it, Latin American women have
+arrived in New York. The big apple is agog over Frida Kahlo
+and Mexico as exotica. Elle ran a story on Frida and juxta-
+posed Frida's self-portraits with fashionable photographs of
+models dressed in Mexican-style clothes. If this all smacks of
+sensationalism you ain't heard nothing yet. Films, books, and
+all sorts of events featuring Frida Kahlo as a role model are
+the enriched wonder bread of the season, topped off by
+Madonna's recent hit tune "Vogue" in which she sings "Come
+on, girls, let's get to it, strike a pose, there's nothing to it."
+All this is very provocative when one thinks of the sense of
+power "dressed to kill" conveys to a younger generation,
+especially in terms of women using their sexuality. Retrogres-
+sive, in feminist terms, as all this is, it makes me think of
+another pop song "What's love got to do with it?" By the
+same logic, I'm moved to ask what's art got to do with it? The
+answer seems to be almost nothing-since it's about com-
+mercialism. The media focus is limited to Frida, who has
+become a hot commodity, particularly since Madonna and
+other pop stars have purchased her art for record prices.
+Still, "Women in Mexico" makes very interesting viewing,
+featuring over one hundred works by 22 women artists. By no
+means what it might have been had curator Edward Sullivan
+been given more time, it yet illustrates the extraordinary
+contributions women have made to Mexico's cultural history
+in the 20th century. Dr. Edward Sullivan, Chair of the
+Department of Fine Arts at New York University, covers such
+themes as national identity, personal and psychological
+identity, fantasy, abstract expressionism, women's role in
+society, and contemporary pluralism and illustrates them with
+artists including Kahlo, María Izquierdo, Olga Costa,
+Remedios Varo, Leonora Carrington, Lola Alvarez Bravo,
+Graciela Iturbide, Flor Garduño, Lilia Carillo, Laura Ander-
+son, Tina Modotti and Elena Climent.
+Sullivan's exhibition is radical, so it was hard to understand
+some of his exclusions. Later he told me the exhibition is only
+an ambitious first and he intends to follow it with an inclusive
+book. He welcomes contributions to his list. He is to be
+commended for providing us, at short notice, with a discursive
+space in which to discuss Latin American and Hispanic
+women. Choosing the "most representative figures for most
+trends of the time period dealt with" was Sullivan's immediate
+objective. It makes for a very interesting show. I was sorry to
+see him uncritically accept the Gouma-Peterson and Mathews
+"The Feminist Critique...,"which appeared in The Art
+Bulletin as a definitive source viz. the history of the women's
+movement in art. It is essentially a sequence of windy
+generalizations that confuses more than it enlightens.
+I was pleasantly surprised by a number of new faces and
+particularly liked the inclusion of photography and younger
+contemporary artists. Frida Kahlo's life enters into her art, and
+in many of her paintings she shows herself as a mere child
+with a crush on the great hero Diego Rivera. In pictures like
+the Little Deer where she is shot through with pain she
+reminds us of her dependency on Rivera and her own personal
+courage. In Diego Y Yo (1949) he is engraved on her brain
+like a third eye.
+There is something savage in the realities these women depict
+that is not Mexican. Remedios Varo came to Mexico from
+Spain in 1941 and soon after struck up a friendship with the
+American Leonora Carrington. Her The Creation of Birds
+(1958) is an alchemistical and surreal imaging of her own
+artistic liberation. Her painting, like Kahlo's, is precise, jewel-
+like and intimate. Leonora Carrington, like Varo, has a violent
+and spiritual edge to her art. It is a transformative vision that
+imposes a special kind of attention on its viewer. Works like
+Temple of the Wing (1954), Samam (1951) and Down Below
+(1942 are metamorphic and full of occult symbolism.
+Lucero Isaac's mixed media sculptures Downstairs to Heaven.
+Act II (1989) and Devilish Viewer (1989) make a respectable
+bid for appreciation. I particularly like Laura Anderson's The
+Sacred and The Profane (1989) and "The Origins" series. In
+these drawings she embodies the profound sexual energy of
+the spiritual. The work consists of large, energetic drawings
+using carbon graphite and ink on paper. In spirit and basic
+understanding there is an innocence and pathos that is immedi-
+ate and disconcerting because it anticipates the physical and
+2
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 5 (PDF page 6) ---
+La Mujer en Mexico
+10
+OEGA
+11
+2
+B
+7
+5.
+6
+CHO LA ASUNCION
+MARZO
+6
+Elena Climent, Altar in a
+Car Repair Shop, 1988
+spiritual as a continuous moment of becoming in which we
+don't know which is sacred or profane. It is the intensity of
+Anderson's vision that is so refreshing. Elena Climent, who is
+largely self-taught, uses the most mundane subject matter. But
+each moment she paints has a uniqueness that intends to
+capture something singularly Mexican. Climent constructs her
+pictures from the debris of everyday life in Mexico City -
+gas station altars, candid close-up views of middle-class
+interiors full of cheap religious and secular images, plastic
+lace, fading photographs and assorted other trash. What is
+particularly gratifying about these works is their deeply
+humane approach and genuine love for and realism about
+human beings.
+A few comments about the photography. Tina Modotti's work
+conceptualized the mood of nationalism throughout Mexico
+during the time that she worked there. She was influential and
+influenced other native photographers with images like El
+Machete (ca. 1928). Lola Alvarez Bravo's photograph The
+Dream of the Poor impressed me deeply. It shows a small boy
+asleep among several hundred sandals. He is a pure presenta-
+tion-only a peasant-a symbol of the Mexican people. He
+is displaced and at a loss amid plenty. We haven't the
+slightest idea of what his dreams are. We only have a suspi-
+cion from Bravo's boldly discordant placement that he dreams
+about plenty of something. Bravo's photographs of the painter
+María Izquierdo (1947) and Diego Rivera (ca. 1945) are direct
+and display an intensity of seeing that makes the record of
+their faces a record of a prodigious animal power to endure.
+Graciela Iturbide's photographs are the work of a woman who
+evidently understands the absurdity of modern life in Mexico.
+Her wildly discordant and satiric Angel Woman shows a
+woman dressed in what appears to be traditional costume
+striding across a rugged landscape. The embodiment is heroic,
+but upon closer examination we notice that she is carrying a
+portable radio. Iturbide collapses the barriers between a
+multitude of cultural clashes blending them into one ironic
+statement about how we exist in the same space - only very
+differently. More cutting is her The Border (1989) in which a
+man with a tattooed back, sporting an image of the Virgin of
+Guadalupe, faces the horizon. Here she presents the human
+predicament where we are to be pitied and laughed at as we
+face the changing and unchanging realities of the world we
+have created. In her Powerful Hands she shows two genera-
+tions of women, possibly a mother and daughter, in front of an
+assemblage of sculpted wooden hands. This moment reflects
+continued next page
+WINTER 1991
+WOMEN ARTISTS NEWS
+3
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 6 (PDF page 7) ---
+Women in Mexico continued
+an undervalued wisdom of heart and spirit that have remained
+unchanged since ancient times.
+In works by Iturbide and Flor Garduño, especially her incred-
+ibly powerful and compelling Warsau #46 (1987) and Knives
+(1987) we seem to be dealing with a continuous and unfin-
+ished journey that mirrors the history of Mexico and human-
+ity.
+In summary, this is a show that ventured too little and its
+pseudo-Mexicanism made me grit my teeth, since I expected it
+to be rooted in artists of Mexico. Given the prohibitive price
+of the catalog ($110) I was disappointed that no biographical
+material was included in the exhibition. Though every
+performance has its limits, the show transcended them by
+introducing us to a number of women artists who need to be
+better known, including María Izquierdo, Olga Costa, Sylvia
+Ordóñez and Mariana Yampolsky. Much as I mistrust the
+political climate that has treated us to this Mexican extrava-
+ganza I think the National Academy of Design and the Centro
+Cultural Arte Contemporaneo deserve a round of applause
+for creating an opportunity for a wider audience to become
+acquainted with these artists.
+Phyllis Bramson, "Femme Fan" 1983
+4
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+Marie Jose Paz, "Utopia Parkway,
+Homage to Joseph Cornell" 1975,
+Women in Mexico exhibition
+Paul L. Meredith
+(Review on opposite page)
+POLSKA 135
+MP
+--- Newsletter Page 7 (PDF page 8) ---
+Locations of Desire
+Phyllis Bramson, Michiko Itatani and Vera Klement
+State of Illinois Art Gallery, Chicago
+September-October, 1990
+by KATHLEEN PARADISO
+From the Oedipal myth, Plato and Aristotle, through
+Augustine's Confessions and Freud's Interpretation of
+Dreams, to Derrida and his followers' relatively recent
+fashionable writing on language and literature, ideas of desire
+have engaged the Western imagination. This frame of
+reference weighed heavily on "Locations of Desire" curated
+by Terry Suhre, but raised some questions. Where do dis-
+course and painting meet and part ways? Since desire - to
+have, be understood, know, love, go beyogd has been
+mapped from Logos to belly button, what's left to say,
+specifically, in terms of painting? Phyllis Bramson, Michiko
+Itatani, and Vera Klement addressed these questions gamely,
+and in radically different ways.
+Itatani's huge black and white paintings take big risks and
+have the muscle to carry them off. Bodies with bulging,
+twisting sinews lock in combat and explode across the canvas,
+some bent double, as if giving birth to themselves, or falling
+into their omphalos, after Freud. Heads are missing or
+distorted as if by the velocity with which they traverse tightly
+drawn planes or grids. Dopplegangers clutch their counter-
+parts and Ego wars with Id. All are titans. An expansive
+painter who doesn't hide behind theory or irony, Itatani
+doesn't suffer from anxiety of influence either. Smashed
+under and across the tight grids, with their computer graphic
+look, her wide curved brushstrokes are nakedly expressive and
+romantic. Her images of flying primordial struggle plunder
+Blake's prophetic poems, with their Miltonic winds and
+Biblical and classical allusions, but Itatani's paintings are
+stronger than Blake's watercolors. Her images have still other
+antecedents in Goya's Black Paintings and Bacon, but the
+black and white makes them more bearable, if not too sanitary,
+Frankenstein gray notwithstanding.
+Though her painting is the opposite of classic, there is a
+classic transparency in the way Itatani translates ideas.
+Startlingly explicit in using signs and symbols of power, hers
+by right-she engages the Western canon with reversals, not
+apparent in the work itself-she's from Japan. One could
+fault Itatani for not handling this dynamite critically enough.
+She risks some of the tradition's own puffed up tendencies. It
+would be more politically correct at least to subvert some of
+the ever-stunning machismo of the archetypes, but she surely
+levels some stereotypes of artists. Moreover, the mix of
+images from literature as well as painting sufficiently compli-
+cates the issue to exonerate her awesome achievement.
+Whatever she depicts, the location of desire for Itatani in these
+paintings is power. The sheer ambition of her undertaking
+provokes questions people have stopped asking. What's the
+difference between image as signifier and a painting's body?
+Finish? Itatani's sharp contrasts form a strong skeletal
+composition; the quick line of a thigh sets it in motion. It's all
+there. Or is it? Would she do better to abandon the gargan-
+tuan foot and wimp out like Michelangelo with niceties of
+draughtsmanship in the extremities, or not? Trade off size for
+depth of painting (having already scaled down her work,
+which still over-flows the walls)? Make a three-mile painting
+with no trade-offs? The work can take such questions, trifling
+to serious, and they become relevant in view of what it
+transmits, and of what Itatani seems to be reaching for without
+apology masterpieces.
+Klement takes a humbler approach. With a few lines, patch of
+canvas or muted plane, images of thresholds and doors, she
+locates desire in a blank to be filled. Thin washes of gray
+have a mildewed look where faint constellations take shape as
+if by natural processes. A smidgeon of light defines a horizon,
+and patterns to the left suggest book binding, pages to be
+turned. These pieces rely a good deal on the viewer, in
+Minimalist fashion, and vital inconsistencies in the work show
+an unwillingness to settle into a mode, risking change. In her
+most recent paintings, Klement seems to have scraped paint
+right off the palette, or used the canvas as palette, juxtaposing
+thin washes with thick gobs of paint modeled into images - a
+birch, a river. Several heavily textured images are stranded on
+raw canvas, which, in the context of desire, is perhaps a
+witticism the canvas seems to be wanting something.
+Bramson is unconcerned with min-max modes. Her canvases
+are filled with comic strip or storybook-style figures that serve
+a narrative function. Images of hearts, spleens or eggplants,
+and potted plants clutter up split planes of color that rub
+against each other. Figures squat on opposite sides of a
+pattern of signs making hand gestures. A woman aghast holds
+an uprooted tree, and a pig-tailed person turns away, about
+communication, locating desire (as motive for language) in the
+continued next page
+WINTER 1991
+WOMEN ARTISTS NEWS
+5
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 8 (PDF page 9) ---
+Locations of Desire continued
+need to be understood, or in the Other. What holds them all
+together is color. Orange desires its blue complement; red
+desires green, they meet in a gray in-between zone. In short,
+this binding medium shows that desire, for Bramson, is in the
+eye's appetite.
+The catalog argues unpersuasively that Bramson, Itatani, and
+Klement are similar, mainly because they are different from
+other artists. But their essential dissimilarity is no failing of
+the show, which instead makes a person think. The three
+artists's work can be seen at their respective Chicago galleries,
+Roy Boyd, Dart, and Deson-Saunders.
+Mark Salmen
+Marcia Salo, "Victor, Victoria" 1990, The Queer Show
+The Queer Show
+Wessel O'Connor Gallery, NYC
+September, 1990
+by CASSANDRA L.LANGER
+The art historical canon has stressed the achievements of male
+artists, describing them as heros, geniuses and victors. This
+jargon of war evidently was not intended to include the limp
+wrist gay artist poetically depicting a gay subculture. In this
+galaxy of stars there has been little room for either daughters
+or gay and lesbian artists.
+In the last few years the discipline of art history, with its
+double standards of evaluation, has been challenged and
+modified by the special concerns of a generation of new
+writers on art working out of poststructural and postmodern
+models of inquiry. To varying degrees, thinkers such as James
+Saslow, Emmanuel Cooper, Douglas Crimp, Harmony
+Hammond, Arlene Raven and Lucy Lippard have alerted us to
+the need to deal with sexuality openly in order to assess the
+work and lives of artists without the prejudice, distortion and
+myth surrounding the homosexual presence in visual art.
+So in looking at "The Queer Show" I was happy to see that the
+problem that lesbians have been deprived of a political
+existence through "inclusion" as female versions of male
+homosexuality was finally raised. In a man-made world there
+is an active homosexual eroticism which manifests itself in a
+variety of visual forms from the Golden Age of the Greeks on
+in history painting and sculpture. Although such objectifica-
+tion appears to be an inherent component of both male and
+female eroticism, only in rare instances has the established
+contemporary art system broached questions of a lesbian
+nature when discussing the meaning of "difference" or
+"otherness" and "gender," if not "sexuality."
+For these reasons, the "Queer Show" is predictably unbal-
+anced, with only a few works by lesbians. It is these I want to
+discuss. Martha Fleming and Lyne Laponte are represented
+by All Flesh is Grab. This is a hanging piece that echoes the
+sensuality of their installation at the New Museum's "Eat Me/
+Drink Me/Love Me." Working out of what seems to be the
+makeshift nature/culture field, this delicately framed, harp-like
+structure branches out as though reaching for a space that isn't
+there. Fixed at the center one finds a few stones wrapped in a
+transparent membrane-like an embryo waiting to be born.
+Linda Matalon's rectangular vertical box with its compellingly
+black slit images an isolation and mysterious allure. Her
+evocative layering of wax-like shoeshine tones are beautiful,
+6
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 9 (PDF page 10) ---
+creating a subtle tension between the softness of the
+sculpture's skin and the piercing through of its body.
+Marcia Salo's Victor/Victoria is by far the most sophisticated
+and exciting work in this show, and it is good technically. It is
+a revealing portrait because it is so archetypically awful,
+mingling as it does single shots and flashbacks. Victor/
+Victoria's commentary is on pseudo-mannish lesbian desire.
+As Salo points out, "female desire is contexted, psychologi-
+cally, politically and linguistically." So this piece is about
+lesbian desire as a problem of identity and within the simu-
+lated space of patriarchal and heterosexist culture. I kept
+realizing, as I looked at it and enjoyed it, how sensitive,
+intelligent and eloquent it is about reclaiming oneself through
+breaking the taboos. Her imaginative use of a variety of
+configurations-cross-dressing, AIDS, ugliness and horror is
+terrifying. Like a shadow cast on a screen her photograph
+makes the lesbian a multiple personality reflecting all the
+complexity that careful attention to the label implies. Other
+works by lesbians included Eve Ashcraft, Carrie Yamaoka,
+Millie Wilson and Melissa Harris.
+Most of the work by gay male artists struck me as slick,
+uneven, shallow, competent, shabby and melodramatic. But
+there were some sensitive and moving images. I was particu-
+larly touched by Robert Marshal with his poignant comment,
+"I have tried to analyze childish emotions and to discover
+what I meant when I declared myself to be a girl in a boy's
+body." He shows himself as cast off in a female environment
+in which his language tries to create a feasible space for his
+being. I also liked Hunter Reynold's witty and moving drag;
+fingers pressed to his lips bidding us to be as silent as the
+homophobic world would like us to be about who we are.
+Wessel O'Connor's efforts to assert the right of gay and
+lesbian artists to a fair showing is commendable, and it
+appears to be a labor of love. But I couldn't help thinking that
+many of the stereotyped images of beef-cake, penises,
+ejaculations and the like did little to expand the audience's
+narrow definition of "Queer" art. I would like to think that the
+ability to recognize oneself, and others, primarily as human
+beings and to acknowledge the absoluteness of responsibility
+to each other would lead to a genuine recognition of large
+numbers of varieties within physical and sensuous facts. In
+any case, the "Queer Show" furnishes abundant evidence of
+the vitality of contemporary gay and lesbian art.
+ELLEN BANKS
+Akin Gallery, Boston & Soho 20, NYC
+October-November 1990
+by ALICIA FAXON
+Ellen Banks, a painter familiar to the Boston area through her
+Boston Museum School teaching, showed her latest work in
+two simultaneous exhibitions in New York and Boston during
+October and November. Both exibitions testify to Banks's
+latest theme, which began in her work several years ago,
+abstract compositions based on musical scores. Her earlier
+work used Bach fugues and Chopin nocturnes as their inspira-
+tion, her most recent work interprets Brahms improvisations
+and Black spirituals. The main works are textured paintings of
+handmade paper glued to large-format canvases varying from
+54"x 48" to 82"x 64", in glowing or somber colors.
+In Boston, that musically pure city, all the works at the Akin
+Gallery are based on Brahms scores. They have an iconic
+presence intheir spare figuration and subdued grounds. The
+largest one, Improvisation: Opus 76 #2, cohtrasts the orange
+bars of the score with a heavily textured glowing scarlet
+continued next page
+Ellen Banks, "Improvisation, Opus 76 #2, Brahms"
+WINTER 1991
+WOMEN ARTISTS NEWS
+7
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 10 (PDF page 11) ---
+8
+Ellen Banks continued
+background. A cooler version in pale silver and blue, Opus
+119 #4, balances more equal areas of massive surface structure
+with a layered background in which several veils of color
+diversify the dominant tonality.
+In New York, the scope of Banks's interests is shown by an
+equal division between spirituals and Brahms improvisations.
+They follow the same compositional format of linear pattern
+against a textured ground, but the color range of the spirituals
+appears to be more diverse and rich, and more representative
+of the mood of the music. One of the works is a series of eight
+small, handmade paper pieces representing measures of. Were
+You There? Here all shades of blues tinge the scarred paper,
+creating a somber and powerful piece.
+The Brahms compositions are also very impressive. The
+improvisations of Opus 116 inspired three of the paintings
+which have unusual color range and combinations. The deep
+red vertical bars against a bronze textured background of Opus
+116 #2 is a visual tour de force in which color and form, figure
+and ground, exist in creative tension.
+There are three "Songbook" series at Soho 20 as well, each
+based on a spiritual and each entirely different in feeling from
+the deep, spacious blues of Roll, Jordan, Roll to the stark
+blacks, whites and grays of Nobody Knows the Trouble I've
+Seen.
+Here is an artist whose rigorous geometry may recall
+Mondrian, but whose color often evokes Monet - incidently,
+her two artistic ideals.
+Evelyne Cudel
+The Emporer's
+Censorship, Sexuality
+California Museum of Photography, Riverside
+November, 1990
+by DEVORAH KNAFF
+That the body is a locus of political power struggle is not
+particularly newsworthy to women. However, we sometimes
+forget exactly how complex that struggle is.
+Richard Bolton has used the current debates over artistic
+freedom, pornography and free speech to create an installation
+that explores how images of the human body are used for
+different ends.
+It is the grossest sort of chauvinism to say that "The
+Emporer's New Clothes: Censorship, Sexuality and the Body
+Politic" is a thoughtful, intelligent show despite the fact that it
+is the work of a male artist. But I have to admit to some
+surprise that the exhibit was in fact so sensitive to feminist
+concerns. This no doubt partly results from the fact that many
+of his commentators were women, as were some of the
+photographers.
+The core of the exhibit is a series of potentially controversial
+images drawn from three arenas: art, popular culture and
+pornography. Everything from Mapplethorpe to S&M spiked
+dog collars to perfume ads is fair game. Bolton circulated
+these images to national and local community and artistic
+leaders, people on every side of the debates about censorship
+and the body, and the majority of the exhibit is devoted to
+their written responses. Each color photocopy of an image is
+surrounded by half a dozen commentaries on it.
+Also included in the show are the books and magazines from
+which these images were originally taken (to provide a
+cultural context that debates on censorship almost always lack,
+Bolton said) and a blank papered wall for visitors to pen their
+own comments on. Finally, painted on the back wall was a
+chronology of "some key events in the war on culture"-like
+the FBI's 1986 Library Awareness Program that asked
+librarians to spy on researchers - and the text of the epony-
+mous tale.
+WOMEN ARTISTS NEWS
+WINTER 1991
+Richard Bolton installing the Fashion section of "The Emporer's New Clothes
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 11 (PDF page 12) ---
+New Clothes:
+and the Body Politic
+There are two absolutely striking things about this show. One
+is how little the photographs really matter. That's a strong
+statement, because some of the images, like a woman with
+pins stuck through her nipples, are horrible. The second most
+striking aspect of the show is how absolutely postmodern it is
+-the sine qua non of multivocality - which is also one of
+the reasons that the show is valuable to feminist and to art
+criticism. Not only does it address in a thoughtful way the real
+tensions between photography and artistic expression, but it
+demonstrates the inner contradictions of postmodernism.
+Feminists must, almost by definition, advocate a plurality of
+voices, a plurality that Bolton has certainly captured. But
+"The Emporer's New Clothes" shows the real danger both of
+privileging all voices (including those who seek to oppress us)
+and the dangers of being caught in the intoxicating pleasures
+of textual examination.
+Bolton seems to be aware of these dangers, because in his
+version of the "Emporer's New Clothes"-painted in three
+long columns on one wall of the exhibit - the ending of the
+story has been changed. "He has nothing on!' the people
+shouted at last. The emporer shivered, for he was certain that
+they were right."
+Rather than coming to his senses at last and learning to value
+his own judgment (which is what I remember the moral of the
+fable to be), the emporer simply decides to believe the crowd
+rather than the duplicitous tailors.
+That's the message of this exhibit as well. Despite Bolton's
+efforts to create a participatory environment, we remain
+separated from both ourselves and from the subjects of the
+images. Bolton seems to suggest that constructions of
+sexuality are almost too complex to grasp. We see bodies -
+including our own-through an amalgam of images that
+includes everything from the sadistic to the consumerist to the
+sublimely erotic. This allows us to play a number of different,
+and often quite satisfying, roles.
+But it means that we are always in the process of objectifying
+our bodies, of believing other people's stories about ourselves.
+Perhaps if the installation had been created by a woman, the
+moral would have been different. Perhaps she would have
+suggested that we could reclaim the right to de-objectify
+ourselves. Bolton has made a very convincing case for the
+opposition.
+Jane Kaufman:
+Quilted Pieces and Screens
+American Craft Museum, NYC
+November-February, 1991
+by CASSANDRA L. LANGER
+For many feminist artists, the problem of getting reviewed is
+not the art they do but the materials they choose to do it in. I
+once interviewed Lee Krasner, who explained to me as we
+were talking about abstraction in quilts that craft-art wasn't
+"high" art because it lacked the deep feelings, philosophic
+issues and aesthetic dimensions of painting. Most New York
+art critics writing for the trade slicks tend to follow Krasner's
+boundaries. They measure art from an elitist position that
+corresponds to that of the New York School, despite the
+inroads made by postmodernism.
+Jane Kaufman is an artist who deviated from her roots, leaving
+behind the minimalism that brought her to art world attention
+in the 1970s, although traces of it are still evident in her
+current exhibition. As you enter the show you encounter two
+folding screens that evoke a Victorian bordello. The first is a
+curving mass of iridescent feathers and glass beads looking
+like a David Belasco production. The other, a foundation
+garment supporting a Ziegfeld-type showgirl, is encased in a
+blue mirror frame, encrusted with tacky amethyst glass and
+draped in clusters of ruby colored garnets. The format of
+these pieces embody Kaufman's feminist critique of woman as
+sex symbol, and her criticisms are as robust as Lillian
+Russell's perfomances in Hokey-Pokey (1912) at Weber and
+Fields' Music Hall.
+Kaufman has a great sense of humor and it smiles through the
+other eight quilted pieces that make up the fabric collages on
+display. She has deliberately chosen to work in a medium that
+has traditionally been identified with woman's work. It is a
+significant political statement, since her quilted pieces
+document and celebrate women's lives and convictions. By
+learning the various stitches she connects with women over
+time and joins separate fragments together to symbolize the
+way woman's past and present has become a creative force -
+a force for social change.
+It is no accident that one of the quilted collages is titled Some
+Things Are Black and White. The underlying support for it is
+as formal a grid as any New York minimalist could desire but
+there is nothing minimal about its content. The various kinds
+of marks: stripes, dots, zigzags, penguins, ostriches and other
+variations on the theme, become Foucault's pendulum,
+proving that design rather than motion is not fixed. Passsing
+behind the scenery, where formal concerns disappeared and
+continued page 14
+WINTER 1991
+WOMEN ARTISTS NEWS
+9
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 12 (PDF page 13) ---
+Linda Cunningham
+Structural Transformations
+Site-specific Sculptural Groups, NYC
+Linda Cunningham's stone gardens refer to the earth's
+geological structure, and at the same time allude to an elemen-
+tal earthy continuity beneath the surface of an urban overlay.
+Located at two sites in lower Manhattan, on West Broadway at
+Franklin Street and at Chambers Street, these rocks and steel
+forms serve to remind us of the conflicted relationship
+between art and nature and between humans and their environ-
+ment. In the literature of the sublime, as art historian Barbara
+Novak has reminded us, the desire to appropriate creation
+itself is primary.
+Today, at a time when the planet is in acute danger, many
+contemporary artists are expressing a renewed concern with
+the landscape and its symbolic meaning. Geology, geography,
+natural history and philosophy have all become part of the
+current artistic vocabulary regardless of an artist's politics.
+Understanding that the past has become crucial for trying to
+comprehend the present, Cunningham's work explores the
+enigmas of creation. Her descriptive fidelity to the physical
+details and minute peculiarities of lava rock and the character-
+istic coloration of organically manifested minerals discloses
+the spiritual nature of not only nature, but ourselves as human
+beings. Billions of years of geological time express the
+fragility of unreplaceable natural resources.
+Cunningham's steel and bronze materials, often salvaged from
+buildings that are being destroyed or those that have collapsed,
+represent the development of man-made hierarchies and
+binary oppositions, for example, nature vs. industry. The
+inequities, much like those between male and female, are
+expressive of a naive patriarchal thesis regarding Darwin's
+survival of the fittest. The nature/nurture dichotomy is part of
+Western philosophical thought and stems from 19th century
+notions that continue to influence contemporary thinking.
+This is Cunningham's point, and her sculpture argues that this
+should no longer be a part of our thinking.
+Art in public is like a museum without walls. Cunningham's
+sculptures invite viewers to interact with them. The participa-
+tions is sometimes comic. Take for instance the brightly
+colored plastic box I found in a small crevice with a message
+for those curious enough to search for it. These stone and
+steel images express the unnatural confusion that one finds in
+the city. What the artist presents is a direct observation on a
+set of relationships in an urban society that are expressive of a
+new kind of alienation. Their importance lies in making us
+aware of what it means to be fully present in the world and in
+relationship to the mystery of all life, human and otherwise.
+They are about respecting ourselves and our environment.
+Looking at these objects one gradually becomes aware that
+Cunningham is proposing a different way of seeing which
+posits a new order, new kinds of human unity that transform
+the experience of urbanism.
+- C.L.L.
+10
+WOMEN ARTISTS NEWS
+WINTER 1991
+Linda Cunningham, "Structural Transformations" 1990
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 13 (PDF page 14) ---
+Pelka/Noble
+Christina Schlesinger, "Antietam" 1990
+Christina Schlesinger: Paintings from the Birch Forest
+Hal Katzen Gallery, NYC
+January, 1991
+Christina Schlesinger doesn't appropriate, use photographs or
+appear to indulge in postmodernisms. Unlike Madonna, she
+isn't a material girl. Eschewing the tendy, fashionable and
+obvious, she bases her painting on a system of creation that
+reaches back to the great hierarchical chain of being that tells
+us all things have life and do really live in some degree or
+measure. In this she shares an affinity with the visionary
+painters William Blake, Albert Pinkham Ryder and
+Marsden Hartley.
+-
+Schlesinger is a lover of nature, and her work encompasses an
+aesthetic of sensuality and intimacy that speaks to the deepest
+human emotions. On a more formal level she has a passion
+for Chinese ink painting and has spent time in China learning
+to capture the traditional spirit of brush, which she has
+translated into Western oil techniques. In Winter Strokes
+Schlesinger drags a heavily loaded brush across the canvas in
+thin, loose washes of subtle curdled grays. She uses the brush
+to shape movements and textures, conveying the landscape's
+underlying geometric structure and stressing its permanence
+and stability. In Edge of the Woods the pale lavender/blue
+rocks on the left contrast vividly with the champagne hues of
+the middle ground, forming an iridescent continuous web of
+sensuous brushstrokes.
+Schlesinger's new work embodies matter and spirit as inter-
+changeable, because thay are made up of the same substance
+and differ only as to mood and style. In landscapes like The
+Three Graces matter and spirit unite as two different aspects
+of the same energy. There is a constant undercurrent in the
+juxtaposition of the scattered broken limbs with the triad of
+rounded silvery birch trees that connects sensuality with
+nature. The forked crotches of Schlesinger's trees, i.e.,
+Hunting Season are like truncated body parts; the knots of
+their trunks, surrounded by shaggy growths, resemble hair.
+Several of her fleshy branches intersect, connecting infinite
+zones of mottled space and pulsating with whimsical provoca-
+tion.
+The same sexually charged undercurrent blazes through her
+silver birches. Focusing on isolated groupings as in Three
+Graces, Schlesinger highlights elements such as peeling bark,
+broken trunks and splintered branches, giving them an
+anthropomorphic quality. In paintings like Shiloh and
+Antietam we know that some of these beings have lived,
+struggled and been transformed by their experiences. In these
+two pictures life and death become categories that collapse
+into one and another, reminding us that all things that arise
+from the earth return to the earth from which they come.
+Cultivating her own garden, Schlesinger is a pure painter and a
+lyric colorist. In Birch Bodies her space reads like a Gauguin
+still life, her emphasis is on the physicality of paint while
+simultaneously stressing the two-dimensionality of the
+surface. Playing with spatial relationships and timeless
+subject matter she dares some striking viewpoints. The Long
+Goodbye joyously violates the sanctity of picture's frame with
+a continuously vibrating electric blue pattern of shimmering
+water set against the absolute stillness of two lone birches, one
+still upright and the other lying broken on the ground.
+Schlesinger's exhibition is a virtuouso performance that is
+remarkably successful and satisfying.
+- C.L.L.
+WINTER 1991
+WOMEN ARTISTS NEWS
+11
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 14 (PDF page 15) ---
+Femmes d'Esprit - Women in Daumier's Caricature
+The Neuberger Museum, Purchase, NY
+September-December, 1990
+by RENA HANSEN
+In Honoré Daumier's time, a "femme d'esprit" was a woman
+endowed with keen intelligence and sharp wit. When, after
+1835, political pressures became too great for Daumier's
+virul;ent caricatures of public figures to appear safely in
+Charivari, the Parisian satirical journal, he began to turn his
+attention to to these newly emergent "femmes d'esprit," the
+blue-stockings, socialist women and women writers, as safer
+targets. This exhibition displays 54 drawings, captioned by
+Charivari's editors and writers, mostly on the subject of
+women who were daring to express themselves in politics and
+writing. Daumier portrays them as ugly, stringy and shrill,
+cruel to their downtrodden husbands, neglectful of their
+children and households and prone to "collaborate" with male
+writers in more than their writing. The journal was staffed
+entirely by men for an audience of men who approved only of
+domesticated women.
+There is also a selection of prints in which Daumier expresses
+his liberal sentiments by means of symbolic female figures of
+Peace, Liberty or The Republic. In contrast to the "femmes
+d'esprit" these women are physically and mentally strong,
+beautiful and powerful. They dress in classical Greek style
+and represent all that is noble and right in France. Numerous
+images in our public parks and older buildings still attest to
+our admiration for woman-as-symbol, with no individual
+identity or sign of any concrete achievement. It is interesting
+but not surprising to note that aristocratic Frenchmen of
+Daumier's time such as Condorcet and Saint-Simon supported
+intellectual and political women, whereas Proudhon and
+Daumier with their working-class backgrounds were opposed
+to women in any but domestic roles.
+The extensive and scholarly catalog and the commentary
+accompanying the exhibition are singularly unjudgemental
+about material that, in my opinion, demands to be judged. The
+authors say that we should "reflect on the authority asserted by
+stereotypes and consider how in both Daumier's time and our
+own, representation often reinforces the ideology of one
+audience only at the expense of another." These images still
+have a large audience only too ready to have their anti-
+"femmes d'esprit" ideologies reenforced. Is the problem of
+discrimination against women in power or reaching for power
+so far solved that such a cool and academically impersonal
+context is appropriate for a display of virulent anti-"femmes
+d'esprit" drawings?
+In the catalog introduction, Elizabeth Childs distances the
+reader with sentences like this one: "Our goal has been to
+Honoré Daumier,
+"Les Bas-Bleus"
+("The
+Bluestockings")
+Une femme comme moi. . . remettre un bouton?.... vous êtes fou!
+Allons bon! voila qu'elle ne se contente plus de porter les culottes ....
+il faut encore qu'elle me les jette `a la tête!
+examine Daumier's ambivalent- and from a contemporary
+viewpoint, often troubling-attitudes toward the women in
+his society as expressed in his satirical prints." I see nothing
+ambivalent in Daumier's attitude and find it not "often
+troubling" but always troubling to see images of women trying
+to participate in the larger society which hold them up to
+ridicule. In contrast, the book, Daumier - Lib Women,
+Bluestockings and Socialist Women, translated from the
+French and published by Leon Amiel, Inc. in 1974, has a
+preface by Francoise Parturier which takes a firm stand against
+Daumier's position. For example, on p. 6, "The period of the
+French Revolution with its great principles of liberty, saw men
+relentlessly excluding women from society with all the fervor
+of the Elders of the Church... in the Republic, too, women
+were to have neither the right to vote, nor to participate, nor to
+speak. They were to be pitilessly excluded from all the new-
+gound rights despite the fact that these were described as 'the
+inalienable rights of mankind.""
+Daumier's drawings are undeniably powerful. I found the
+smiles and giggles of the audience at the exhibition disturbing,
+perhaps because I identify with the women whose images
+were being ridiculed.
+12
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 15 (PDF page 16) ---
+Sue Collier: Interiors
+Soho 20, NYC
+November-December, 1990
+A year ago, in these pages, I compared Sue Collier to Matisse
+and Bonnard. This show still relates to these artists in color
+and pattern, but a new element has entered that neither
+Frenchman ever exhibited: a psychological relationship
+between human figures on the canvases and between them and
+the viewer. The vibrant warm colors and strong patterns of
+the walls and the woman's dress in Reflections of a Woman
+invite a closer look. A young woman leans over a bathroom
+sink examining her face in the mirror above. Draped over the
+sink is a filmy garment, presumably in the process of being
+washed. We see the mirror-image. The intense and serious
+expression of the woman gives a double meaning to the word
+"reflection." Profound questions seem to be asked: "Who am
+I? Why am I here? What does my life mean?" This medita-
+tive, questioning attitude is repeated in a similar female figure
+in three other paintings. The man sitting with the woman in
+two works has a relaxed unquestioning expression. There is
+no conversation inferred, both figures are silent. In many of
+the works there are teacups on the table. The artist explained
+that at her mother's house tea was a constant. Memories of
+Mother shows a woman gripping a teacup under her chin with
+an iron fist, suggesting an iron will. All the paintings, with the
+exception of the black and white Five Men at a Table, are
+beautifully patterned and colored, showing the same concern
+with how light changes colors as was evident in her last show.
+The figures are simplified into planes of color; the anatomy is
+accurate and solidly modeled.
+One large work, Peaceful in Bed, is mysterious. In a very
+large room with a steeply receding checked floor, a figure is
+huddled in a four-poster bed while a male figure approaches
+from the doorway. This work lacks the sense of technical
+resolution seen in the others. But here, too, one feels an
+impact similar to that made by a potent short story. A new
+narrative element has entered Collier's work that promises an
+interesting future.
+-R.H.
+Photographs for exhibition reviews of Sue Collier
+and Katie Seiden appear on inside front cover.
+Katie Seiden:
+Myth and Reality
+Gallery 10, Washington, D.C.
+October-November 1990
+by MARILYN BENSON
+Katie Seiden's installation of sculpture dramatizes the
+different environments a-nd scale of each of four separate
+galleries. Conceiving of each disparate space as a distinct
+challenge, Seiden installs works differing i-n theme, mood and
+size to reflect her passionate concerns.
+In the main gallery, big totemic works on Medusa bristle with
+anguish, defiance and venom. Using the Greek myth as a
+source, Seiden transposes the tortured spirit of Medusa
+(originally a matriarchal heroine before she was punished and
+changed into a hated and feared Gorgon) into an abstract,
+contemporary figure using footwear such as ice skates, boots
+and baby shoes encased in plaster and concrete. The "cutting
+edges" of at least 15 ice skates and many pointed wires seem
+to symbolize the sharp personality and forked tongues of
+Medusa. Two large horizontal mounded works filled with
+high-heeled shoes may be the stalactites and stalagmites filling
+Medusa's cave or the writhing inside of her head.
+A sickly yellow lighting illuminates "The Recall Series,"
+inspired by sensational headlines in the news media of today.
+5These small narrative sculptures commemorate victims of
+violent crimes which often end in death. In The Wolfpack
+Recalls The Unnamed Central Park Jogger, a pair of bloody
+Saucony running shoes embedded in cement point upward,
+their tongues outstretched, bound by many laces. The base is
+covered with blaring headlines and news articles from The
+Daily News, The Post and The New York Times on the crime
+and trial. Other works in the series are Robert Chambers
+Recalls Jennifer Levin, Howard Beach Recalls Michael
+Griffith, and Jean Harris Recalls Dr. Tarnower.
+Drawings in a third gallery relate in form to the upward
+spiraling shape of Seiden's Daphne and Apollo V sculpture
+centered in the middle of the room. In Ascent of The Grooms,
+small male figures extend out of circular forms of tar which
+seem to rocket out in space. Set against a background of shiny
+lead paint, a tree-like tar mass is encircled by small bits of
+green beach glass. The glass is drawn into the tar, entrapped
+here permanently as it may be on our polluted shores.
+WINTER 1991
+WOMEN ARTISTS NEWS
+13
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 16 (PDF page 17) ---
+Jane Kaufman continued
+where political considerations ironically emerge, one can't
+help laughing at the hand-painting and the refrain it sets up
+viz. "high art" and the act of burying one's head in the sand to
+escape from the "disagreeable" reality of racism. This wry
+ambiguity is central to grasping Kaufman's art. In works like
+her untitled hand-painted images and patch-work quilt from
+1989, her Bon Appetit (1990) and an earlier work, Embroi-
+dered Crazy Quilt (1983-85), Kaufman maintains an uneasy
+relationship with an art historical past and present, suggesting
+the future lies elsewhere. Elsewhere, according to feminist
+theorist Teresa de Laurentis in Technologies of Gender
+(University of Indiana Press, 1987), is in the "... movement
+between the (represented), discursive space of the positions
+made available by hegemonic discourses (Krasner's aesthet-
+ics) and the space-off, that elsewhere, of those discourses;
+those other spaces both discursive and social that exist, since
+feminist practices (craft-art) have (re) constructed them, in the
+margins...."(p.26)
+Abstract Expressioism Continued
+presumably to the benefit of his own career. Who else has
+come up with anything new about Ab Ex lately?
+Irving Sandler dismisses the concept, but then his investment
+is in the large works, subject of his several books. His
+"arguments"-brush size, color and "Ab Ex is large paint-
+ings" are not necessarily persuasive -perhaps just a restate-
+ment of belief. In this context, a quote from Rothko comes to
+mind: "To paint a small picture is to place yourself outside
+your experience. . . . However you paint the larger picture you
+are in it." This, however doesn't explain anything beyond the
+obvious. Yes, bigger really is, uh, bigger.
+-Cynthia Navaretta
+Note: The exhibition, "Abstract Expressioism: Other Dimensions,"
+included the works of Lee Krasner, Ethel Schwabacher, Sonia
+Sekula, Janet Sobel and 23 male artists. Two or more works were
+shown for 13 of the men and for one woman (Lee Krasner); all
+otheres were represented by a single small work.
+Classical Indian Dance continued
+rendered.
+With this many dancers, one expects uneven dancing. Some
+performers were quite talented. As the demon in
+Varaha(Boar), Gowri Ramnath, with her darting wild eyes,
+was particularly convincing. In Vamana (Young Sage, Divya
+Sunder as Vamana showed a studied seriousness appropriate
+to the role. Arti Subramaniam as Krishna brought a fierce
+intensity to her dancing in both Narisimha (Half Lion, Half
+Man) and Krishna. Chaya Rangarai as Sita in Rama danced
+with an exceptional fluidity. Vidya Kurella as Vishnu and
+Usha Tadikonda as Laksmi in the opening section, Matsya
+(Fish), lolled regally. This exotic opening followed on the
+heels of the Invocation Dance; obeisance to the godhead at the
+beginning of each bharata-natya performance is but one
+reminder of the religious nature of classical Indian dance.
+The complex story line is another (this performance lasted
+nearly four hours). Essentially, when there's a decline in
+religious practice, Vishnu descends, in 10 manifestations, to
+correct the situation. The somewhat Darwinian progression
+begins with an avataram (incarnation) as a fish: Brahma the
+creator goes to sleep during the dissolution of the universe,
+and the Vedas slip out of his mouth. After a demon hides
+them in the ocean, Vishnu becomes a fish, kills the demon,
+and restores the scriptures to the world. In Vishnu's final
+incarnation, after many adventures, he becomes Kalki, the
+horse-faced one, and destroys the world because of the
+intolerable evil in it.
+The choreography too is sometimes sparse and practical.
+Often characters enter or exit with a simple chain of little
+hopping steps that get them about quickly and efficiently. The
+posed and posturing dancing has all the characteristic features
+of classical Indian dance, but there's nothing overly fancy,
+nothing like the virtuosic speed to make you sit up and take
+note, nothing like the way Rajagopalan herself would have
+danced it. Yet the pageantry, moment by moment, takes over
+and carries the work. Spectacle isn't created for star perform-
+ers, but for the cumulative effect on the viewer. As Swami
+Chinmayanda is quoted in the program as saying, "It is vain to
+waste one's time considering which God to worship. Worship
+Him in any form. It is the sincerity of devotion that matters."
+And there was no lack of fervor in this particular form of
+worship.
+-
+Effie Mihopoulos
+14
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 17 (PDF page 18) ---
+Performance and Dance
+Endangered Species
+choreographed by Martha Clarke
+Brooklyn Academy of Music, NYC
+October, 1990
+By JANET B. EIGNER
+For nearly two years I've followed the Renaissance woman,
+Martha Clarke, as she has created a theater piece about
+environmental extinction. One element particularly piqued
+my fascination, that she would be incorporating the animals
+from St. Louis' Circus Flora in the production held at the
+Brooklyn Academy of Music. St. Louis is where I live, and I
+had already reviewed that joyful, one-ring ensemble circus,
+entirely smitten with its dancerly choreography. Circus Flora
+had performed to highest acclaim at the Spoleto Arts Festival
+in South Carolina, where Martha Clarke had fed Flora the
+elephant and heard plenty from the circus' Artistic Director,
+Producer and CoFounder, Ivor David Balding, about efforts to
+prevent the African elephant from extinction.
+I found Martha Clarke's effort extraordinarily beautiful and
+worthy. Her fresh images are still thoroughly etched on my
+brain, though I felt the strength of the piece involved my
+senses more than my heart.
+The dim auditorium containing a large floor covered with
+wood chips and huge white double doors that occupy the rear
+of the set, projects a lonely, timeless mood. A high wire and a
+trapeze stretch above. Below and toward the front, an iron
+bedstead, a couple of plain wooden chairs, and a piano rest in
+the shadows.
+"Endangered Species" employs a small cast, six four-legged
+and eleven two-legged creatures. Ms. Clarke wants us to see
+the polarities of this world, so she cast a dark horse and a
+white horse, black dancers and white dancers, naked bodies
+and clothed ones, men and women widely varied in age and
+size.
+The drama meditates on and dances the basic elements of our
+universe, its wildness, the unstoppable rhythms of its natural
+world and the unquenchable polarities of the human essence:
+our intensely tender, introspective and generative possibilities,
+our unceasing need for violence, domination and destruction.
+David Grausman performed the score, created by Richard
+Peaslee and Stanley Walden. Brutal sounds of war and terror
+involving machine guns, glass shattering and wild cats
+screeching punctuated the non-stop, fast-paced drama. Other
+distilled musical and dramatic moments included recordings of
+old opera excerpts and recitation of Walt Whitman's poetry,
+adapted by Robert Coe and spoken by Michael Anderson, Paul
+Guilfoyle, Peter McRobbie and Frank Raiter. Judy Kuhn
+gently sang melancholy old Broadway and Civil War tunes, as
+well as, with Courtney Earl, Pergolesi's "Stabat Mater." But
+the pounding of live horses' hooves, rounding the metaphori-
+cal circus of life, provided the rhythm which undergirded and
+integrated the performance.
+Insistent hoofbeats augmented the dance as well. The horses'
+broad backs staged the dancers, Alistair Butler, Felix Blaska,
+Lisa Dalton and Valarie Henry, who had trained for months to
+learn balance while standing on a galloping horse. Dance
+movement was spare and powerful, like all of the elements in
+the dark, surreal piece.
+Ms. Clarke magically transformed the very real, two-ton Flora
+into an archetypal elephant, an insubstantial essence who
+loped lightly and silently by, framed behind the huge white
+doors. A cloud of mist clung to Flora, an apotheosis of
+species endurance. Several times she appeared from behind
+the doors, once running, ears flapping, head and trunk up,
+tusks gleaming. Later, Flora slithered her trunk around to the
+knob, and pulled shut the'double doors, to say, her British
+trainer Gerald Balding later quipped, "That's quite enough for
+now. Goodnight!"
+Though by the end of the first week of performances, Flora
+had gotten more favorable publicity than Baryshnikoff,
+"Endangered Species" was itself a casualty of lagging advance
+ticket sales and a terminal New York Times drama review and
+performed only half of its month-long schedule. Circus Flora
+opens at the Spoleteo Festival in May.
+WINTER 1991
+WOMEN ARTISTS NEWS
+15
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 18 (PDF page 19) ---
+Rachel Rosenthal: Pangaean Dreams
+Kala Institute, Berkeley
+November 16-25, 1990
+by Jo HANSON
+Often described as the grand doyenne or high priestess of
+performance art, Rachel Rosenthal evoked awesome powers
+her own and those of Gaia - in Kala Institute's 8th Annual
+"Seeing Time" performance series.
+Despite earthquake preparedness programs, Rosenthal
+nevertheless shook up the audience and revealed the infirmi-
+ties of terra firma in a convincing enactment of the earth's
+creation, which erupted through her body and voice in
+thunderous sound and light. She also created enormous
+respect in this writer for the range and power of her means:
+communication and theatrical skills, informed passion,
+brilliant conceptualizing, and a nearly seamless integration.
+Pangaean Dreams (subtitled A Shamanic Journey - and it
+certainly is!) takes its name from the intuited construct
+proposed in 1915 by Alfred Wegener, German lecturer in
+astronomy and meteorology, that some 250 million years ago
+the supercontinent, Pangaea (All Lands) broke up into land
+masses and began what he called "continental drift." Ridi-
+culed at the time, his ideas are manifest now in the science of
+plate tectonics which has revolutionized geological under-
+standing of the earth and its cycles. Multiple plates support
+the continents. The plates regenerate continuously through a
+system of ocean ridges where lava outpourings from under the
+sea create new crust. Heavier plates dive under lighter ones
+and return to the inner earth to melt again. Earthquakes and
+volcanic eruptions on the earth's surface reflect the plate
+movements.
+"Thus Gaia is constantly giving birth to and devouring herself
+in a circular dance," Rosenthal writes. "(Plate tectonics)
+emphasizes the transformative nature of the Earth. It illumi-
+nates the Gaia concept of a living cosmic body...." The
+"dreams" are shamanic journeys through the creation and life
+of the Earth, focusing time and again on the precariousness of
+humankind's current position in the geological continuum.
+The "Gaia Hypothesis," called thus as it enters the fringes of
+scientific comprehension, proposes that the Earth is a living
+organism in which the totality reflects any changes anywhere
+in any part.
+Personalizing the assault on the Earth through the metaphor of
+her own bodily decline, Rosenthal's opening entry is in a
+wheelchair, holding crutches. She invokes autibiography,
+history, science, mythology, philosophy, ecofeminism and
+angst to roar, growl, coax, charm, seduce and Joke herself and
+the audience through grand theatre of the politics, economics
+and sociology of near-terminal wounds to the Earth, inflicted
+by a humankind that fails to make connections. (In a previous
+work, Rachel's Brain, she questions whether the human brain
+might be one of nature's many mistakes, now moving slowly
+toward correction/extinction.
+The integration of technical supports often made them equal
+performers with Rosenthal. Dain Olsen uses video and
+computer animation to render visual metaphors that parallel
+and illuminate the erupting of Pangaea that we observe in
+Rosenthal's body and voice. Lighting by Eileen Cooley seams
+over transitions and performs persona changes with Rosenthal
+as well as reinforcing text.
+Composer-performer Leslie Lashinsky creates acoustic,
+electronic and vocal elaborations on the text using on-stage
+instruments and objects. Making Pangaea's eruptions as real
+as the 1988 quake, Lashinsky banged, punched and shook
+ceiling-to-floor thunder sheets of thin copper and steel while
+lights caught and flashed in their violent motion. Carrying
+slender 8-foot aluminum rods through visual fields, Lashinsky
+rubbed the rods with gloved hands to elicit high, ethereal
+singing of great beauty. She is also a bassoonist who performs
+with major orchestras in the Los Angeles area.
+The child Rachel Rosenthal, born in Paris of Russian parents,
+came to the United States as a World War II refugee, already a
+veteran of performance within her familial environment. She
+studied art and theatre with Hans Hoffman, Merce
+Cunningham, Ervin Piscator and Jean-Louis Barrault. In
+California she created the Experimental Instant Theatre in
+1956 and directed it for 14 years. A leader in the Los Angeles
+Women's Art Movement in the 1970s, she co-founded
+Woman Space- and found the impetus for her focus on
+performance art since 1975.
+Writing in the Village Voice (Oct. 4, 1988), Alisa Solomon
+quotes Rosenthal on the influence she found in Artaud's
+writings as "so liberating at that time because he insisted that
+you could have an expression that used all artistic means in a
+seamless way." The next stage of liberation - from the male
+paradigm came through her awakening in the women's
+movement and her subsequent decision to focus her formidible
+resources on global issues. Rosenthal, Solomon says, "is the
+only performer to address (ecofeminist) issues with such
+astonishing emotion, as if every toxic drop is a personal
+16
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 19 (PDF page 20) ---
+affront. That's what sinks the claws of her work into your
+flesh...."
+Rosenthal's performance history is wide-ranging and distin-
+guished. In a New Art Examiner (Oct., 1987) review of her
+DOCUMENTA performance of Rachel's Brain, Maureen
+Sherlock speaks of "an exciting redefinition of the possibliities
+of performance." Lawrence Enscoe, in the Los Angeles Daily
+News (Sept. 17, 1990) describes the sold-out performances of
+Pangaean Dreams as "the watershed event of the Los Angles
+Festival," adding "[S]he infuses it with a mesmerizing sense
+of theatrics. [I]t's the theatre of Rosenthal's own body and
+voice-lithely snapping, twisting and playing out in the flesh
+the trauma of a volatile Gaia, Mother Earth, and her violent,
+drifting human community."
+Recently Rosenthal refused a grant of $11,250 from the
+National Endowment for the Arts because she could not sign
+her name to "that piece of obscenity." She places the issue in
+the context of previous experience with totalitarian
+harrassment and persecution of artists.
+Susan Walsh
+Susan Walsh
+Top: Rachel Rosenthal
+Below: performing Pangaean Dreams
+WINTER 1991
+WOMEN ARTISTS NEWS
+17
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 20 (PDF page 21) ---
+Dances for a Century:
+Historic and Contemporary 1906-1990
+Momenta Peforming Arts Company
+Doris Humphrey Memorial Theatre/Academy of
+Movement and Music, Oak Park
+November 1990
+By EFFIE MIHOPOULOS
+The past, with its aura of self-discovery, always holds a
+special fascination. How and why an event took place, why it
+happened at a certain time, what circumstances led up to it and
+what its repercussions were. What we would have done given
+the same situation. Art, and the process of creation, also has
+the same magical lure-what inspired the artist and where
+the roots of that inspiration lie, how it relates to what came
+after it or what other works it inspired. In dance, particularly,
+where there is no concrete canvas before you, no set theatre
+script to go by, but only the "hearesay" of words reported after
+the event, the reconstruction of a choreographer's work is
+tantamountly important, because it gives you a glimpse of
+what the work could have looked like if you had been present
+when it was originally done. Given the ephemeral nature of
+the art form itself, it can never really be more than a sugges-
+tion of the past, since sparse notes and the vagaries of memory
+of those involved are never completely enough to reproduce a
+work in situ, let alone years later when the choreographer is no
+longer alive to make her own corrections. The transitory
+nature of dance always multiplies the problems of reconstruc-
+tion. Even with video and film documentation, the question
+remains of what is happening off-camera during the lovely
+moments of close-up when a dancer's expressive face is busy
+emoting the necessary tour de force mood. How is the body
+moving, or is it moving at all?
+So it's something short of miraculous when a company takes
+on the task of reconstruction, particularly for more than one
+work, as in the case of Momenta at the Academy of Move-
+ment and Music. Artistic director Stephanie Clemens has
+taken on the chore of reinstating modern dance pioneer Doris
+Humphrey to her rightful place as one of the most important
+early choreographers. Her revolutionary dance technique,
+based on the fall and recovery theory, is lyrical, dramatic and
+exhilerating to watch. Although the students from the
+Academy that primarily make up Momenta haven't begun to
+master this technique yet, they can still offer us interesting
+insights of what Humphrey's work was like, particularly her
+early dances. Seeing these and the works of other early
+modern dance pioneers such as Humphrey's teacher, Ruth St.
+Denis, points out common roots and influences. Stylistic
+differences between the legendary modern dance creators
+begin to lessen as similarities become more apparent.
+In a floor exercise demonstration St. Denis put together circa
+1915, called "Under the Leaves," buried in all the lyrical poses
+are some macho arm muscle flexing that is reminiscent of the
+work her husband and his Men Dancers did. In "Soaring," a
+work she and Humphrey choreographed jointly in 1920, the
+viewer's spirit is lifted with the billowing folds of a parachute
+manipulated by five dancers, usually with four at each comer
+and one standing below its huge arched dome, or on top of it
+in the center to reverse its course and form a lovely giant
+flower. Many of the early modern dance choreographers used
+banners, scarves or lengths of cloth that they waved about in
+various ingenious ways and patterns, but here the craft reaches
+an apogee. Even in the small Oak Park studio, the effect is
+staggeringly beautiful. Set in the open as it originally was
+with a real wind fluttering its edges, it must have been an
+incredible spectacle to behold.
+Before going to study with St. Denis, Humphrey took classes
+at Mary Wood Hinman's school in Oak Park. Breathing life
+into works found in the notebooks of Hinman, Clemens has
+newly reconstructed her most recent discoveries, Humphrey's
+"Three Dances." All three feature children from the Acad-
+emy, dressed like Isadorables (the name Isadora Duncan's
+students came to be known by) in short chiffon tunics, flower
+wreaths in their long tresses. The dancers are the epitome of
+natural grace in their hops, skips and poses, playfully and
+prettily cavorting thtough the program.
+Also on the program were five of St. Denis's Orientalia, quick
+snippets of dances with a different, spectacularly exotic
+costume in each, most often East Indian. Humphrey's stately
+1928 masterpiece to Bach's music, "Air For G String," was
+another presentation.
+18
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 21 (PDF page 22) ---
+Anne Bradley
+Tanya Wideman in "Soaring" 1920
+Classical Indian dancer, Hema Rajagapolan
+Classical Indian Dance
+DASAVATARAM:
+MANIFESTATIONS OF LOROKISHNU
+Natyakalalayam at Taft High School Auditorium
+October, 1990
+Religious devotees often express their feelings in elaborate
+spectacles, from the processions of the Christian church to the
+seasonal dances of the American Indians. In India, where
+everything is regularly codified, dedicated temple dancers
+(devadasis) perform to their deities in temple ceremonies.
+These devotional dances often focus on the lore of the Hindu
+pantheon. The dances' combined elements of sensuousness
+and devotion create a uniquely dynamic spirituality.
+Bharata-natya, one of the oldest styles of classical Indian
+dance, is a continuous spectacle. The graceful, statuesque
+poses give it an air of architectural grandeur. The costumes,
+always of rich silk and laden with gold trim, emphasize the
+dancers' physical attributes. Golden jewelry glitters with a
+profusion of gems. Flowers bedeck the dancers' heads and
+their long trailing braids. Their bare feet and palms are
+painted red, and heavy make-up enhances their facial beauty.
+Bells around ankles add an emphatic echo to the hard-hitting
+stamping of feet, and the eyes and hands offer a mimetic
+language that completes the effect of pomp and circumstance.
+The musicians, often seated at the side of the stage, simulta-
+neously sing or sound out rhythmic syllables that the dancers
+translate into steps.
+Westerners don't normally see the pageantry of the temple
+dances more often, a single dancer performs a series of
+solos that only suggest the full splendor of the original. Even
+in solo performances, however, especially by consummate
+artists like the celebrated Hema Rajagopalan, a sense for the
+detail of the ceremonial spectacle comes across. But when the
+number of performers is multiplied, we can actually visualize
+the scope of the original. While one elaborate costume may
+wow the viewer, a row of them in an array of vivid, shimmer-
+ing hues can leave us in stunned deligh
+Rajagopalan, who heads an Indian dance academy,
+Natyakalalayam, presented just such a spectacle, the dance
+drama Dasavatara-with a cast of over 50-as a benefit for
+the Chinmaya Mission Chicago. She herself played in the
+orchestra, also chanting the rhythmic vocalization. Suseela
+Ramaswany sang and composed the music with T.S.
+Sankaran, who played flute. M.R. Ganeshan was the percus-
+sionist. Choreographed by Hema Raiagopalan with the
+assistance of her daughter Krithika, the epic work was capably
+continued page 14
+WINTER 1991
+WOMEN ARTISTS NEWS
+19
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 22 (PDF page 23) ---
+Symposium
+Mexico: Gender, Culture and Society
+National Academy of Design, NYC
+October 6, 1990
+Moderator: Dr. Edward J. Sullivan, guest curator of
+exhibition "Women in Mexico"; panelists: Sarah Lowe,
+Latin American photography specialist; Hayden Herrera,
+author of Frida [Kahlo]; Elena Climent, painter; Mary-
+Anne Martin, gallery director; Janet Kaplan, art historian
+and author of Remedios Varo; Jean Franko, cultural
+historian.
+The first presentation was by the new director of the
+National Academy of Design, Edward P. Gallagher, who
+thanked Barbara S. Krulik, interim director and who has
+been named to the new post of deputy director for her work
+on the show. He went on to acknowledge the importance of
+the exhibition and the Academy's pride in hosting it.
+Gallagher was followed by Edward Sullivan, who raised
+some very serious questions concerning the monumentality
+of the task of representing the culture of Mexico, much less
+the art by women in Mexico. He then commented on his
+approach to this subject, asking why a "white gringo" was
+doing this and if such a person can be sensitive to the issues.
+He hoped he had been, while acknowledging that a male
+feminist cannot hope to deal with the same subjects in the
+same way that a female feminist might. Sullivan spoke of
+the "colonization of women's art" and of how both Latin
+Americans and North Americans had been deprived of
+exposure to the enormous impact of women on Mexican
+culture. He also mentioned the many other exhibitions going
+on all over New York.
+Jean Franko discussed gender and representation in Mexico
+citing Maria Scargo and Frida Kahlo as examples of
+sexually liberated women, criticizing the Metropolitan
+Museum for its concept of the "sleep" of Mexican culture
+and pointing out that when Spain conquered Mexico there
+were negotiations and hybridizations that are still visible in
+Mexican art and life. All of which enrich the culture.
+Franko also pointed out that the Aztecs were conquers too.
+Women, she explained, were active agents of hybridization,
+citing examples like the Virgin of Gaudalupe. She con-
+cluded her talk with an overview of political movements in
+Mexico during the 1950s, 60s and 70s, suggesting that now
+it is the strong women who are toting the machos along.
+Sarah Lowe spoke about Tina Modotti's communism and
+how it helped to shape a vision of Mexican nationalism by
+providing revolutionary icons. Ironically, Modotti was
+deported by the revolutionary government. Hayden Herrera
+spoke about Kahlo as a cult figure, mentioning Madonna's
+admiration for her as a wild and sexy vamp, the film
+producers interested in her life, her bisexuality and obses-
+sive relationship with Rivera, and the fashion industry's
+targeting of her style as a hot property. Herrera was very
+pointed in her criticism of all this media exploitation of
+Kahlo and her work. Mary-Anne Martin then presented an
+overview of the market for Frida's work, citing such record
+prices as Diego and I, the first Latin American painting to
+break the $1,000,000 price barrier. She also noted the
+Mary-Anne Martin Fine Arts' purchase of Two Nudes in a
+Jungle while at the same time discounting any lesbian
+connotations attached to the painting (a point to which I will
+return shortly).
+Martin was followed by Janet Kaplan, who spoke on Varo,
+commenting on her Catholicism and how it figures in her
+work, and mentioning the distinct outsider position Varo
+held as a Spanish woman in a Mexican society. The final
+speaker, Elena Climent, gave a very touching autobiographi-
+cal talk on the development of her art and the meaning of its
+urban imagery. She spoke of the nostalgia she grew up with
+and the purist folk aesthetics that dominated the older
+generation of Mexican artists. She described the pain this
+caused her and the incredibly difficult struggle she had
+finding an imagery of her own that was expressive of her
+generation and embodied its concerns. Climent then
+showed slides of her work, discussing the uniqueness of her
+experience in Mexico City and the significance of the
+nontraditional subjects she chose to paint. She noted how
+the more things change the more they remain the same,
+citing the persistence of altars as one aspect of an unbroken
+continuum.
+The question and answer session was somewhat diminished
+by the absence of both Herrera and Martin, who had other
+commitments to rush off to (I wish people wouldn't accept
+honorariums when they don't have the time to fully earn
+them.) We were all deprived of what might have been a
+stimulating discussion because neither of these women stuck
+around for the fireworks. Both had raised questions about
+sexual freedom and gender, and both seemed to want to
+avoid discussing Kahlo's lesbianism. This seemed strange
+given the title of the symposium, which very clearly focused
+on issues of gender. When the question was raised, all of
+continued next page
+20
+20
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 23 (PDF page 24) ---
+Panel
+Abstract Expressionism: Other Dimensions
+Whitney Museum at Philip Morris, NYC
+November 13, 1990
+Moderator: Josephine Gear,branch director; panelists: Dore
+Ashton and Irving Sandler, art historians; Charles Seliger,
+artist; Jeffrey Wechsler, "Other Dimensions" curator and
+assistant director, the Jane Voorhees Zimmerli Art Museum.
+The panel, like the exhibition of the same name at the Whitney
+extension where it was held, was to "investigate the role of
+small-scale painterly abstraction in American art from 1940
+to 1965" and to determine whether the "lesser-known artists
+have been overlooked because they worked exclusively in
+small formats."
+Jeffrey Wechsler opened by explaining that the current
+exhibition was a reduced version of the original show that had
+traveled to several venues. As for the title concept, he said,
+"Ordinarily one thinks of vast canvases as representative of
+Ab Ex; this exhibition is the other side. Many of the Ab Ex
+artists, including Pollock, made paintings less than 36 inches
+-the major painters worked at times in small scale- and
+some lesser-known worked only in small-scale."
+Mexico Symposium continued
+-
+the panelists were apparently struck dumb. Finally curator
+Edward Sullivan offered to comment on Frida's sexual
+orientation-her love for women and her influence on
+gay males in Latin America. He was very direct, pulled no
+punches and dealt with difference as a natural course of
+scholarship. He was refreshingly honest and informative.
+Once Sullivan opened the discussion, Jean Franko ventured
+forth, saying that sexuality in the 1930s and 40s in Mexico
+was a coded system of values that one had to look for
+because of several factors, including religion and politics. I
+couldn't help feeling sad that with all the work the women's
+movement has done, female feminists still feel awkward
+dealing with women's love for other women. The word
+lesbian seems to terrify them, and they seem uncomfortable
+according the lesbian space in women's studies in the
+history of art. Let's hope we can do better next time around.
+- Cassandra L. Langer
+Ed.Note: Martin was quoted elsewhere that with only a handful of
+Kahlo's paintings available in the art market, "people are looking
+to other Mexican women artists." Proof of this was offered in a
+concurrent SoHo show, the Parallel Project. A joint venture of
+three Mexican galleries, the exhibition featured younger artists, at
+lower prices, and sold out.
+Irving Sandler called it a revisionist show that has revised
+accepted notions of Ab Ex. "The achievements of Pollock and
+Rothko may have been because of large scale. [A]rtists who
+worked small may have wanted to induce intimacy [but] size
+was important. Still, Rothko and Newman evoked sublime
+and exalted images, creating a sense of vastness [T]hey
+achieved vision with color alone-color is at its best when
+used in large areas. Pollock's bodily inventions forced him to
+work in large scale. Big pictures offered challenges; large
+canvases replaced French painting. The great image of Ab Ex
+is the size of the brush-house-painter's size. There was also
+then an appetite for large paintings."
+Dore Ashton said that scale differed from size-5' x 5' was
+really not so large-and that she saw many small-scale
+paintings at the Tanager Gallery in the early 50s. Wechsler
+believes that the perception, "Ab Ex is large paintings," has
+become the reality, so that museums perceiving the paintings
+of the period as large, only show their large ones, although
+they may own smaller ones, too. Sandler said the label Ab Ex
+is a confusing one.
+Charles Seliger, the only artist on the panel, appeared to be
+present only to talk about himself, and, given the opportunity,
+to complain of the scant attention he's received in his lifetime.
+(His works are small). Sandler comforted him by saying
+"there was a taste for the large picture."
+Opening the floor to the audience, Sandler fielded the first
+question from someone who expressed the desire "to under-
+stand quality." Sandler said he bases judgements on his "own
+perception." He "looks as hard as he can, sees a lot and
+responds." As to why there were only 15 artists in his book,
+"There were other artists, but I chose those 15 for their
+attitudes towards their own group." Wechsler threw in,
+"small-scale painters were quiet, non-aggressive types."
+At this point there began a series of scatter-shot questions and
+statements largely from women in the audience such as:
+"How viable is Ab Ex at this moment?"; "Susan Rothenberg,
+Elizabeth Murray, Freya Hansel all have the same impulse";
+"Ann Gibson is working on a book on women of Ab Ex";
+"What happened to the women of Ab Ex?" In an attempt to
+mollify this outburst, Ashton cited the Pollock/Krasner show,
+saying "she wasn't neglected; Krasner was the inferior painter.
+[A]nother woman, Sonia Sekula, had a breakdown." Throw-
+ing a crumb, Ashton finished with, "I was married to an artist
+who was ignored."
+In sum, Wechsler argues that small is important and neglected,
+continued page 14
+WINTER 1991
+WOMEN ARTISTS NEWS
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+21
+21
+--- Newsletter Page 24 (PDF page 25) ---
+Book Reviews
+Berthe Morisot
+Anne Higonnet
+NY: Harper & Row, 1990.
+$25 HC, 240 pp, illustrated
+by SYLVIA MOORE
+Bethe Morisot, one of Impressionism's founding members,
+brought a dedicated painter's skill, a fresh and daring vision,
+and, not least, a woman's viewpoint to her art. Although,
+according to high priest of Impressionist scholars John
+Rewald, she was the founder whose work remained most
+faithful to the movement's initial concepts, her work was for
+many years undervalued in the same manner as that of Mary
+Cassatt, both artists circumscribed as "merely" painters of
+women and children. However, interest in Morisot has
+increased since the centennial celebration of her birth in 1941
+and the publication of selected correspondence in 1957. The
+1987 retrospective at the National Gallery in Washington and
+its beautifully illustrated catalog by Charles F. Stuckey and
+William P. Scott reawakened appreciation of the high quality
+of this artist, who was in the forefront of a revolution. Anne
+Higonnet's honest and perceptive biography, drawing on
+previously unpublished journals and correspondence, adds
+much to our knowledge and understanding of Morisot.
+Needless to say, Morisot's accomplishments were not
+achieved without difficulties. Despite a loving family,
+supportive husband, intellectually stimulating friends and, for
+most of her life, a lack of financial worries, Morisot had her
+frustrations. She had to struggle against prevailing attitudes
+and customs intended to "protect" women. Obviously, she
+could not sit up nights in cafés discussing art nor attempt the
+frank subject matter of a Degas. Moreover, Morisot was
+pressured throughout her twenties to marry, and like any
+modem woman agonized over the question of whether
+marriage and motherhood could be combined with a career.
+(She had good reason to contemplate this, since her sister
+Edma had abandoned art upon her marriage. Morisot finally
+married Eugene Manet at age 33 and gave birth to her beloved
+daughter Julie at age 37.) She endured not only the rejections
+and contempt directed at the rebel Impressionist group, but
+also the accusations of "unwomanly" behavior aimed at
+women artists.
+On the other hand, Morispt was fortunate to come of age when
+professional art training was becoming available to upper-
+middle-class women. Higonnet describes Berthe and Edma's
+early studies and the sisters' growing interest in art as a
+serious pursuit. Landscape lessons with Corot and sketching
+trips to the Louvre galleries (chaperoned by their mother) led
+to acquaintances with other artists, young men they would not
+otherwise have encountered. Initially attracted to Morisot by
+her charm and potential as a model-Eduouard Manet, for
+example, painted her many times-her colleagues came to
+respect her for her seriousness of purpose, diligence, original-
+ity and talent. Eventually she was known as a "painter's
+painter."
+A good biography of a woman artist should help the reader
+comprehend the personal and social forces that shape her
+career. This is a good biography. We come to know the
+conflicts, enthusiasms and doubts of this intense, hard-
+working artist who was also a kind, gracious and loving
+woman. Not only the artist, but also her family and friends
+come to life in readable prose, yet Higonnet does not neglect
+relevant facts about the world these people inhabited and its
+effect upon their lives and work. Quotations are skillfully
+interwoven for emphasis and evidence. Higonnet admires
+Morisot, a woman who "negotiated a narrow but almost
+uncannily astute path between the demands of society and
+those of art."
+The book has a few black and white illustrations, hardly
+adequate. For color and detail, go to the Stuckey/Scott
+catalog, which reveals Morisot's artistic range as, ever
+growing and developing, she tried different mediums and
+experiments. Though, like most of the Impressionists, her
+subject matter consisted largely of landscapes, portraits and
+genre, her variations within these parameters are numerous
+and her skills admirably suited to her subjects. With hind-
+sight, we can see clearly how Morisot skirted the very edges
+of Abstract Expressionism with her fluid coloristic shorthand.
+Morisot, truly an avant garde artist, is again recognized for her
+role in the history of modern art. She also, says Higonnet,
+"takes a central place in the history of women artists, a history
+she could not foresee because she was so much one of its
+pioneers."
+22
+22
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 25 (PDF page 26) ---
+Women in Mexico
+Edward J. Sullivan
+Mexico City: Cultural Foundation of Mexico, 1990
+$110 PB, bi-lingual catalog, color plates
+I am presently reviewing this book through a xerox of
+the real thing, kindly provided me by the public
+relations officer of the NAD, Howard L. Moore. The
+$110 catalog is a disturbing demonstration of how little
+sensitivity toward the viewer's pocketbook its produc-
+ers had. This is hardly a cure-all for neglected women
+artists. I cannot comment on the color plates, nor can I
+tell you much about the quality of the production itself;
+I can only tell you that it has essays by Edward Sullivan
+and Linda Nochlin in English and Spanish - a plus in
+our multiracial climate. Nochlin states that her first
+encounter with "a Mexican woman artist" was more
+than twenty years ago. She then relates that artist was
+Remedios Varo, who isn't Mexican. She later discov-
+ered Frida Kahlo and others. What her highly intelli-
+gent essay highlights is how much we have to learn
+about Mexico and the art its women made. I say this
+because ignorance concerning Latin America is
+rampant among North American scholars. Nochlin's
+essay emphasizes the need for a major reevaluation of
+the supposedly universal standards and values we use to
+judge art. In the final analysis one has to wonder why
+an essay titled "Mexican Women Artists" isn't about
+Mexican women.
+Sullivan's essay, what I can read of it due to the poor quality
+of my xerox, appears to be an extensive overview of the
+framework of the show, the conditions under which women in
+Mexico produced art, and the position of women in Mexican
+culture. He gives an extended postmodern reading of the
+impact of Frida Kahlo's work on gay male artists such as
+Nahum Zenil and Julio Galan (included in the Americas
+Society show at 680 Park Avenue at 68th St). He suggets that
+Kahlo's influence allowed them to come to a greater realiza-
+tion of their own emotional goals. During the symposium
+discussion, Sullivan mentioned that he did not know of any
+women artists, gay or otherwise, who had been influenced by
+Frida Kahlo. I can certainly think of one, Quimetta Perle, and
+I am sure there are others he'd like to know about. Frida has
+become a cult figure among lesbian artists.
+-C.L.L.
+American Women Sculptors
+Charlotte Rubinstein
+Boston: G.K. Hall & Co., 19901
+$49.95 HC, 573 pp, illustrated
+-and worth every dollar. What you get is 573 pages of the
+most complete coverage ever of American women sculptors.
+Rubinstein's previous book, Women Artists: From Early
+Indian Times to the Present was honored as Best Humanities
+Book of 1982 by the Association of American Publishers with
+good reason. In this book, again, she doesn't offer stilted
+academic entries as one might expect in such a massive
+compendium, but gives us instead interesting anecdotal
+material in the same story-telling style. Included in some
+instances is rare information previously known only to those
+of us who had done in-depth research on an individual artist.
+It would as be difficult to fault Rubenstein for omissions-
+although there are a few- as it would be to question her
+inclusion of several contemporary performance and text-image
+artists, as well as 19th century potters.
+The highest compliment one can pay this book is to say that it
+is not the usual encyclopedia for occasional reference but a
+book that one can just read through and enjoy.
+davis a gaffga
+Sue Fuller, String Construction #737, 1984, featured in American Women Sculptors
+WINTER 1991
+WOMEN ARTISTS NEWS
+23
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 26 (PDF page 27) ---
+The Enchanted World of Jessie M. King
+Colin White
+N. Pomfret, VT: Trafalgar Square/David & Charles, 1990
+$45 HC, illustrated
+Although Charles Rennie Macintosh is firmly entrenched in
+history as a designer and leader of the Glasgow Style, little is
+known of the Glasgow women who attended the Glasgow
+Scool of Art contemporaneously with Macintosh (one of them,
+Margaret Macdonald, later marrying him) and achieved
+considerable prominence at the time.
+Jessie M. King attended the School at a time when Glasgow
+was known as a center of design throughout Europe. By 1899
+-just two years out of school-her work was being noticed.
+One of her illustrations was shown at the prestigious Scottish
+Society of Art Workers, and two drawings were included in
+the Venice Biennale. Her distinctive style of fantasy tinged
+with reality in bindings and illustrations for books, fabric and
+jewelry design, ceramics and watercolors secured her interna-
+tional reputation. King's work was widely published and
+acknowledged in the prestigious art journals of the time.
+However, in an all too usual twist of history, by the time of her
+death in 1949, at the age of 73, her obituary (only appearing in
+Scottish newspapers) identified her only as the wife of E.A.
+Taylor. As Colin White concluded in his Epilogue, "At the
+beginning of this century when Jessie had an international
+reputation, few people had heard of E.A. Taylor. At the time
+of her death the position was completely reversed. Compared
+with her husband's work Jessie's was almost totally ne-
+glected."
+Fortunately, there has been a reappraisal of King's work. In
+the 70s several Scottish institutions mounted exhibitions. In
+August, 1990, "Glasgow Girls," curated by Jude Burkhauser,
+presented a "documentation of women artists training, work
+and social milieu in Glasgow c. 1880-1920," not only featur-
+ing Jessie M. King, Anne Macbeth, Margaret and Frances
+Macdonald and Jessie Newbery, "but an exploration of
+women's values, co-operation and mutual support throughout
+a period of immense activity in the city."
+Child Mothers, A Photographic Essay
+Sandy Hale
+Hartford: Connecticut Association for Human Services
+A rare working arrangement where a human services agency
+has funded and collaborated with the photographer, allowing
+her to present in pictures and words the realities of teen-age
+mothers. The photographer-author offers a brief introduction
+to the 10 young women, then lets the photos and the women's
+holographic statements tell their stories.
+A Dictionary of Love
+Gil Friedman
+Arcata, CA: Yara Press
+$9.95 PB
+Maybe the worthy quotations outweigh the trivial ones, but the
+overall impression is of fluff. For example, Zsa Zsa Gabor
+follows de Beauvoir on "Husbands and Love" - both
+sounding as though they're right out of an Advice to the
+Lovelorn column. Maybe it's good for light reading while
+waiting for a delayed flight, or if you're desperate for a
+clichéd opening to a letter saying you're sorry.
+Grace Hartigan: A Painter's World
+Robert Saltonstall Mattison
+NY: Hudson Hills Press, 1990
+$50 HC, 156 pp, 64 colorplates, 40 B & W illustrations
+Like Grace Hartigan herself, the book is monumental and
+throbbing with life. Flushing out the material on Hartigan's
+life and descriptions of her paintings is a history of the time
+and the people who made up her art world. Hartigan is
+exceptional in that she was one of the few woman artists to
+have been accepted in the New York male-dominated artworld
+of the 50s. She also tested the climate by leaving New York
+to live and teach in Baltimore-defying the then-entrenched
+belief that you could only make it if you were on the scene [in
+New York]. Hartigan made it "big" early on when she was the
+only woman and youngest painter-in MOMA's traveling
+exhibition, "The New American Painting." However, the
+trajectory wasn't a constant.
+The book lays her life out painting by painting, telling it as it
+was, warts and all. In the end, Hartigan is the quintessential
+survivor, painting now, at 68, as powerfully as she did when
+she was a celebrated young woman artist.
+24
+24
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 27 (PDF page 28) ---
+Structure and Surface:
+Beads in Contemporary American Art
+Mark Richard Leach
+Sheboygan, WI: John Michael Kohler Arts Center, 1988
+32 pp, 16 color plates
+The catalog for the exhibition of the same name (Kohler Art
+Center to Feb. '89 and Renwick Gallery, Washington DC to
+Jan. '91) is dazzling. We were only familiar with the work of
+Rhonda Zwillinger and Sherry Markovitz and would not have
+expected to find their match in beaded artwork. After seeing
+Joyce Scott's neckpieces and figures, Mimi Holmes's fetishis-
+tic and mysterious objects, and the embellished pieces by
+artists Fuente, Sparrow and the others (12 artists in all), one
+will never think of beads as craft materials or only jewelry.
+These works touch on much of art history showing the
+influences of Surrealism, Collage, Assemblage, Pop, Pattern
+and Decoration, as well as indigenous and contemporary
+wearable art.
+- C.N.
+above: Sherry Markovitz, beaded,
+mixed media sculpture, featured in
+Structure and Surface.
+below: Grace Hartigan,
+"My Fair Lady" 1989, o/c
+advertisement
+Special Tour to Russia
+Summer/Fall 1991 for small adventurous group of textile
+artists with native Moscovite guide (MA in costume/textile,
+NYU). Will explore haute couture fashion in quilt-making
+worlds of Moscow, Leningrad and Kiev. Don't miss this
+unique opportunity. For details and reservations call
+Ludmilla Bokov, (212) 568-3706, or write 70A
+Greenwich Ave., #208, NYC 10011.
+Deadline for reservation: March 30.
+Edouardo Calderón
+WINTER 1991
+WOMEN ARTISTS NEWS
+25
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 28 (PDF page 29) ---
+ALMANAC
+Solo Shows
+Kim Abeles Artists books. Douglass
+College Libry, New Brunswick, NJ, 1/9-
+2/27.
+Joan Anker
+Paintings. Pindar
+Gallery, 127 Greene, NYC, 2/12-3/3.
+Xenobia Bailey - Headgear with
+African Influence. Indianapolis Musm,
+1200 W 38 St, Indpls, IN, 2/2-28.
+Linnell Barnhart- Family Album,
+ceramic sculpture. Matrix, 1725 I St,
+Sacramento, CA, 2/6-3/8.
+Jennifer Bartlett-Pastels. Paula
+Cooper Gallery, 149 Wooster, NYC, 1/5-
+2/2.
+Janice Becker-"Heads" paintings &
+drawings. Prince Street Gallery, 121
+Wooster, NYC, 2/8-27.
+Suzanne Benton - Death & other
+Secrets, steel, bronze, paper. St. Peter's,
+619 Lexington, NYC, 1/31-3/12; Mystery
+& Dialogue, Anna Howard Gallery,
+Washington Depot, CT,2/2-27.
+Theresa Bernstein-watercolors &
+prints. Sragow Gallery, 99 Spring, NYC,
+to 2/28; Museum of the City of New
+York, to 3/31.
+Marcia Bigliani - Paintings, "Meta-
+physical Landscapes." Noho Gallery, 168
+Mercer, NYC, 1/8-27.
+Kathleen Blackshear-Paintings,
+sculpture, etchings. School of Art
+Institute, 37 S. Wabash, Chicago, IL, to
+1/9.
+Betty Blaton-Taylor
+Paintings.
+Lubin House Gallery, 11 E. 61 St, NYC,
+2/6-28.
+Darla Bjork "The Scream/Der
+Schrei." Ceres Gallery, 91 Franklin,
+NYC, 2/26-3/23.
+Meri Bourgard-Drawings & paint-
+ings. First Street Gallery, 560 Bway,
+NYC, 2/19-3/9.
+Eva Bouzard-Hui-Ceramic figurines
+& drawings. Phoenix Gallery, 568 Bway,
+NYC, 1/29-2/23.
+Nancy Bowen Sculpture. Betsy
+-
+Rosenfeld Gallery, 212 W. Superior,
+Chicago, IL, 1/11-2/9.
+Phyllis Bramson - Paintings. G.W.
+Einstein Co, 591 Bway, NYC, 2/2-27;
+Douglass Coll Libry, New Brunswick,
+NJ, 4/15-6/17.
+Mona Brody-New Works With the
+Earth. Interchurch Canter, 475 Riverside,
+NYC, to 2/1.
+Margaret Casella - Photographs.
+Midtown Y, 344 E. 14 St, NYC, to 2/10.
+Muriel Castanis-Post-Modernist
+sculpture. Hokin Gallery, 245 Worth,
+Palm Beach, FL, 1/15-2/9.
+Rosemarie Chiarlone - Mixed media.
+Barbara Gillman Gallery, 270 NE 39 St,
+Miami, FL, 3/15-4/15.
+Lisa Collado - Collage. Gallery David,
+594 Bway, NYC, 2/13-24.
+Sharon Collins-Photographs, images
+of Nepal. Soho Photo, 15 White, NYC, to
+1/5.
+P. Lynn Cox-Landscapes in Motion,
+paintings & drawings. Hiram College Art
+Center, OH, to 2/1.
+Janet Culbertson-"Facts of the
+Peconic" paintings, drawings, photos.
+East End Arts Council, 133 Main,
+Riverhead, NY, 3/20-5/4.
+Linda Cunningham - Public Sculp-
+ture. W. Bway/Chambers & W. Bway/
+Franklin, NYC to 2/1.
+Judy Cuttler - Bowery Gallery, NYC,
+4/12-5/1.
+Elisa Decker-Paintings & watercol-
+ors. La Mama Galleria, NYC, 3/21-4/7.
+Eleanor Dickinson-Crucifions &
+recent works. Graduate Theological
+Union Gallery, Berkeley, CA, to 3/10;
+Himovitz Gallery Pavilions, Sacramento,
+1/6-27; Show N Tell, 2509 Bryant, San
+Francisco, 2/5-3/2.
+Elsie Driggs
+Retrospective, paintings
+& drawings. Phillips Collection, 1600 21
+St NW, Washington, DC, 1/26-3/17.
+Kathleen Dunne - Paintings. Rose
+Cafe, 220 Rose, Venice, CA, to 1/19.
+Evelyn Eller-Retrospective 1981-
+1991. Manhasset Public Libry, 30
+Onderdonk, NY, 4/1-26.
+Ellen H. Fagan - Paintings, "Dancers."
+Wave Again Gallery, 265 College, New
+Haven, CT, to 1/30.
+Barbara Feldberg-Paintings. Atlantic
+Gallery, 164 Mercer, NYC, 1/22-2/9.
+Lorna Feldman - Anaclisis. CIU Art
+Lounge, Chicago, IL, to 1/25.
+-
+Janet Fish Night paintings. Robert
+Miller Gallery, 41 E., 57 St, NYC, 1/29-
+2/28.
+Barbara Friedman - Paintings. 55
+Mercer Street Gallery, NYC, 1/29-2/16.
+Francie Bishop Good-Mixed media
+constructions. Phoenix, 568 Bway, NYC,
+1/3-26.
+Barbara Goodstein-Bowery Gallery,
+NYC, 3/22-4/10.
+Arlene Gottfiied-Bacalitos &
+Fireworks, color photographs. Union
+Square Gallery, 118 E. 17 St, NYC, 3/2-
+4/13.
+Grace Hartigan - Five Decades 1950-
+1990. ACA Galleries, 41 E. 57 St, NYC,
+1/10-2/9.
+Carolyn Henzler - Urban Solitudes.
+Eductn'l Alliance Gallery, 197 E. Bway,
+NYC, 1/20-2/15.
+Sue Hettmansperger - Paintings &
+drawings. A.I.R., 63 Crosby, NYC, to 1/
+5.
+Elizabeth Higgins - Prince Street
+Gallery, NYC, 3/1-20.
+Emily Hixon-Fragments. Amos Eno
+Gallery, 594 Bway, NYC, 3/9-28.
+Rosalind Hodgkins-Paintings.
+Broome Street Gallery, 498 Broome,
+NYC, 1/29-2/16.
+Robin Holder - Monoprints. YWCA
+Gallery, 30 Third Ave, Brooklyn, NY, to
+2/22.
+Diane V. Horn-"Transitional Reflec-
+tions." Rider Coll Gallery, Lawrenceville,
+NJ, to 2/24.
+Brenda Horowitz-Paintings. Atlantic,
+591 Bway, NYC, 2/12-3/2.
+Norma Isaaca-45 years of painting.
+112 Greene, NYC, 2/16-3/3.
+Keiko Kanesaki-Kimonos, wearable
+art. Cast Iron Gallery, 159 Mercer, NYC,
+to 1/23.
+Penny Kaplan- Books as Sculpture.
+Lowenstein Libry Gallery, 113 W. 60 St,
+NYC, to 1/5.
+Diane Kempler - New work. Connell
+Gallery, 333 Buckhead, Atlanta, GA, 3/
+22-4/26.
+26
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 29 (PDF page 30) ---
+Kay Kenny-Photographs/Paintings.
+Level 3 Gallery, Philadelphia, PA, to 1/
+27; Photgraphy Center, 1395 Lexington,
+NYC, to 2/14.
+Lee Krasner-Paintings 1965-1970.
+Robert Miller Gallery, 41 E. 57 St, NYC,
+1/4-31.
+KYRA Site specific sculpture.
+Broward Community College Gallery,
+Pembroke Pines, FL, to 2/21.
+Barbara Davis Lawrence-Paintings
+1977-1990. St, John Cathedral, NYC, 2/
+3-27.
+Annette Lemieux-Josh Baer Gallery,
+476 Broome, NYC, 3/16-4/13.
+Jessica Lenard-Paintings & drawings.
+Soho 20, 469 Broome, NYC, to 1/26.
+Toby Z. Liederman - Connections:
+Immanence, porcelain & stoneware
+sculpture. Greenburgh Nature Ctr,
+Scarsdale, NY, 4/28-5/18.
+Agnes Martin-Paintings & drawings
+1974-1990. Stedelijk Museum,
+Amsterdam, 3/23-5/12.
+Ann Meredith-Photographs of
+women with AIDS. Douglass College
+Libry, New Brunswick, NJ, 3/1-4/12.
+Setsuko Migishi - Paintings. Natl
+Musm Women in Arts, 1250 New York
+Ave NW, Washington, DC, 4/2-5/19.
+Mary Miss Notes on Projects in
+Public Places. Freedman Gallery,
+Reading, PA, 4/2-28.
+-
+Ayako Miyawaki - Appliqué works.
+NMWA, DC, 6/4-8/7.
+Lisette Model - Photographs, 50 year
+retrospective. I.C.P., 1130 Fifth, NYC, 2/
+8-3/24.
+Marnie Montgomery-Meditative
+work. Dadian Gallery, Wesley Seminary,
+4500 Massachusetts Ave NW, Washing-
+ton, DC, 1/9-3/2.
+Joan Nelson - Paintings. Freedman
+Gallery, Reading, PA, 2/19-3/17.
+Lorraine O'Grady-Photo montages.
+Intar Gallery, 420 W. 42 St, NYC, 1/21-
+2/22.
+Joan Personette-Retrospective 1959-
+1987. National Museum of Women in the
+Arts, DC, to 2/3.
+Dodie Petro Paintings. The Art
+League, 105 N. Union, Alexandria, VA,
+Above: Barbara Milman,
+Plaza Sebastian Acevedo"
+1989
+Right: Lisa Zwerling, "The
+Faithful Hound" 1990, First
+Street Gallery, NYC
+2/7-3/4.
+Jane Piper Selected Paintings 1976-
+1990. New York Studio School, 8 W. 8
+St, NYC, 1/24-2/23.
+Liubov Popova - Paintings & draw-
+ings. MOMA, 11 W. 53 St, NYC, 2/14-4/
+23; Los Angeles County Museum, CA, 6/
+23-8/18.
+Reeva Potoff- Installation. Brooklyn
+Museum Lobby, 200 Eastern Pkway,
+Bklyn, NY, to 3/11.
+Brigitte Reichl-Installation. School of
+the Art Institute, Chicago, IL, 4/5-5/3.
+Pamela Reilly-"Other Selves: Self-
+portraits." Ceres Gallery, 91 Franklin,
+NYC, 1/29-2/23.
+Charlotte Robinson - Paintings &
+drawings. San Antonio Art Institute, TX,
+1/12-2/18.
+Lynn Rosenfeld-Bowery Gallery, 121
+Wooster, NYC, to 2/6.
+Deborah Rosenthal - New paintings.
+Bowery Gallery, 121 Wooster, NYC, 2/8-
+27.
+Rachel Rotenberg-Sculpture. College
+of New Rochelle Libry, NY, to 2/10.
+Adrienne Salinger-Photographs.
+Midtown Y Gallery, NYC, to 2/10.
+Gale Sasson-Wall sculpture & cast.
+paper. Ceres Gallery, 91 Franklin, NYC,
+to 1/26.
+WINTER 1991
+WOMEN ARTISTS NEWS
+27
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 30 (PDF page 31) ---
+Dorothy Shamonsky-Sculpture,
+installation. Ceres Gallery, NYC, to 1/26.
+Norma Shatan-Paintings. Prince
+Street Gallery, NYC, 5/3-22.
+Peggy Shaw-Living Systems, collaged
+paintings. Betsy Rosenfeld Gallery, 212
+W. Superior, Chicago, 2/15-3/16.
+Rhonda Roland Shearer - Sculpture.
+Feingarten Gallery, Los Angeles, CA, to
+1/4.
+Lorna Simpson - Photographs. Josh
+Baer Gallery, NYC, 4/20-5/18.
+Paintings. G.W.
+Sylvia Sleigh
+Einstein, 591 Bway, NYC, 5/1-30.
+Kiki Smith-Sculpture. University Art
+Museum Matrix Gallery, 2625 Durant,
+Berkeley, CA, Feb-April.
+Nancy Spero - Recent works. Josh
+Baer Gallery, 476 Broome, NYC, 2/16-3/
+9.
+Linda Stein - Constructions. Anita
+Shapolsky Gallery, 99 Spring, NYC, to 1/
+26; Multi-media environments, Soho 20,
+1/29-2/16.
+May Stevens Paintings. Herter Art
+Gallery, U of Mass, Amherst, 2/5-27.
+Francisca Sutil - Fragments of Life.
+Nora Haime Gallery, 41 E. 57 St, NYC,
+2/13-3/23.
+Elyse Taylor Paintings. Douglass
+Coll Libry, New Brunswick, NJ, to 2/27.
+Merle Temkin-Sculpture. Soho 20,
+NYC, to 1/26.
+Joyce Tenneson - Photographs.
+Barbara Fendrick Gallery, 568 Bway,
+NYC, to 2/9.
+Rosemarie Trockel-Sculptures, knit-
+paintings, drawings. University Art
+Museum Galleries 2,3 $4, Berkeley, CA,
+6/12-9/8.
+Wallace & Donohue - Constructions.
+NMWA, Washington, DC, 1/29-5/5.
+Rose Weinstock - Memories of
+Summer. Oakside Cultrl Ctr, 240
+Belleville, Bloomfield, NJ, to 1/13.
+Lesa Westerman - Photographs.
+Collegiate Church Photo Gallery, 50 E 7
+St, NYC, to 2/10.
+Jackie Winsor - Sculpture. Newport
+Harbor Musm, 850 San Clemente Dr,
+Newport Beach, CA, 2/2-4/5.
+Brenda Zlamany-New work. E.M.
+Donahue Gallery, 560 Bway, NYC, to 1/
+31.
+Group Shows
+Contemporary Rhode Island Quilts -
+Narragansett Bay Quilters. Hera Gallery,
+327 Main, Wakefield, RI, 2/2-24.
+Drawings-Women in the Visual Arts
+annual celebration of International
+Women's Day. Erector Square Gallery,
+315 Peck, New Haven, CT,3/7-31.
+Diversity & Ethnicity - Rivera, Kuo,
+Williams. Center for Photography at
+Woodstock, NY, to3/9.
+Neo-Geo Dachman, Herman, Sabalis,
+et al. Paramount Center for the Arts, 1008
+Brown, Peekskill, NY, 2/16-3/16.
+"Ancient Origins"-Takiguchi, Angel-
+Wing, Eisen, Rubin, Warn, Brenna, et al.
+America House Gallery, Piermont-on-
+Hudson, NY, to 3/16.
+"Wave Hill Pictured"-Conner,
+Groover, et al. Wave Hill, 675 W. 252 St,
+Bronx, NY, opening 5/7.
+-
+Nature 8 artists. Benton Gallery, 365
+Country Rd. 39, Southampton, NY, 4/13-
+5/2..
+Art of the Forties -Works in all
+mediums from the museum's collection.
+MOMA, 11 W. 53 St, NYC, 2/24-4/30.
+Masked/Unmasked-Ahrons Arts Ctr,
+466 Grand, NYC, to 4/7.
+"The Body in Question" - Cypis,
+Ferrato, Goldin, Jenkins, Kruger, Levart,
+Livingston, Macklin, Mann, Oken,
+Plachy, Sherman, Sims,, et al. Burden
+Gallery, 20 E. 23 St, NYC, to 2/28.
+The European Eye: Landscape Photog-
+raphy of the 1850s. Min/Lowinsky
+Gallery, 584 Bway, NYC, to 2/28.
+"Physicality"- Benglis, Cross,
+Lehman, Murray, Pfaff, Rockburne,
+Stockholder, et al documenting 20 years
+of color dimensionality in painting.
+Hunter College Gallery, 450 W. 41 St,
+NYC, 3/5-30.
+The New Hope Modernists, 1917-1950
+James Michener Musm, Doylestown,
+PA, to 4/28.
+Copenhagen Postcards & Nairobi
+Albums from the International Festival
+of Women Artists celebrating the U.N.
+Decade for Women. Natl Musm Women
+in the Arts, 1250 New York Ave NW,
+DC, 2/11-5/17.
+WCA Senior Honorees - Bernstein,
+Constantine, Loloman, Okubo, Pierce.
+Natl Musm Women in the Arts, DC, 2/
+15-3/17.
+"Tough Issues"-mixed media, DC
+chapter exhibition in conjunction with
+WCA National Conference. Gallery 10,
+1519 Connecticut Ave NW, to 2/23.
+"Comparisons: An Exercise in Look-
+ing." Hirshhorn Museum, Washington,
+DC, to 4/21.
+New Quilts: Interpretations & Innova-
+tions Textile Museum, 2320 S St.NW,
+DC, to 4/28.
+"Personal Metaphors"-metal artists
+Kluge, Threadgill, et al. Connell Gallery,
+333 Buckhead, Atlanta, GA, 3/21-4/26.
+Amish Quilts from museum collec-
+tion. Indianapolis Musm of Art, 1200 W.
+38 St, IN, to 3/30.
+Power: Its Myths & Mores in Amer.
+Culture 1961-91- Indpls Mum, 9/7-11/
+3/91.
+"Degenerate Art": The Fate of the
+Avant-Garde in Nazi Germany - Los
+Angeles County Musm, CA, 2/17-5/12.
+Samplers & Samplemakers: An
+American Schoolgirl Art 1700-1850-
+L.A. County Musm, 11/14-2/2/92.
+Eclectic Imagery-glass, wood, fiber,
+wood, clay & paper. Eileen Kremen
+Gallery, 619 N. Harbor, Fullerton, CA,
+4/6-5/2.
+The Independent Group: Postwar
+Britain & the Aesthetics of Plenty -
+Cordell, Smithson, et al. University Art
+Musm, Berkeley, CA, to 4/21.
+Gallerie has discontinued publication of
+its large-format glossy magazine
+showcasing women artists. Instead they
+are offering a series of monographs. The
+first two: Family by Tee Corinne;
+autobiographical, images and text; Lee
+Maracle; theoretical text, six photographs
+of the author by Brenda Hemsing. $24/8
+books, Gallerie Publications, Box 2901
+Panorama Drive, N. Vancouver, BC,
+Canada V7G 2A4.
+28
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 31 (PDF page 32) ---
+Opportunities & Slide
+Calls
+International Art Horizons- open, all
+media, $30,000 in prizes and NY exhbn;
+juried, entry fee; deadline: Apr 12.
+Application from I.A.H. Dept RAU, Box
+1533, Ridgewood, NJ 07450, (201) 487-
+7277.
+Mini Print International Cadaques-
+max. image10x10cm, $50/3 works;
+juried, traveling exhbn, catalog, sales;
+deadline: Apr 30. ADOGI, Aptd de
+Correos 9319, Barcelona 08080, Spain.
+Salon de L'Abstraction-abstract art
+only, $22/1-4 slides or photos; juried;
+10% commission on sales; exhibn in
+Montreal Gallery; deadline: Apr 30.
+SASE only for return slides; FRRIC
+Internatl, C.P. 65, Succursale C,
+Montreal, Que, Canada H21 4J7, (514)
+523-8763; FRRIC Internatl, same as
+above.
+Salon du Portrait - all media, all size,
+portrature only; $22/1-4 slides or photos;
+exhbn in Montreal Gallery; deadline:
+May 3
+Crafts National-ceramic, fiber, metal,
+glass, wood; $20/3 entries; juried;
+deadline: Apr 26. SASE Crafts Natl,
+Zoller Gall, 102 V.A. Bldg, Penn State,
+University Pk, PA 16802.
+Crafts National - $25/3 slides, juried,
+cash awards & exhbn; deadline: Jun 20.
+SASE to Mari Galleries, 133 E. Prospect,
+Mamaroneck, NY 10543, (914) 698-
+0008.
+44MAX only artists living west of the
+Mississippi; 2-D, 44" max dimension;
+$12.50/3 slides & resume; deadline: Mar
+26; purchase awards, exhibn at Alder
+Gall & Eugene Hilton. Alder Gall, 767
+Willamette, Eugene, OR 97401.
+"Community Properties" - all media,
+exploring idea of communities for
+inaugural exhibit; deadline: Apr 1. Send
+up to 20 slides, film or video, resumé to
+Huntington Beach Art Ctr, 2000 Main,
+Huntington Beach, CA 92648.
+Juried Exhibition-deadline: Apr 19.
+SASE to First Street Gallery, 560 Bway,
+NYC 10012.
+Juried Exhibition - $15/3 slides,
+deadline: May 19. SASE to Pleiades
+Gallery, 164 Mercer, NYC 10012.
+U.S. West Nat'l Exhibn-2& 3-D,
+open, $15/4-20 slides or photo, descrip-
+tion, bio. "Accepted entries exhibited to
+galleries, arch design firms,, corporate
+collectors." Colman Prodns, Box 1484,
+Port Angeles, WA98362, (206) 452-
+8027.
+Soho 20
+feminist gallery-now
+reviewing slides & applications for its
+Natl Affiliate Artists Category; deadline:
+Mar 22; Affiliate Memberships, 469
+Broome, NYC 10013, (212) 226-4167.
+Pleiades Gallery -artist-run-now
+viewing slides-164 Mercer, NYC
+10012, (212) 226-9093.
+Call for Fe-Mail Art - utterences about
+women; no jury, no returns; deadline:
+Mar. 25. A.P. Owens, Box 597996,
+Chicago, IL 60659.
+Arts Midwest Regional Fellowships―
+thirty $5,000 awards to artists in IL, ION,
+IA, MI, MN, ND, OH, SD, WI; deadline:
+Mar 29. Entry form: Arts Midwest, 528
+Hennepin, Mpls, MN 55403; (612) 341-
+0901.
+Studio Assistant Internships at
+100
+Women's Studio Workshop, Box 489,
+Rosendale, NY 12472; deadline: Apr 15.
+Free Studio Spaces, NYC for 1 year; no
+stipend or equipment; annual deadline
+Jan 1. Info: Space Program, Marie Walsh
+Sharpe Art Fndn, 711 N. Tejon, #B,
+Colorado Springs, CO 80903.
+New International Artists' Colony,
+New Zealand aims to provide multi-
+cultural community-based program for
+artists. Info: Airini Taylor, 32 Moray Pl,
+Dunedin, NZ.
+Artists in Space, Australia offers room
+and exhibition space in artist-run ware-
+house gallery, $60/week, up to 4 weeks.
+Info: S. Shovelhead, Box 263, Glebe,
+Sydney 2037, Australia.
+Artworld Hotline-900-990-7011 ext
+1020, $1.99/first minute, 99¢/each add'l
+minute; current inormation on grants,
+galleries, opportunities, jobs, scholar-
+ships.
+-
+SAGE journal on Black women, is
+soliciting essays, narratives & interviews
+for issue on relationships; deadline: Sep
+1. Editors, Box 42741, Atlanta, GA
+30311.
+Nightmares & phobias from survivor's
+accounts wanted for book/video project
+addressing after affects of rape; free to
+remain anonymous. Sarah Mello, 1412
+Summit #414, Seattle, WA 98122.
+Mary Nash, "Modern Strangers" 1989, Charles Allis Art Museum,
+Milwaukee, WI, 3/3-31.
+WINTER 1991
+WOMEN ARTISTS NEWS
+29
+29
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 32 (PDF page 33) ---
+Events, Conferences, Symposia
+Feb. 16, 17-8:30pm, Dance, "Women's Way," Ethnic Folk
+Arts Ctr, 179 Varick, NYC, $8/$5 students, seniors; (212)
+289-5664.
+-
+Feb. 19-21 Conference, Expanding Visions, Washington
+Marriott, DC, Women's Caucus for Art; info: M. Banner,
+9925 Dickens, Bethseda, MD 20814, (301) 493-5729.
+-
+Feb. 20-23 Conference, College Art Association, Sheraton
+Washington Hotel, DC; info: CAA, 275 7th Ave, NYC 10001.
+Feb. 20-7pm, Slide Lecture, Clarissa Sligh, Hillwood Art
+Musm, Brookville, NY; info: (5160 299-2788.
+Feb. 23 Conference, "Children, Angels, Writing & the
+Environment,", Natl Musm Women in Arts, DC; info: H.
+Hahn, IWWG, Box 810, Gracie Sta, NYC 10028.
+-
+Mar. 1-30 12pm, Tours in honor Women's History
+Month, Natl Musm Women in Arts, DC, free.
+Mar. 1-2-8pm, Performance, Reality #105 by Options in
+Performance Traditions Co., Studio, 220 E 4 St, NYC, $8;
+info/res: (212) 533-9585.
+-
+Mar. 1-3 Convention, Feminism & Science Fiction,
+Madison, WI; info: K. Nash, Wiscon, Box 1624, Madison
+53701, (608) 231-2324.
+Mar. 3-2pm, Video Festival, Asian-American women,
+Brooklyn Musm, 200 Eastern Pkwy; free; info: (718) 638-
+5000.
+Mar. 3-3pm, Panel, "Eve's Legacy," Cassandra Langer,
+moderator, Hillwood Art Musm, C.W.Post Coll, Brookville,
+NY; info: (516) 299-2788.
+Mar. 7-9-8pm, Dance, Perspectives in Motion,
+Marymount Manhattan Theatre, 221 E. 71 St, NYC, $12; info:
+(212) 627-3123.
+Mar. 7-14 Conference, Art Libraries Society of North
+America, Kansas City, MO; info: P. Parry, 3900 E. Timrod,
+Tucson, AZ 85711, (602) 881-8479.
+-
+Mar. 8 7:30pm, Panel, "Imaging Our Erotics, Cypit,
+Scneeman, Acker, San Francisco Art Institute, 800 Chestnut,
+$5/$3 students.
+Mar. 8-10, 15-17, Film/Video Festival, Women in the
+Director's Chair, 3435 N. Sheffield, #201, Chicago, IL 60657,
+(312) 281-4988.
+Mar. 15-16 4pm, Symposium, Art, Forgery/Art, Authen-
+ticity, Brown Univ, Providence, RI.
+Mar. 18-6pm, Discussion, Video & Public Broadcast
+Opportunities (as vehicles for political activism) School of Art
+Institute, Chicago.
+Mar. 18 7:30pm, Lecture, Viola Frey, sculptor,
+San.Francisco.Art Institute, 800 Chestnut, $5/$3 students;
+info: (415) 771-7020.
+-
+Mar. 20-24 Conference, Society of N.A. Goldsmiths,
+Atlanta, GA; info: SNAG Conf, 5254 Powers Ferry Rd,
+Atlanta 30327.
+Mar. 21-24 Conference, Society for Photographic
+Education,New Orleans, LA; info: SPE '91, Box 318, Univ of
+Colorado, Boulder 80309, (303) 492-0588.
+Mar. 22-23 Conference, "The Obstacle Course: Profes-
+sional Women Past to Present," concurrent art exhibn: "A
+Personal Journey: Women Artists," Univ of Pittsburgh, 104
+Frick F.A. Bldg; info: (412) 741-2676.
+-
+Mar. 23 10am, Symposium, "Private Visions: Public
+Spaces: Women in Photography," New School, 66 W. 12 St,
+NYC, $25; info: (212) 473-3729.
+Apr. 3-6 Conference, Natl Council on Education for the
+Ceramic Arts, Arizona State Univ, Tempe; info: NCECA, Box
+1677, Bandon, OR 97411.
+Apr. 5
+Symposium, "Creating the Federal Image: Art for a
+New Nation," Univ of Delaware; info: L. Farber, Dept of Art
+History, Newark, DE 19716, (302) 451-8415.
+Apr. 8-11 Conference & Workshop, "Queens, Queen
+Mothers, Priestesses & Power: Case Studies in African
+Gender," organized by Flora Kaplan, director Museum Studies
+New York Univ and Schomburg Center for Reasearch in
+Black Culture; free & open to public. Info: J. Sharkey, (212)
+998-8080
+Apr. 18-21 Symposium, Metamorphoses of the
+Avant-Garde Artist, 1908-1939, Univ of Puget Sound,
+Tacoma; info: K. Hooper, Univ Puget Sound, WA 98416,
+(206) 756-3276.
+Apr. 19-21 Conference, Living in the Margins: Class,
+Race & Gender, NW Women's Studies Assoc, Washington
+State Univ; info: N. Bierbaum, WSU, Pullman, 99164, (509)
+335-6830.
+Apr. 19 & 20-7:30pm, Dance, "Impressions of a Woman,"
+Marie Alonzo, Teachers Coll, 120 St/Bway, $10/TDF$2.
+Apr. 25-7pm, Lecture, Mary Miss, RISD, Providence, RI.
+May 17 9am, Symposium, "1919-1945, Craft Revivals:
+Multi Cultural & Regional Contributions, American Craft
+Musm, 40 W. 53 St, NYC, $75/$65 members; (212) 956-3699.
+Jun. 9-22 Study Retreat, Council of American Embroi-
+derers, Univ San Diego, CA; info: SASE to L. Palmer, 2496
+Asbury Ct, Decatur, GA 30033.
+Jun. 16-22 & 23-29- Symposium, Quilt/Surface Design,
+Pontifical Coll Josephinum, Columbus, OH; info: L. Fowler,
+464 Vermont Pl, Columbus 43201, (614) 297-1585.
+Jul. 4-6 Workshop, Quilter's Holiday, Ohio Univ, Athens;
+info: (800) 336-5699.
+Jul. 14-26 Workshops, Feminist Women's Writing,
+Aurora, NY; info: SASE to Box 6583, Ithaca, NY 14851.
+Aug. 1-4 Conference, Intermountain Weavers, concurrent
+with juried exhbn,"Fiber Celebrated '91," Colorado College;
+info: SASE to J. Siple, 2322 Condor, Colorado Sprgs, 80909.
+Nov. Symposium, 1930-1945: The Modernists, Amer.
+Craft Musm, NYC; telephone for date- not set at press time,
+(212) 956-3699.
+30
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 33 (PDF page 34) ---
+Crafts in the Art Marketplace
+by PAMELA BLUME LEONARD
+It is an irony that the US crafts arena of the visual arts is
+dominated by white males, yet it lags behind painting and
+sculpture by conventional measurable standards such as status;
+supporting disciplines such as theory, history, curatorial
+positions and development; grant opportunities and awards;
+number and significance of exhibitions; and marketing and
+gallery representation opportunities. The above occur in
+frequencies ranging from nonexistent to insufficient, and the
+primary reason is unquestionably related to gender: crafts are
+historically linked to domesticity and women and are therefore
+situated lower in the arts hierarchy than painting and sculp-
+ture. The most predictable result is that artists working in
+crafts media earn considerably less for their work than
+similarly established artists working in the "fine arts" arena.
+"This can be demonstrated by comparing selling prices of
+ceramics and glass, the most established and highest priced of
+crafts media, to selling prices of fine arts at recent auctions.
+In February, 1989 the US crafts world was delighted to be
+included for the first time in an auction sponsored by a major
+international art dealer. Christie's (New York) held a sale of
+contemporary ceramics and glass, and at last crafts marketers
+were able to assure crafts collectors that a secondary market
+for their acquisitions exists. This is is an important component
+for purchasers who are buying with investment value in mind,
+for the obvious reason that in order to reap the benefits of an
+improving market there must be a structure in place for
+reselling work, i.e., a mechanism to allow profit-taking. Also,
+both buyers and sellers of clay and glass knew that high
+auction sale prices received for paintings and sculptures and
+the resulting publicity of those sales had been a driving force
+in escalating prices for those oeuvres over the last decade.
+From the flurry of auctions in late1989 and early 1990 that
+included clay and glass, one can point to numerous disparities
+in market value between "art" and "craft." For instance, Dale
+Chihuly, who is the most prominent glass artist in the United
+States and arguably in the world, did not command a selling
+price higher than $12,000. He is in every major contemporary
+glass collection; indeed it would be impossible to take
+seriously a collection of contemporary glass that does not
+contain at least one piece by Chihuly, yet $12,000.00 was the
+top auction price for his glass. Of course, he is still a fairly
+young man of fifty and this could be the reason that his work
+did not achieve financial heights, and it should be noted that
+his work has sold in galleries for up to $30,000. Another
+master is Peter Voulkos, often acknowledged as the most
+important ceramist of the 20th century. It was he who first
+interpreted Abstract Expressionism in clay and who was the
+leader of the West Coast clay movement of the 50s and 60s.
+His Snake River of 1959, priced at $50,000-$70,000, brought
+$55,000 at the February 23, 1990 auction of "Contemporary
+Art including Prints, Ceramics and Glass." In the same
+auction Alphabet, a small 1959 painting by Jasper Johns sold
+for $572,000; it had been expected to bring $300,000-
+$350,000. I admit that two sales from one auction are hardly
+overwhelming evidence of discrimination against crafts in the
+marketplace, but such ratios are typical. I also admit the
+difficulty of making comparisons between artists and between
+prices for their work. Are Peter Voulkos and Jasper Johns
+appropriately juxtaposed? How can I defend that juxtaposi-
+tion when there is no Venice Biennale for crafts where Peter
+Voulkos might have exhibited, when there are few museums
+which seriously collect contemporary crafts, when there are
+few craft historians to document Voulkos' significance in the
+long history of ceramics and no history or theory of contempo-
+rary crafts media currently being taught in US colleges?
+I defend such a comparison as I might defend the comparable
+worth of a registered nurse and a foreperson, an office clerk
+and a laborer, in the knowledge that gender hierarchy created
+and perpetuates our culture's belief that painting and
+sculpture, which often have little remaining attachment to daily
+life, are more valuable spiritually, intellectually and finan-
+cially than creative endeavors that have historical ties to
+function and ritual, ties which link them to women.
+By using examples of a white man as a painter, a glass
+artist, and a ceramist I do not wish to detract from the accom-
+plishments of women and minorities in these media nor
+overlook the excellent work done in other crafts media not
+included in the auctions. Both clay and glass are fields which
+in the United States are predominantly male, overwhelmingly
+white and "star" oriented. Therman Statom and James Tanner
+are among the few black stars in glass and clay, and it is
+telling that their work was not included in any of the auction
+catalogues I consulted. Most of the stars are white men,
+though a notable exception whose work was in two auctions is
+Ginny Ruffner, a hotly collected glass artist whose work is in
+most major contemporary glass collections. Ruffner has
+shown her work intemationally, she has been featured in
+Absolut Vodka advertisements (as were Andy Warhol and
+Frank Stella), and she has been the subject of numerous
+published articles. Her painted lampglass sculpture Armchair
+Architect, of 1989 sold for $4,000 at a March, 1990 New York
+auction. One month earlier Cindy Sherman's Untitled, of
+continued next page
+WINTER 1991
+WOMEN ARTISTS NEWS
+31
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 34 (PDF page 35) ---
+Crafts in the Art Marketplace continued
+1987, a color photograph, sold for $12,100 at Christie's. Of
+course Cindy Sherman faces obstacles both as a female and as
+an artist working in photography, an arena that was not
+initially embraced by fine art.
+The point is not to pit Peter Voulkos against Jasper Johns nor
+Ginny Ruffner against Cindy Sherman. That is the opposite of
+the point,.and I use the examples only to show that our
+culture's bottom line, money, reflects the low status of crafts
+and to predict that this will not change so long as the status
+and value of women and minorities is unequal to the status and
+value of white men.
+Fifteen Years of Women Artists News
+With this issue Women Artists News completes 15 years of
+uninterrupted publishing. For much of this time, like most of
+the other non-profit publications, we have been assisted by
+small annual grants from our state council. This year, after
+being officially notified of our grant award, NYSCA tele-
+phoned to say that due to the budget crunch our award had
+been rescinded, (although funding for other groups had been
+retained). This was a critical blow in a time of general
+difficulties. Therefore, as of this issue, Women Artists News is
+temporarily suspending publication while we develop a new
+format and new strategies. Midmarch Arts Press is not
+affected by this decision and has in fact several exciting books
+in the pipeline. Coming soon is a collection of one of WAN's
+most beloved features-reports on the art talk scene of the
+last 15 years. Also in production is an encyclopedic book on
+contemporary African-American women artists. For a review
+of our backlist see the back cover.-C.N.
+L to R: Sharon Jadis, Carolina Escobar, Miriam Hernández, Carole Byard and
+Francia at Escobar/Hernández exhibition at Soho 20 Gallery, 12/11-1/5/91.
+ORIGINAL SIN
+exhibition 1/16-3/3
+advertisement
+50 artists exploring the theme of Eve as a symbol of
+women in contemporary art
+Catalogue and Panel Discussion
+Catalogue essay by Cassandra L. Langer
+To order catalogue, send $8.50 plus $1.00 postage
+To: Hillwood Art Gallery, Brookville, NY 1548
+Panel Discussion: "Eve's Legacy"
+Cassandra Langer, moderator
+Sunday, March 3, 1991
+Hillwood Cinema
+Brookville, NY
+VISUAL ARTS HOTLINES 1-800-232-2789
+American Council for the Arts has established an arts
+resource toll-free number to their library to provide informa-
+tion on arts management, law, advocacy, policy, education,
+careers, funding, housing, insurance and health.
+Directors Guild Publishers also offers their 1-800-383-0677
+for "national information for people working in the fine arts
+fields." Wording is unclear as to whether it's the opportunity
+to order their directories or to obtain helpful information. But,
+their 1-900-990-7011 ($1.99/1 minute & 99 cents/minute
+thereafter) is a 24-hour hotline with recorded updated info on
+funding, commissions, scholarships, etc.
+VISUAL ARTISTS RIGHTS LEGISLATION
+Federal protection for artists' moral rights becomes effective
+May 1, 1991. Artists can now sue for damages if their work is
+mutilated, destroyed or altered; can insist that their names no
+longer be associated with mutilated works; must be credited as
+the creator of their works. Unfortunately, protection is only
+good for the artists' lifetime, and the artist also has the right to
+waive his rights.
+Barbara Bush's Pearls
+By now we all know that the First Lady wears faux pearls.
+Bead expert, Janice Parsons, owner of the Bead Shop in Palo
+Alto, critical of the way they look, offered to lengthen the
+string by 2-4 beads "just enough so they drape gracefully at
+the curve of your neck." She mentioned she would be in
+Washington and would bring her tools and supplies. Parsons
+received a polite response from The White House - they
+didn't say no and didn't say yes-just used "scheduling" as
+a way out.
+22
+32
+WOMEN ARTISTS NEWS
+WINTER 1991
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 35 (PDF page 36) ---
+MIDMARCH Books
+on WOMEN IN THE ARTS and more
+Women who have painted their own vision from New England to Texas to
+California are chronicled in an excellent series.
+Susan E. Davis, New Directions for Women
+Pilgrims and Pioneers:
+New England Women in the Arts
+No Bluebonnets, No Yellow Roses:
+Essays on Texas Women in the Arts
+Yesterday and Tomorrow:
+California Women Artists
+$12.00
+$10.95
+$15.95
+Each of the poets-Rukeyser, Rich and Cooper-has written through the
+persona of a self-realized woman who lived in the early part of our century.
+-Nancy Seale Osborne, Public Services Librarian, SUNY
+Voices of Women: 3 critics on 3 poets
+on 3 (artists)/heroines
+$ 6.50
+... one has to be prepared to take care of all creatures one loves "for better
+or for worse." - Judy Chicago
+Artists and Their Cats-artists tell in statement and photo
+why every home should have at least one cat.
+About women who made their mark while most [women] were
+still confined to hearth and home.
+The Lady Architects: Howe, Manning and Almy,
+1893-1937 all graduates of MIT, they were
+New England's first all-woman architectural firm.
+Camera Fiends and Kodak Girls:
+an
+Women in Photography, 1840-1930-
+illustrated anthology of memoirs, letters, essays and
+poems documenting the participation of women at
+every level of photography from its beginning.
+For young and old:
+$10.00
+$14.90
+$11.50
+Midmarch Arts Press/Women ArtistsNews
+$12.00 Pilgrims and Pioneers:
+The Little Cat Who Had No Name a beautifully
+illustrated fable about a NYC no-name cat.
+$ 9.25
+When Even the Cows Were Up: Kate's Book of
+Childhood in the Early 1900s and After
+a combination American history and coloring book
+for grown-ups and children.
+New England Women in the Arts
+$10.95 No Bluebonnets, No Yellow Roses:
+Texas Women in the Arts
+$15.95 Yesterday and Tomorow:
+California Women Artists
+$ 6.50 Voices of Women: 3 Critics on
+3 Poets on 3 Artists/Heroine
+$10.00 Artists and Their Cats
+$11.50 The Lady Architects
+$ 6.95
+$14.90 Camera Fiends & Kodak Girls:
+Women in Photography 1840-1930
+Directories and Guides
+Whole Arts Directory - organizations, alternative spaces,
+co-op galleries; artists' colonies, financial help, health hazards
+info, arts advocacy; special focus on minorities.
+Guide to Women's Art Organizations & Directory
+for the Arts-comprehensive, national, and interdisciplinary:
+painting, film, video, dance, music, crafts, theatre, architecture,
+literature; bibliography
+$12.95
+$12.50 Women Artists of the World
+$12.95 Whole Arts Directory
+$8.50 Guide to Women's Art Organizations
+$24.95 Shadowcatchers: Women in
+California Photography
+$6.95 When Even the Cows Were Up
+$9.25 The Little Cat Who Had No Name
+$ 8.50
+Shadowcatchers: Directory of Women in California
+Photography Before 1901 - essays, entries for 850;
+photo of artist and her work
+TO ORDER BOOKS or Back Issues of WAN
+NAME---
+$24.95
+General reference book to the international women's art movement.
+.. informative and soundly written.
+ADDRESS-
+CITY/STATE/ZIP-
+TOTAL ENCLOSED $--
+-
+Women's Studies Quarterly, Univ. of Cincinnati
+Women Artists of the World
+$12.50
+PLEASE ADD $1.50 FOR POSTAGE.
+NEW TITLES for 1991
+-
+The Golden Years OF Art Talk 1975-1990 (Summer 1991)
+Contemporary African-American Women Artists (Fall 1991)
+MIDMARCH ARTS PRESS
+300 Riverside Drive New York, NY 10025
+(212) 666-6990/865-5509
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+--- Newsletter Page 36 (PDF page 37) ---
+J8719
+WOMEN ARTISTS NEWS
+What reviewers have said about
+over the last 15 years -
+1976
+Unlike the majority of small publications produced by
+women's groups, WAN relates beyond the social sphere of
+its peer group and conducts its editorial with consistent
+integrity. In short: WAN is a serious publication.
+- La Mamelle
+1978
+WAN is information packed for women artists, gallery
+goers, art historians and collectors. It raises female artistic
+consciousness and encourages the "New Matronage." Brief
+articles profile women artists, alternative gallery space, art
+therapy and culture industry politics. A roster of women's
+shows, education and financial opportunities, literary and
+performance events complete WAN"'s coverage.
+-American Library Association Booklist
+1983
+Women Artists News' unique feature is its nationwide
+"almanac" listing solo and group shows by women artists,
+plus information on workshops, competitions, conferences
+and museum exhibitions. Short articles on a wide range of
+contemporary and historical topics round out each issue.
+-Women's Library Workers Journal
+1986
+Women Artists News recent issues are 50 pages and
+chock full of articles, reviews, visuals and exhibition
+listings.... there is much of interest in the periodical to
+women across the country and around the world.
+- Radius
+1989
+WOMEN ARTISTS NEWS is upbeat, contemporary,
+and carries articles about what's happening in NYC, in
+different parts of the country and at the yearly Women's
+Caucus for Art conference.
+1990
+- Feminist Bookstore News
+WOMEN ARTISTS NEWS is chock full of articles,
+reviews, visuals and is accurately named. Exhibition
+reviews and short profiles of women artists constitute its
+feature section. Strong points include regular, detailed
+reporting on panels, coverage of alternative space
+exhibitions, often slighted in other magazines; listings; and
+special features.... WAN feels like news from the front.
+The lives and careers of women artists are particularly hard,
+and this magazine conveys that sense of struggle in a direct
+way, because it partakes of it.
+-New Art Examiner
+Here are the back issues you may have missed:
+Winter '91
+* Fall '90
+*Sp/Summer '90
+Winter '89/90
+Fall '89
+Sp/Summer '89
+Winter '88/89
+Fall '88
+Summer '88
+Spring '88
+* Fall/Winter '87
+Summer '87
+June '87
+Feb/March '87
+Winter '86/87
+September '86
+June '86
+Spring '86
+Winter '86
+* September '85
+June '85
+Spring '85
+Winter '85
+*Fall '84
+* Summer '84
+* Winter '84*
+* Fall '83*
+Spring '83
+Summer '82
+*Fall '82
+* Mar/Apr '82
+Jan/Feb '82
+Fall '81
+Summer '81
+* Dec/Jan '81
+November '80
+Sep/Oct '80
+Summer '80
+May '80
+* April '80
+Jan '80
+Women of Mexico; Exhinb'ns, Books, Symposia
+Conferences, Symposia, Exhib'n & Book Reviews
+Art Talk/ Can Art History Survive Feminism?
+Exhib'ns, Books & Film; Panels
+Books & Exhib'n Reviews, Photo Conference
+Painting Update/ Art Conferences
+Whatever Happened to Art Criricism
+Women at the Cutting Edge: Art for the Nineties
+Post Modern Maturity; Making it in Middle Age $3.00
+Art of the Future $3.00
+Craft Today: High Art/Low Art, Double Issue $4.50
+Art Life Outside New York $3.00
+Panel Fever: WCA, CAA, more $3.00
+New England Women in the Arts/ Porn Part II $3.00
+Pornography: Looking for Mr. Good Censor $3.00
+East Village Women Artists $3.00
+Son of Janson, Book & Exhibit Reviews $3.00
+The Art Conferences, NY & California $3.00
+Beyond Art & Politics: Nairobi Conference $3.00
+New Feminist Criticism $3.00
+What Price Art? $3.00
+Art and Soul $3.00
+Women in Crafts $3.00
+Emergency Funds; Female Imagery $4.00
+Help for Artists: Colonies, Retreats $4.00
+Prehistory to Post-Modernism $3.00
+Living as an Artist $3.00
+Women's History $3.00
+Art Without Walls $3.00
+Fiber Arts $3.00
+Political Art $3.00
+Uncovering the Past $3.00
+Women in Film Part II $3.00
+Women in Film Part I $3.00
+Needlework $3.00
+Managing the Business of Art $3.00
+Report from Copenhagen $3.00
+Looking Back: The Past 10 Years $3.00
+Ceramics $3.00
+Pioneering Women Artists $3.00
+Women in Photography $3.00.
+All issues, unless marked with an asterisk, are $3.00 plus $1.00 for
+postage/handling for 1 to 5 issues; $1.50 for 6 or more issues in one order.
+Issues followed by an asterisk, indicating that only photocopies are
+available, are $5.00 plus postage additives as above.
+WOMEN ARTISTS NEWS/Midmarch Arts Press
+300 Riverside Drive. New York, NY 10025
+TO ORDER Back Issues of WAN
+Please check issues ordered and enclose check.
+Midmarch Associates
+Women Artists News
+Post Office Box 3304
+Grand Central Station
+New York, NY 10163
+يام
+15
+904
+Northwestern Univ. Library
+Serials Dep't/1AAJ8719
+Evanston, IL 60201
+This content downloaded from
+68.175.73.119 on Tue, 13 May 2025 15:02:23 UTC
+All use subject to https://about.jstor.org/terms
+NONPROFIT ORG.
+US Postage
+PAID
+New York, NY
+Permit No. 8166
\ No newline at end of file
diff --git a/genai/Newsletter_OCR_LLM_Project/README.md b/genai/Newsletter_OCR_LLM_Project/README.md
new file mode 100644
index 0000000..a8710f4
--- /dev/null
+++ b/genai/Newsletter_OCR_LLM_Project/README.md
@@ -0,0 +1,271 @@
+
+# README — From Scanned Documents to Use-Case ready text formats (Database Creation, Index Creation, Dataframe creations etc)
+
+This project was created by Professor Jessica Seigel for converting all *Women Arts Newsletters* into a database.
+Executed by *Jovita Gandhi: jg8316@nyu.edu* (RA for NYU Research Technology Services) under the supervision of *Sajid Ali: ss19980@nyu.edu*
+
+This repository contains the full workflow for converting scanned documents into clean, readable, structured text files using OCR and LLM-based post-processing.
+
+The workflow is implemented in a Jupyter Notebook (`Workflow.ipynb`).
+
+---
+
+# Project Overview
+
+The goal of this project is to take scanned archival newsletters from the *Women Artists Newsletter / Women Artists News* collection and convert them into:
+
+1. OCR text files
+2. Clean, human-readable text
+3. Organized outputs suitable for indexing, search, metadata extraction, RAG systems, and mainly, to create a database of this information.
+
+This README explains the entire workflow used in the notebook and supporting scripts.
+
+---
+
+# Repository Structure
+
+```
+.
+├── Newsletter_OCR_LLM_Project/
+│   ├── OCR_versions/               # Raw OCR .txt files
+│   ├── parsable_versions/          # Cleaned text files (LLM formatted)
+├── Workflow.ipynb                  # Full end-to-end pipeline
+├── README.md
+```
+
+---
+
+# 1. Data Source (Original PDFs)
+
+<div style="text-align: center; margin-bottom: 20px;">
+  <p><strong>Article from the newsletter</strong></p>
+  <img src="images/article.png" width="350">
+</div>
+
+<div style="text-align: center; margin-bottom: 20px;">
+  <p><strong>Calendar Exhibits / Group Shows</strong></p>
+  <img src="images/calendar_exhibits.png" width="350">
+</div>
+
+<div style="text-align: center; margin-bottom: 20px;">
+  <p><strong>First Page of the Newsletter</strong></p>
+  <img src="images/first_page.png" width="350">
+</div>
+
+
+We begin with scanned issues of the *Women Artists Newsletter*. As we can see, these scans contain irregular formatting, artifacts, shadows, multi-column layouts, and inconsistent spacing, making them unsuitable for direct text analysis.
+
+Many different methods was experimented with for text extraction, including some vision language models, however, they all conatained inconsistencies. The next step was to try LLMs directly. After much experimentation with Claude models, we found that certain errors kept reoccuring and providing examples overfit the model to that error, but not all. 
+
+For eg: "Susan Weitzman" always showed up as "Susan Wolfsman" or some other iteration of this.
+
+In this use case, it was incredibly important to have the *correct* entity names. The LLM relied on it's own historic knowledge and hallucinated often, especially when text was in fine print or small in font size, "u" would show up as "o", or "c" would should up as an "r". 
+
+After much research and experimentation, using a pre trained OCR model such as Amazon textract, or Google vision seemed like the appropriate next step. Google Vision showed extremely promising results. This leads us to the OCR phase.
+
+The entire process is available as a hands on in [Workflow.ipynb](genai/Newsletter_OCR_LLM_Project/Workflow.ipynb)
+
+
+---
+
+# 2. Generating OCR Output
+
+OCR (performed via GCP) produces `.txt` files stored in:
+
+```
+Newsletter_OCR_LLM_Project/OCR_versions/
+```
+
+Example filenames:
+
+```
+1976_06-01_Vol.2_No.3_compressed_ocr.txt
+
+```
+
+- In this section, we loop through all the files in our data folder, to extract any and all information in the PDF we have. We use Google Cloud (GCP) for this. However, you can switch to any other cloud OCR model of your choice. You will have to create your own GCP project, and use your credentials (GCP provides $300 free credits for all new  users, for 3 momths)
+- To note:
+     -  In this project, the professor had no use case for the first page of every pdf, so the code explicitly skips the first page (0 in python index)
+
+ Here's an example of what the output looks like:
+
+ """
+ --- Newsletter Page 1 (PDF page 2) ---
+photo Gina Shamus
+photo: Carole Rosen
+ISSN 0149 7081
+75 cents
+Women Artists News
+Vol. 4 No. 9
+First Annual WCA Awards for Outstanding Achievement in the Visual Arts
+photo: Carole Rosen
+Joan Mondale and Mary Ann Tighe
+join the applause for Louise Nevelson
+On the White House lawn, after presentation of awards by President in Oval Office:
+(from left) Charlotte Robinson, Selma Burke, Louise Nevelson, Alice Neel, Ann
+Sutherland Harris, Isabel Bishop, Lee Anne Miller
+Sen. Harrison Williams addresses the Coali-
+tion of Women's Art Organizations.; Joyce
+Aiken, Judith Brodsky, and Louise Wiener
+at the dais (see page 2 for Coalition story)
+GHON A
+CAJOUS FOR HET
+photo: Carole Rosen
+photo: Gina Shamus
+THE
+EMBASSY RO
+WOMEN
+SPEAK TO
+Awards Ceremony
+Isabel Bishop, Selma Burke, Alice Neel, Lou-
+ise Nevelson, and Georgia O'Keeffe received
+citations from President Carter in a ceremo-
+ny at the White House Jan. 30. They were
+then honored by the WCA at the Embassy
+Row Hotel in the First Annual WCA Out-
+standing Achievement in the Visual Arts
+Awards ceremony.
+Speakers at the WCA ceremony were:
+1979, Women Artists News
+"""
+
+#### As we can see, the output here is all in a single column, and has certain errors in heirarchy. 
+
+The raw OCR text typically contains:
+
+* broken line breaks
+* merged or split lines
+* inconsistent spacing
+* hyphenated words
+* noise from headers, footers, and page numbers
+
+This output must be cleaned before use, we need to make sure that any information that is extracted or parsed, has the correct creditentials for each article. To fix this, we use an LLM. This leads to the next phase : *The LLM stage*
+
+
+---
+
+# 3. LLM-Based Post-Processing (Cleaning and Formatting to create Parsable version of the text)
+
+To transform the OCR text into human-readable form, the workflow uses the Claude model via Portkey (NYU AI Gateway).
+
+The model performs:
+
+* Meta data extraction 
+    - This includes article type, date, volume, issue, authors/contributors 
+* It then puts the actual content in clear paragraph breaks that is easily readable to a human being. 
+
+### Note: We instruct the LLM to keep things verbatim, this makes sure that there is no hallucination. If we let the LLM "correct minor errors", it may hallucinate and fix entity names that are actually correct. The cleaned therefore remains faithful to the original and avoids hallucination.
+
+This process is conducted by defining all our rules in a clearly structure prompt. This prompt can be found in the Wokrflow.ipynb file, or in the separate [prompts.txt](genai/Newsletter_OCR_LLM_Project/prompts.txt)
+
+---
+
+# 4. Prompt Design
+
+The prompt we used follows the following structure:
+
+* Defines the model’s role as an **archivist** restructuring raw OCR text without altering content.
+* States the **goal**: produce a clean, readable plain-text version while preserving every word verbatim.
+* Provides **rules for restructuring**, including merging split articles, fixing bylines, preserving lists, and converting column text into paragraphs.
+* Requires **categorizing each section** (article, calendar, masthead, advertisement, etc.) and outputting them in a specific order.
+* Specifies a strict **section template** (TITLE, WRITER, PAGE_NUMBERS, VOLUME, ISSUE, SEASON_YEAR, TYPE, CONTENT).
+* Includes an **example** demonstrating the exact expected output format.
+
+---
+
+# 5 Single-File & Batch Processing
+
+* In the Workflow.ipynb file, you will find the first code allows you process a single file. This helps to experiment with prompt outputs and make any required changes. 
+* The second code allows you to run all the files in loop, i.e as a batch. Processing them together can make the process much faster. However, make sure your final prompt can be generalised to all task cases. Incase different data/files have different structures or different ways of presenting content, the prompt may fail to give good results all the time. 
+
+---
+
+# 6. Final Output Example: 
+* The final outputs are included in [Parsable Versions Folder](genai/Newsletter_OCR_LLM_Project/parsable_versions)
+
+"""
+
+TITLE: GENDER IN ART AN ONGOING DIALOGUE
+WRITER: Sophie Rivera
+PAGE_NUMBERS: 1, 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: PANEL
+CONTENT:
+A group of women artists decided to express their growing disenchantment with the women's movement. "Gender in Art An Ongoing Dialogue," was a title just vague enough to attract a large turnout of artists at the AIR gallery. Following a brief slide presentation, moderator/artist Nancy Spero set the tone with an opening statement full of vague references to a meeting the artists had held several years ago. Spero mentioned neither the topics discussed nor the conclusions formulated, just that they had discussed "a common bond between women."
+
+The panel, in trying to redefine "feminist," "feminine," and "female," were unable to agree, but initially opted for "female." According to artist Rosemary Mayer "a feminist esthetic is a very precise thing; a feminine esthetic is a lousy term; and a female esthetic could possibly have meaning." Before Mayer could elaborate on the "possibility of meaning," artist/anthropologist Elizabeth Weatherford challenged the choice of "female." She preferred "feminist" to describe women artists' work but conceded that "certain stylistic choices are made."
+
+Critic Lucy Lippard said, "If a woman is thinking about her work as by a woman she is probably pre-feminist, post-feminist, or something-or-other-feminist." Artist Nancy Kitchel said, "so little imagery is left to be applied to female, feminine, and feminist art." After using the panel's terms, Kitchel bemoaned the fact that "art has been separated by its terminology out of the stream of human activity" so far as to become a "separate category alien to the artists' intentions."
+
+Spero pointed out that Rosemary Mayer's sculptures were titled with the names of great and powerful women. Yet Mayer claimed her intention was not really feminist. "My work was feminist to the extent that I thought people should be aware of the lives and activity of those women. It was not feminist to the extent that I thought those forms were female," answered Mayer. She elaborated on the stereotypes associated with art done with stitching and fabric. There was no general agreement about the relevance of techniques learned by women growing up and their application to a feminist consciousness in art.
+
+The discussion had little to do with the stated subject. Some of the panelists commented on the male dominance of the art world--a theme which surfaced early, got lost, then re-surfaced in response to sharp audience questioning. The audience expressed feelings of powerlessness in a male dominated society. Artist Joan Semmel answered that women are our audience, that women have a gut response to art, and that her own art came out of a sense of powerlessness (although Semmel no longer feels powerless). Spero strongly disagreed. One could not help get the feeling that we were listening to an economic theory, that many of the women were interested only in the marketing and marketability of feminist art.
+
+The heart of the dilemma seems to be the intrinsic value versus the extrinsic commodity value of art. As to whether there is a specific female art form--a panelist asserted that the traditional female approach has been to reach out, while the male approach has been to look into himself in order to create. This was directly contradicted by statements of at least half a dozen women about their own creativity.
+
+The confusion deepened when someone mentioned that she had been reading a book claiming that people were pushed, because of education, away from the visual toward the verbal. This led to the speculation that female and male spatial perceptions are different--a useful statement, if true, but taken wholly out of context.
+
+The discussion might more appropriately have been titled: "Disgruntled Artists Lower Consciousness." Despite claims of innovation, the ground had been gone over before.
+
+TITLE: THOUGHTS PROVOKED BY A "GENDER-IN-ART" PANEL
+WRITER: Joan Semmel
+PAGE_NUMBERS: 1, 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ARTICLE
+CONTENT:
+The impetus for the woman's movement in the art world was blatant discrimination, exclusion and isolation. It was important for many of us in the early years to have the opportunity to see each other's work, and to gain the confidence to further develop and expand our own work. We then returned to our private worlds to work intensively, gradually gaining exposure, first in women's shows, then in wider contexts.
+
+The profusion of women's panels this season is a signal that we are once again seeking nurturance from each other, and that the movement is readying itself for the next stage in its development. Unfortunately many of the panels have failed to deal with the substantive issues and have left us with an aftertaste of frustration and negation.
+
+A panel that calls itself "Gender In Art-An Ongoing Dialogue" and then refuses to deal with content or sources, or gender itself except in terms of careerism, does a disservice to us all.
+
+Because women's work has been discriminated against for years, many women are paranoid about having their art described as distinctively female, feminist, or feminine. Some think women's art should be accepted because it is the same, or as good as, men's. I want it to be accepted because it is different. Therein lie its power and its possibilities.
+
+....
+
+"""
+---
+
+# 10. Bonus Use Case : Indexing
+
+* Using the prompt for creating a detailed index, you can generate a detailed list highlighting all contubutors, articles, entities advertisements etc in the file. The final outputs can be found in the index_result folder.
+
+# 9. Notebook Workflow Summary (Workflow.ipynb)
+
+The notebook performs:
+
+* loading OCR files
+* cleaning text with the LLM
+* inspecting excerpts
+* saving outputs
+* creating an index
+
+The notebook serves as the master workflow that integrates the single-file and batch codes.
+
+---
+
+# 10. Requirements
+
+The workflow.ipynb requires:
+
+* All libraires mentioned in the requirements.txt file
+* Portkey credentials (contact your PI, or, Research Technology Services (RTS) at NYU for access)
+* Google Cloup Platform (GCP) credentials, $300 available in free credit for each new user, or, contact RTS.
+
+___
+
+# 11. Final outputs:
+
+* This method can be applicable for unstructured data such as this newsletter. 
+* The final output of this project, scaled to about 100 files, and about 2000 pages, was used to create a data base of all artists and contributors mentioned in the Women Arts Newsletter.
+* These results can also by easily used for creating a RAG workflow, where the underlying data is all the structured extracted/generated materials.
+
+
+___
+
+# 12. Final thoughts
+* Please feel free to contact Jovita Gandhi: jg8316@nyu.edu or NYU RTS for any further queries
diff --git a/genai/Newsletter_OCR_LLM_Project/Workflow.ipynb b/genai/Newsletter_OCR_LLM_Project/Workflow.ipynb
new file mode 100644
index 0000000..5d73e0f
--- /dev/null
+++ b/genai/Newsletter_OCR_LLM_Project/Workflow.ipynb
@@ -0,0 +1,667 @@
+{
+ "cells": [
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "import os, time, json\n",
+    "from datetime import datetime\n",
+    "import boto3\n",
+    "import pandas as pd\n"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "## OCR Section\n",
+    "- In this section, we loop through all the files in our data folder, to extract any and all information in the PDF we have. We use Google Cloud (GCP) for this. However, you can switch to any other cloud OCR model of your choice. You will have to create your own GCP project, and use your credentials (GCP provides $300 free credits for all users, for 3 momths)\n",
+    "- To note:\n",
+    "     -  In this project, the professor had no use case for the first page of every pdf, so the code explicitly skips the first page (0 in python index)\n"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "## Import GCP credentials from file\n",
+    "os.environ[\"GOOGLE_APPLICATION_CREDENTIALS\"] = \"name of your own json with GCP credentials\""
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "import os\n",
+    "import io\n",
+    "import time\n",
+    "import fitz\n",
+    "from google.cloud import vision\n",
+    "\n",
+    "# ---------------------\n",
+    "# CONFIG\n",
+    "# ---------------------\n",
+    "\n",
+    "DATA_DIR = \"Newsletter_OCR_LLM_Project/Data\"\n",
+    "OUTPUT_DIR = os.path.join(DATA_DIR, \"OCR_versions\")\n",
+    "\n",
+    "os.makedirs(OUTPUT_DIR, exist_ok=True)\n",
+    "\n",
+    "PAGES_TO_SKIP = {0}       # PDF page indexes to skip (0-based)\n",
+    "SLEEP_BETWEEN_CALLS = 0.5 # seconds between API calls\n",
+    "\n",
+    "client = vision.ImageAnnotatorClient()\n",
+    "\n",
+    "#Looping files for OCR\n",
+    "\n",
+    "pdf_files = sorted([f for f in os.listdir(DATA_DIR) if f.lower().endswith(\".pdf\")])\n",
+    "\n",
+    "print(f\"Found {len(pdf_files)} PDF files.\\n\")\n",
+    "\n",
+    "for file_name in pdf_files:\n",
+    "    pdf_path = os.path.join(DATA_DIR, file_name)\n",
+    "\n",
+    "    # Output filename: <original>_ocr.txt\n",
+    "    base_name = os.path.splitext(file_name)[0]\n",
+    "    out_path = os.path.join(OUTPUT_DIR, f\"{base_name}_ocr.txt\")\n",
+    "\n",
+    "    # Skip if OCR file already exists\n",
+    "    if os.path.exists(out_path):\n",
+    "        print(f\"Skipping (already OCR'd): {file_name}\")\n",
+    "        continue\n",
+    "\n",
+    "    print(f\"Processing: {file_name}\")\n",
+    "    doc = fitz.open(pdf_path)\n",
+    "\n",
+    "    all_text = []\n",
+    "    newsletter_page_no = 0\n",
+    "\n",
+    "    for pdf_index in range(len(doc)):\n",
+    "        if pdf_index in PAGES_TO_SKIP:\n",
+    "            continue\n",
+    "\n",
+    "        newsletter_page_no += 1\n",
+    "        page = doc.load_page(pdf_index)\n",
+    "\n",
+    "        # Render page to image\n",
+    "        pix = page.get_pixmap(dpi=300)\n",
+    "        img_bytes = io.BytesIO(pix.tobytes(\"png\"))\n",
+    "        image = vision.Image(content=img_bytes.getvalue())\n",
+    "\n",
+    "        # OCR call\n",
+    "        response = client.document_text_detection(image=image)\n",
+    "\n",
+    "        # Extract text robustly\n",
+    "        text = \"\"\n",
+    "        if response.full_text_annotation and response.full_text_annotation.text:\n",
+    "            text = response.full_text_annotation.text\n",
+    "        elif response.text_annotations:\n",
+    "            text = response.text_annotations[0].description\n",
+    "\n",
+    "        # Annotate for clarity\n",
+    "        all_text.append(\n",
+    "            f\"\\n--- Newsletter Page {newsletter_page_no} (PDF page {pdf_index + 1}) ---\\n{text}\"\n",
+    "        )\n",
+    "\n",
+    "        time.sleep(SLEEP_BETWEEN_CALLS)\n",
+    "\n",
+    "    # Save OCR text\n",
+    "    with open(out_path, \"w\", encoding=\"utf-8\") as f:\n",
+    "        f.writelines(all_text)\n",
+    "\n",
+    "    print(f\"Saved → {out_path}\\n\")\n",
+    "\n",
+    "print(\"All PDFs processed.\")\n"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "# Have a look at your OCR utput\n",
+    "path = \"PATH TO OUTPUT HERE\"\n",
+    "\n",
+    "with open(path, \"r\", encoding=\"utf-8\") as f:\n",
+    "    text = f.read()\n",
+    "\n",
+    "print(text)"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "## The output here is all in a single column, and has certain errors in heirarchy. We need to make sure that any information that is extracted or parsed, has the correct creditentials for each article. To fix this, we use an LLM"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "# Creating Parsed versions\n",
+    "### - To now create parsed versions, we write a prompt to instruct the LLM to re format the OCR version into a parsable version. We also ask for metada extraction, so that every volume, is clearly marked. Every article/review etc will first start with metadata, detailing information such as atuhor, date, the type of information presented and the volume and issue number. Eack artile will then become parsable as the metadata acts as a delimitter, making database creation easier"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "#Defining the Prompt:\n",
+    "PROMPT = \"\"\" \n",
+    "You are an archivist re-structuring OCR text from historical newsletters.\n",
+    "\n",
+    "You will receive the full OCR text (from Google Cloud Vision) for an issue of the *Women Artists Newsletter*.\n",
+    "The OCR text is accurate but unformatted. Your job is to **reconstruct the structure without changing, summarizing, or omitting any content.**\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### GOAL\n",
+    "Produce a single, plain-text file that:\n",
+    "- contains **every word** of the OCR text, exactly as recognized;\n",
+    "- merges “continued on page …” segments into one continuous article;\n",
+    "- organizes all sections by category (masthead, articles, calendar, advertisements);\n",
+    "- formats each section using a clear, simple, line-based structure.\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### RULES\n",
+    "\n",
+    "1. **Do not summarize, paraphrase, or skip content.**\n",
+    "   Include every line and paragraph from the OCR text verbatim.Please make sure you finish the articles. Do not summarise. I need the ocr versions to be reformatted for readbale use. \n",
+    "\n",
+    "2. **Correct structure only.**\n",
+    "   - If a byline (e.g., “--Judy Seigel” or “Written by …”) appears misplaced, attach it to the correct article.\n",
+    "   - Merge multi-page articles that were split across OCR pages.\n",
+    "   - Preserve bullet lists, calendars, and exhibition entries exactly.\n",
+    "   - The final look should be smooth paragraphs, they should not look like a column, but properly formatted to look. \n",
+    "\n",
+    "3. **Categorize each section** as one of the following types:\n",
+    "   - MASTHEAD  \n",
+    "   - ARTICLE  \n",
+    "   - CALENDAR  \n",
+    "   - ADVERTISEMENT  \n",
+    "   - EDITORIAL\n",
+    "   - REVIEW\n",
+    "   - PANEL\n",
+    "   - LETTER\n",
+    "   - SUBSCRIPTION\n",
+    "\n",
+    "4. **Output order:**\n",
+    "   1. Masthead / Index (if present)  \n",
+    "   2. Articles  \n",
+    "   3. Calendar / Exhibitions  \n",
+    "   4. Advertisements / Subscriptions  \n",
+    "\n",
+    "5. **Output format:**\n",
+    "   Each section should be separated by one blank line and follow this simple labeled structure:\n",
+    "\n",
+    "    TITLE: <exact title as printed>\n",
+    "    WRITER: <writer(s) if visible, otherwise \"unknown\">\n",
+    "    PAGE_NUMBERS: <newsletter page numbers>\n",
+    "    VOLUME: <volume number>\n",
+    "    ISSUE: <issue number>\n",
+    "    SEASON_YEAR: <season and year, e.g., April 1975>\n",
+    "    TYPE: <<article | editorial | review | letter | calendar | advertisement | masthead | subscription | panel>\n",
+    "    CONTENT:\n",
+    "    <verbatim OCR text of this section, with full paragraphs and lists preserved>\n",
+    "\n",
+    "\n",
+    "6. **Formatting details:**\n",
+    "- Do not include extra symbols, brackets, or markers.\n",
+    "- Keep one blank line between sections.\n",
+    "- Preserve all paragraph breaks and spacing from the OCR text.\n",
+    "- Output should be plain text, not JSON or Markdown.\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### EXAMPLE OUTPUT\n",
+    "\n",
+    "TITLE: ARTISTS, DEALERS AND ECONOMICS AT A.I.R. APRIL 7TH  \n",
+    "WRITER: Judy Seigel  \n",
+    "PAGE_NUMBERS: 1–2  \n",
+    "VOLUME: 1  \n",
+    "ISSUE: 1  \n",
+    "SEASON_YEAR: April 1975  \n",
+    "TYPE: ARTICLE  \n",
+    "CONTENT:  \n",
+    "Art Dealers Rosa Esman, Betty Parsons and Virginia Zabriskie, artists Rosemarie Castoro and Laurace James, \n",
+    "and moderator Maude Boltz opened the Third year of A.I.R.’s Monday evening programs.  \n",
+    "They offered a candid and engaging discussion of the economics of art and the realities of sustaining creative work...  \n",
+    "\n",
+    "TITLE: CALENDAR–EXHIBITIONS  \n",
+    "WRITER: unknown  \n",
+    "PAGE_NUMBERS: 3–4  \n",
+    "VOLUME: 1  \n",
+    "ISSUE: 1  \n",
+    "SEASON_YEAR: April 1975  \n",
+    "TYPE: CALENDAR  \n",
+    "CONTENT:  \n",
+    "CECILE ABISH – “Shifting Concern,” Douglass College Campus, New Brunswick, NJ, through May 31.  \n",
+    "PATRICIA ADAMS – Paintings on unstretched canvases, Central Hall Gallery, Port Washington, NY, through April 27.  \n",
+    "ROSEMARIE BECK – Poindexter Gallery, 24 E. 84 St., New York, April 22–May 10.  \n",
+    "(…full list continues)\n",
+    "\n",
+    "\"\"\""
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "#We connect to LLM's using Portkey, the following code initializes and helps to check if your system is connected. If you timeout, Please check to see you are either using NYU VPN, or the NYU wifi.\n",
+    "\n",
+    "from portkey_ai import Portkey\n",
+    "\n",
+    "portkey = Portkey(\n",
+    "  base_url = \"https://ai-gateway.apps.cloud.rt.nyu.edu/v1\",\n",
+    "  api_key = \"YOUR OWN API KEY HERE\"\n",
+    ")\n",
+    "\n",
+    "response = portkey.chat.completions.create(\n",
+    "    model = \"@gpt-4o/gpt-4o\",\n",
+    "    messages = [\n",
+    "      {\"role\": \"system\", \"content\": \"You are a helpful assistant.\"},\n",
+    "      {\"role\": \"user\", \"content\": \"What is Portkey\"}\n",
+    "    ],\n",
+    "    MAX_TOKENS = 512\n",
+    ")\n",
+    "\n",
+    "print(response.choices[0].message.content)\n"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "### Great! You got a response! \n",
+    "- #### If you did not get any reponse, please make sure of the following:\n",
+    "\n",
+    "    - You are within the NYU environment (either via WIFI or VPN)\n",
+    "    - You have the correct API key input in the code\n",
+    "    - You are using a model you have access too (can check this in the \"model catalog\" section of the menu)\n",
+    "    - You are in the correct workspace (top left corner of the portkey page)\n",
+    "    - You are in the correct organisation (bottom left corner of the portkey page)\n",
+    "    - You are NOT using Google Collab. (Google collab works in it's own separate environment, NYU VPN/WIFI will NOT help in connecting to the correct environment)\n",
+    "\n",
+    "\n",
+    "\n",
+    "- #### If you passed all of these checks, and are still timing out, or getting an un known error, you should a) check Portkey Documentation for any important infomration, b) Contact the person who helped you with getting portkey resources. "
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "### Let's now run the code to make a parsable version of the OCR"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "from portkey_ai import Portkey"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "# format_newsletter_single_file.py\n",
+    "import os\n",
+    "from portkey_ai import Portkey\n",
+    "\n",
+    "# === Input and output paths ===\n",
+    "INPUT_FILE = \"Newsletter_OCR_LLM_Project/OCR_versions/1976_06-01_Vol.2_No.3_compressed_ocr.txt\"\n",
+    "OUTPUT_DIR = \"Newsletter_OCR_LLM_Project/parsable_versions\"\n",
+    "\n",
+    "# Create output folder if it doesn't exist\n",
+    "os.makedirs(OUTPUT_DIR, exist_ok=True)\n",
+    "\n",
+    "# === Portkey setup ===\n",
+    "portkey = Portkey(\n",
+    "    base_url=\"https://ai-gateway.apps.cloud.rt.nyu.edu/v1\",\n",
+    "    api_key=\"YOUR API KEY HERE\",\n",
+    ")\n",
+    "\n",
+    "MODEL = \"@bedrock/us.anthropic.claude-sonnet-4-20250514-v1:0\"\n",
+    "MAX_TOKENS = 16384\n",
+    "\n",
+    "# === Derive output filename ===\n",
+    "filename = os.path.basename(INPUT_FILE)\n",
+    "\n",
+    "base = filename.replace(\"_compressed_ocr\", \"\")\n",
+    "out_name = base.replace(\".txt\", \"_parsable.txt\")\n",
+    "\n",
+    "output_path = os.path.join(OUTPUT_DIR, out_name)\n",
+    "\n",
+    "print(f\"\\nProcessing → {filename}\")\n",
+    "\n",
+    "# === Load OCR text ===\n",
+    "with open(INPUT_FILE, \"r\", encoding=\"utf-8\") as f:\n",
+    "    ocr_text = f.read().replace(\"\\r\\n\", \"\\n\").replace(\"\\r\", \"\\n\")\n",
+    "\n",
+    "# === Construct messages ===\n",
+    "messages = [\n",
+    "    {\"role\": \"user\", \"content\": f\"{PROMPT}\\n\\nHere is the OCR text for the full newsletter:\\n\\n{ocr_text}\"}\n",
+    "]\n",
+    "\n",
+    "# === Generate completion ===\n",
+    "completion = portkey.chat.completions.create(\n",
+    "    messages=messages,\n",
+    "    model=MODEL,\n",
+    "    max_tokens=MAX_TOKENS,\n",
+    ")\n",
+    "\n",
+    "readable_text = completion.choices[0].message.get(\"content\", \"\")\n",
+    "\n",
+    "# === Save output ===\n",
+    "with open(output_path, \"w\", encoding=\"utf-8\") as f:\n",
+    "    f.write(readable_text)\n",
+    "\n",
+    "print(f\"✔ Saved → {output_path}\")\n",
+    "print(\"\\nSingle file processed successfully!\")\n"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "# format_newsletter_full_issue_txt_loop.py\n",
+    "import os\n",
+    "from portkey_ai import Portkey\n",
+    "\n",
+    "# === Input and output directories ===\n",
+    "INPUT_DIR = \"Newsletter_OCR_LLM_Project/OCR_versions\"\n",
+    "OUTPUT_DIR = \"Newsletter_OCR_LLM_Project/parsable_versions\"\n",
+    "\n",
+    "# Create output folder if it doesn't exist\n",
+    "os.makedirs(OUTPUT_DIR, exist_ok=True)\n",
+    "\n",
+    "# === Portkey setup ===\n",
+    "portkey = Portkey(\n",
+    "    base_url=\"https://ai-gateway.apps.cloud.rt.nyu.edu/v1\",\n",
+    "    api_key=\"YOUR API KEY HERE\",\n",
+    ")\n",
+    "\n",
+    "MODEL = \"@bedrock/us.anthropic.claude-sonnet-4-20250514-v1:0\"\n",
+    "MAX_TOKENS = 16384\n",
+    "\n",
+    "# === Loop through all OCR files ===\n",
+    "for filename in os.listdir(INPUT_DIR):\n",
+    "\n",
+    "    if not filename.endswith(\".txt\"):\n",
+    "        continue  \n",
+    "\n",
+    "    input_path = os.path.join(INPUT_DIR, filename)\n",
+    "\n",
+    "    # Output filename: replace _ocr with _parsable\n",
+    "    base = filename.replace(\"_compressed_ocr\", \"\")\n",
+    "    out_name = base.replace(\".txt\", \"_parsable.txt\")\n",
+    "    output_path = os.path.join(OUTPUT_DIR, out_name)\n",
+    "\n",
+    "    print(f\"\\nProcessing → {filename}\")\n",
+    "\n",
+    "    # Load OCR text\n",
+    "    with open(input_path, \"r\", encoding=\"utf-8\") as f:\n",
+    "        ocr_text = f.read().replace(\"\\r\\n\", \"\\n\").replace(\"\\r\", \"\\n\")\n",
+    "\n",
+    "    # Construct messages\n",
+    "    messages = [\n",
+    "        {\"role\": \"user\", \"content\": f\"{PROMPT}\\n\\nHere is the OCR text for the full newsletter:\\n\\n{ocr_text}\"}\n",
+    "    ]\n",
+    "\n",
+    "    # Generate completion\n",
+    "    completion = portkey.chat.completions.create(\n",
+    "        messages=messages,\n",
+    "        model=MODEL,\n",
+    "        max_tokens=MAX_TOKENS,\n",
+    "    )\n",
+    "\n",
+    "    readable_text = completion.choices[0].message.get(\"content\", \"\")\n",
+    "\n",
+    "    # Save formatted output\n",
+    "    with open(output_path, \"w\", encoding=\"utf-8\") as f:\n",
+    "        f.write(readable_text)\n",
+    "\n",
+    "    print(f\"Saved → {output_path}\")\n",
+    "\n",
+    "print(\"\\nAll files processed successfully!\")\n"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "## Let's have a look at the file, and you should see the metadata extraction\n",
+    "- This file was then shared with a software engineer, who parsed all the different articles, authros etc, and turned it onto an online database, for the given dataset (can be seen)"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "path = \"Newsletter_OCR_LLM_Project/parsable_versions/Vol_4_Issue_9_parsable.txt\"\n",
+    "\n",
+    "with open(path, \"r\", encoding=\"utf-8\") as f:\n",
+    "    text = f.read()\n",
+    "\n",
+    "print(text)"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": [
+    "## Bonus use case: Indexing. \n",
+    "- The original aim of this project was to create indexes for each newsletter, this was created directly from the OCR files, in the code cells below, is the prompt to create an index, and the code to run the same"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": 6,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "#Indexing Prompt\n",
+    "index_prompt_text = \"\"\"\n",
+    "You are an archivist assistant working with OCR-extracted content from historical feminist newsletters.\n",
+    "\n",
+    "Your task is to create a structured, article-wise index from the provided OCR JSON data of a newsletter issue.\n",
+    "\n",
+    "---\n",
+    "\n",
+    "Your output must contain these sections, in order:\n",
+    "\n",
+    "### 1. CONTRIBUTORS:\n",
+    "List all contributors (people who wrote or signed articles, letters, editorials, reviews, or are explicitly listed in mastheads).  \n",
+    "Format:\n",
+    "- <Name> (role or contribution, e.g., \"publisher and editor,\" \"review author of Ellen Banks,\" \"contributing editor\")  \n",
+    "\n",
+    "Include contributors found in:\n",
+    "- Mastheads, staff boxes, editorial credits\n",
+    "- Signed articles, reviews, or letters  \n",
+    "Do **not** include people who are only mentioned in passing.  \n",
+    "\n",
+    "---\n",
+    "\n",
+    "### 2. PEOPLE SUBSTANTIALLY COVERED:\n",
+    "List individuals who are the primary focus of an article, review, or extended discussion (e.g., a featured artist, critic, or theorist).  \n",
+    "Format:\n",
+    "- <Name> (short note on how they are covered, e.g., \"subject of review,\" \"artist featured in exhibition\"), in \"<Article Title>\"  \n",
+    "\n",
+    "This section highlights people who are written about in depth.  \n",
+    "Do **not** include individuals who are only briefly cited or quoted.\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### 3. ARTICLE INDEX:\n",
+    "List every article in the issue in order of appearance.  \n",
+    "For each article, provide:\n",
+    "- Article Title (as printed)  \n",
+    "- Author(s)  \n",
+    "- Primary subjects (artists, exhibitions, or movements discussed)  \n",
+    "\n",
+    "Do not summarize the article — just capture title, author, and subjects.\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### 4. CALENDAR EXHIBITIONS:\n",
+    "List all artists, galleries, or exhibition spaces that appear under calendar- or listing-type sections (e.g., “Calendar,” “Exhibitions,” “Events, Conferences & Symposia,” “Listings”).  \n",
+    "Format:\n",
+    "- <Artist or Entity Name> (<exact section heading>)\n",
+    "\n",
+    "Do not duplicate these entries in the Article Index.\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### 5. ADVERTISEMENTS:\n",
+    "List all persons, groups, or businesses mentioned on pages flagged as advertisements.  \n",
+    "Format:\n",
+    "- adv(<name or entity>)\n",
+    "\n",
+    "---\n",
+    "\n",
+    "### GENERAL INSTRUCTIONS:\n",
+    "- Do not organize by page number—organize by **article and section**.  \n",
+    "- Use the newsletter’s stated volume, issue, and season/year where needed (do not infer).  \n",
+    "- Alphabetize entries within each section except the Article Index (which should follow the order of appearance).  \n",
+    "- For names, always include a short, research-useful note on their role or coverage — avoid vague filler.  \n",
+    "- Output must be plain, human-readable, and copy-paste friendly.  \n",
+    "- End the index with \"the index ends here\".\n",
+    "\"\"\"\n"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": 7,
+   "metadata": {},
+   "outputs": [
+    {
+     "name": "stdout",
+     "output_type": "stream",
+     "text": [
+      "Text file saved → Vol_1_Issue_8_index.txt\n"
+     ]
+    }
+   ],
+   "source": [
+    "from portkey_ai import Portkey\n",
+    "\n",
+    "portkey = Portkey(\n",
+    "    base_url=\"https://ai-gateway.apps.cloud.rt.nyu.edu/v1\",\n",
+    "    api_key= \"YOUR API KEY HERE\" \n",
+    ")\n",
+    "\n",
+    "# --- File paths ---\n",
+    "OCR_PATH = \"/Users/jovitagandhi/Desktop/JoFo/Education/Masters/NYU/RA_Gen_AI/OCR_Books/Newsletter_OCR_LLM_Project/OCR_versions/1976_01-01_Vol.1_No.8_compressed_ocr.txt\"\n",
+    "OUT_FILE = \"Vol_1_Issue_8_index.txt\"   \n",
+    "\n",
+    "MODEL =  \"@bedrock/us.anthropic.claude-sonnet-4-20250514-v1:0\" \n",
+    "MAX_TOKENS = 16384 \n",
+    "\n",
+    "# --- Load OCR text ---\n",
+    "with open(OCR_PATH, \"r\", encoding=\"utf-8\") as f:\n",
+    "    ocr_text = f.read().replace(\"\\r\\n\", \"\\n\").replace(\"\\r\", \"\\n\")\n",
+    "\n",
+    "# --- Construct messages ---\n",
+    "messages = [\n",
+    "    {\"role\": \"user\", \"content\": f\"{index_prompt_text}\\n\\nHere is the OCR text for the full newsletter:\\n\\n{ocr_text}\"}\n",
+    "]\n",
+    "\n",
+    "# --- Generate completion ---\n",
+    "completion = portkey.chat.completions.create(\n",
+    "    messages=messages,\n",
+    "    model=MODEL,\n",
+    "    max_tokens=MAX_TOKENS,\n",
+    "    temperature=0\n",
+    ")\n",
+    "\n",
+    "# --- Extract content safely ---\n",
+    "readable_text = (\n",
+    "    getattr(completion.choices[0].message, \"content\", \"\")\n",
+    "    or completion.choices[0].message.get(\"content\", \"\")\n",
+    ")\n",
+    "\n",
+    "# --- Save as plain text ---\n",
+    "with open(OUT_FILE, \"w\", encoding=\"utf-8\") as f:\n",
+    "    f.write(readable_text)\n",
+    "\n",
+    "print(f\"Text file saved → {OUT_FILE}\")\n"
+   ]
+  },
+  {
+   "cell_type": "code",
+   "execution_count": null,
+   "metadata": {},
+   "outputs": [],
+   "source": [
+    "path = \"YOUR_FILE_PATH\"\n",
+    "\n",
+    "with open(path, \"r\", encoding=\"utf-8\") as f:\n",
+    "    text = f.read()\n",
+    "\n",
+    "print(text)"
+   ]
+  },
+  {
+   "attachments": {},
+   "cell_type": "markdown",
+   "metadata": {},
+   "source": []
+  }
+ ],
+ "metadata": {
+  "kernelspec": {
+   "display_name": "video",
+   "language": "python",
+   "name": "python3"
+  },
+  "language_info": {
+   "codemirror_mode": {
+    "name": "ipython",
+    "version": 3
+   },
+   "file_extension": ".py",
+   "mimetype": "text/x-python",
+   "name": "python",
+   "nbconvert_exporter": "python",
+   "pygments_lexer": "ipython3",
+   "version": "3.10.0"
+  },
+  "orig_nbformat": 4,
+  "vscode": {
+   "interpreter": {
+    "hash": "758b54b07f4628f2981a93ec2fa893cf8f1006e199b2e47f7b9610a507fb2008"
+   }
+  }
+ },
+ "nbformat": 4,
+ "nbformat_minor": 2
+}
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+### 1. CONTRIBUTORS:
+- Cynthia Navaretta (editor)
+- Judy Seigel (feature editor)
+- Susan Schwalb (design director)
+- Helen Burr (contributor)
+- Constance Kane (contributor)
+- Susan Manso (contributor)
+- Pat Passlof (contributor)
+- Sophie Rivera (contributor, author of "Gender in Art An Ongoing Dialogue")
+- Anne Marie Rousseau (contributor, author of "Art Offends at Douglass")
+- Joan Semmel (contributor, author of "Thoughts Provoked by a 'Gender-in-Art' Panel")
+- Gail Singer (contributor, author of "Women Look at Women")
+
+### 2. PEOPLE SUBSTANTIALLY COVERED:
+- Bibi Lencek (artist featured in exhibition at Douglass College), in "Art Offends at Douglass"
+- Isabel Bishop (subject of book review), in book review by Susan Schwalb
+
+### 3. ARTICLE INDEX:
+- "Gender in Art An Ongoing Dialogue" by Sophie Rivera (Nancy Spero, Nancy Kitchel, Laurace James, Lucy Lippard, Mary Miss, Rosemary Mayer, Elizabeth Weatherford)
+- "Thoughts Provoked by a 'Gender-in-Art' Panel" by Joan Semmel (women's movement in art, feminist art)
+- "Art Offends at Douglass" by Anne Marie Rousseau (Bibi Lencek exhibition, censorship controversy)
+- "Painterly Representation" by Pat Passlof (Louis Finkelstein, Rosemarie Beck, Paul Georges, Wolf Kahn, Raoul Middleman, Paul Resika)
+- "Art to Heart Talk" by Judy Seigel (panel on humanizing the art world)
+- "Women Look at Women" by Gail Singer (women photographers exhibition at Library of Congress)
+- "Color, Light & Image, Work and Statements" interview excerpts (Alice Baber, international women artists exhibition)
+- Book review of "A History of Women Artists" by Susan Manso
+- Book review of "Isabel Bishop" by Susan Schwalb
+- Book review of "The Nude in Photography" by Helen Burr
+- Book review of "Art on the Edge" by Pat Passlof
+
+### 4. CALENDAR EXHIBITIONS:
+- Elise Asher (Calendar)
+- Helene Aylon (Calendar)
+- Anne Bell (Calendar)
+- Miriam Brumer (Calendar)
+- Sigrid Burton (Calendar)
+- Diane Churchill (Calendar)
+- Lois Dodd (Calendar)
+- Christine Dolinich (Calendar)
+- Lauren Ewing (Calendar)
+- Harriet Feigenbaum (Calendar)
+- Ann Freilich (Calendar)
+- Eunice Golden (Calendar)
+- Jane Greer (Calendar)
+- Dorothy Heller (Calendar)
+- Harmony Hammond (Calendar)
+- Suzanne Hodes (Calendar)
+- Gillian Jagger (Calendar)
+- Stephanie Brody Lederman (Calendar)
+- Susan Leites (Calendar)
+- Inverna Lockpez (Calendar)
+- Ethel Magafan (Calendar)
+- Jean Maggrett (Calendar)
+- Cynthia Mailman (Calendar)
+- Juanita McNeely (Calendar)
+- Susan Middleman (Calendar)
+- Kate Millett (Calendar)
+- Constance Morris (Calendar)
+- Rene Murray (Calendar)
+- Kathryn Perry (Calendar)
+- Ellen Phelan (Calendar)
+- Perle Fine (Calendar)
+- Dalia Ramanauskas (Calendar)
+- Jeanne Reynal (Calendar)
+- Margot Robinson (Calendar)
+- Judith Rothschild (Calendar)
+- Ethel Schwabacher (Calendar)
+- Hazel Siegel (Calendar)
+- Sylvia Sleigh (Calendar)
+- Lois Smiley (Calendar)
+- Mimi Smith (Calendar)
+- Anita Steckel (Calendar)
+- Sarah Supplee (Calendar)
+- Selina Trieff (Calendar)
+- Ruth Vollmer (Calendar)
+- Barbara Zucker (Calendar)
+
+### 5. ADVERTISEMENTS:
+- adv(Merle Marsicano)
+- adv(Elise Asher)
+- adv(Anita Steckel)
+- adv(The Soho Center for Visual Artists)
+- adv(Women's Photography Journal)
+
+the index ends here
\ No newline at end of file
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+
+Assistant
+TITLE: Feminist Critique: A Short Note
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 2
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: EDITORIAL
+CONTENT:
+Feminist art theory and practice in the 1990s has moved way beyond critiquing the exisiting patriarchy. It is now proposing new questions that are expressed in art - for instance, shows like Mary Ann Wadden's "Original Sin" at the Hillwood Art Gallery (C.W. Post Campus, L.I. University) and find their starting point in the elsewhere of evolving American feminist art criticism, i.e. Jane Kaufman. These activist practices are incredibly threatening to the patriarchy and certain of their assumptions.
+
+The relationship that has been in force between the sexes has been male dominant. To question this and construct different alternatives or, as postmodernist jargon would have it, "discourses" became the task of feminists in the 1970s. Accused of simple-mindedness by male critics who had been supportive during the male-defined "golden age" of feminist art and criticism, i.e., Lawrence Alloway, feminist art critics of the 1980s attempted to create conceptions that rejected male experience as "universal." Unfortunately, this process led many to bind themselves to male authority in order to refute it. Take for instance the English feminists who concentrated on the "Woman Question" first identified by Engles and Marx or the new postmodern feminists who bound themselves to the male dominant theories of Foucault or Lacan. All of these masculine-based theories of culture and about women had biases of their own which rarely paid attention to the reality of women's experience within their own sphere, i.e., biochemistry and the body. They were essentially resistant to feminist interventions, and although savvy women were able to write essays on the cutting edge of criticism, these writings were mainly shaped by ideas originating in white Euro-centric discourses, i.e., Plato, Hobbes, Hegel, Freud, Marx and Sartre to mention only a few. The most radical feminist critics generally found themselves shut out of the major trade journals and could find a voice only in magazines which were marginal to the established and centrist mainstream. Many found themselves publishing their best work in catalogs and popular media.
+
+This is a short overview of the past two decades of discussions centering on the feminist critique in the arts, which brings us to the threshold we now stand on. The 1990s promises well,.but proponents of activist criticism have their work cut out for them. Racism and sexism within the feminist movement itself may handicap us from our aspirations. It is absurd to assume we all have the same goals. What we have to do is recognize our various concerns and the common ground we share as women in a sexist society. We must honestly examine our approaches, philosophies and attitudes. Concepts of gender and difference are at the forefront of developing feminist perspectives; this will require us to broaden our horizons, risking crossing borders that are foreign to us. How we are going to (re) construct our differing aims and eliminate male bias in creating systems and theories using feminist methods is the big question for feminist critics and artists in the 1990s.
+
+TITLE: WOMEN ARTISTS NEWS
+WRITER: unknown
+PAGE_NUMBERS: 1
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: MASTHEAD
+CONTENT:
+WOMEN ARTISTS NEWS
+WOMEN OF MEXICO
+VOLUME 15, NO. 4
+$3.00
+Winter 1991
+WOMEN OF MEXICO
+
+TITLE: WOMEN ARTISTS NEWS
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: MASTHEAD
+CONTENT:
+WOMEN ARTISTS NEWS
+PUBLISHER and EDITOR, Cynthia Navaretta
+CONTRIBUTING EDITORS, Rena Hansen, Cassandra L. Langer, Sylvia Moore
+REGIONAL CORRESPONDENTS, Washington, DC, Nancy Cusick, Texas, Joy Poe
+CONSULTING EDITOR, Judy Seigel
+CIRCULATION, Lynda Hulkower
+PASTE UP, Two Lip Art
+
+Volume 15 No. 4
+CONTENTS
+Winter 1991
+
+EXHIBITIONS
+2 Women in Mexico by Cassandra Langer
+5 Locations of Desire by Kathleen Paradiso
+6 The Queer Show by Cassandra Langer
+7 Ellen Banks by Alicia Faxon
+8 The Emporer's New Clothes by Devorah Knaff
+9 Jane Kaufman, Linda Cunningham and Christina Schlesinger by Cassandra Langer
+10 Femmes d'Esprit: Women in Daumier's Caricature and Sue Collier by Rena Hansen
+11 Katie Seiden by Marilyn Benson
+12 PERFORMANCE & DANCE
+13 Endangered Species choreography by Martha Clarke, reviewed by Janet B. Eigner
+15 Rachel Rosenthal reviewed by Jo Hanson
+16 Dances For a Century choreography by Doris Humphrey & Ruth St. Dennis and Classical Indian Dance choreography by Hema Rajagapolan, reviewed by Effie Mihopoulos
+18 PANEL & SYMPOSIUM
+19 Women in Mexico by Cassandra Langer
+20 Abstract Expressionism: Other Dimension by Cynthia Navaretta
+21 BOOK REVIEWS
+22 Bertha Morisot by Anne Higonnet reviewed by Sylvia Moore
+23 Women in Mexico by Dr. Edward L. Sullivan reviewed by Cassandra Langer
+Short Reviews
+ALMANAC
+26 Exhibitions Solo and Group
+29 Slide Calls & Opportunities
+30 Events, Conferences & Symposia
+ARTICLES
+31 Crafts in the Art Marketplace by Pamela Blume Leonard
+
+Women Artists News is regularly abstracted and indexed in RILA, the International Repertory of the Literature of Art and in the Alternative Press Index, Baltimore, MD. Relevant articles are abstracted in ARTbibliographies, published by Clio Press, LTD, Oxford, England.
+
+Copyright 1990 by Women Artists News. All rights reserved. No part of this publication may be reproduced without written permission from Women Artists News.
+
+SSN 0149 7081
+Published by Midmarch Arts
+Malling address:
+Post Office Box 3304, Grand Central Station, New York, NY 10163
+Telephone (212) 666-6990
+
+Cover: Frida Kahlo, "Marxism Heals the Sick" Museo Frida Kahlo, Mexico City
+
+TITLE: Women in Mexico
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 4-6
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Fall 1991 in New York will long be remembered for the city-wide exhibitions at museums and galleries of the art of Mexico. The most exciting event, and the one generating the greatest interest, was the National Academy's landmark show on women artists. The exhibition, catalog and symposium are all reviewed in these pages.
+
+No matter how you say it, Latin American women have arrived in New York. The big apple is agog over Frida Kahlo and Mexico as exotica. Elle ran a story on Frida and juxtaposed Frida's self-portraits with fashionable photographs of models dressed in Mexican-style clothes. If this all smacks of sensationalism you ain't heard nothing yet. Films, books, and all sorts of events featuring Frida Kahlo as a role model are the enriched wonder bread of the season, topped off by Madonna's recent hit tune "Vogue" in which she sings "Come on, girls, let's get to it, strike a pose, there's nothing to it." All this is very provocative when one thinks of the sense of power "dressed to kill" conveys to a younger generation, especially in terms of women using their sexuality. Retrogressive, in feminist terms, as all this is, it makes me think of another pop song "What's love got to do with it?" By the same logic, I'm moved to ask what's art got to do with it? The answer seems to be almost nothing-since it's about commercialism. The media focus is limited to Frida, who has become a hot commodity, particularly since Madonna and other pop stars have purchased her art for record prices.
+
+Still, "Women in Mexico" makes very interesting viewing, featuring over one hundred works by 22 women artists. By no means what it might have been had curator Edward Sullivan been given more time, it yet illustrates the extraordinary contributions women have made to Mexico's cultural history in the 20th century. Dr. Edward Sullivan, Chair of the Department of Fine Arts at New York University, covers such themes as national identity, personal and psychological identity, fantasy, abstract expressionism, women's role in society, and contemporary pluralism and illustrates them with artists including Kahlo, María Izquierdo, Olga Costa, Remedios Varo, Leonora Carrington, Lola Alvarez Bravo, Graciela Iturbide, Flor Garduño, Lilia Carillo, Laura Anderson, Tina Modotti and Elena Climent.
+
+Sullivan's exhibition is radical, so it was hard to understand some of his exclusions. Later he told me the exhibition is only an ambitious first and he intends to follow it with an inclusive book. He welcomes contributions to his list. He is to be commended for providing us, at short notice, with a discursive space in which to discuss Latin American and Hispanic women. Choosing the "most representative figures for most trends of the time period dealt with" was Sullivan's immediate objective. It makes for a very interesting show. I was sorry to see him uncritically accept the Gouma-Peterson and Mathews "The Feminist Critique...,"which appeared in The Art Bulletin as a definitive source viz. the history of the women's movement in art. It is essentially a sequence of windy generalizations that confuses more than it enlightens.
+
+I was pleasantly surprised by a number of new faces and particularly liked the inclusion of photography and younger contemporary artists. Frida Kahlo's life enters into her art, and in many of her paintings she shows herself as a mere child with a crush on the great hero Diego Rivera. In pictures like the Little Deer where she is shot through with pain she reminds us of her dependency on Rivera and her own personal courage. In Diego Y Yo (1949) he is engraved on her brain like a third eye.
+
+There is something savage in the realities these women depict that is not Mexican. Remedios Varo came to Mexico from Spain in 1941 and soon after struck up a friendship with the American Leonora Carrington. Her The Creation of Birds (1958) is an alchemistical and surreal imaging of her own artistic liberation. Her painting, like Kahlo's, is precise, jewel-like and intimate. Leonora Carrington, like Varo, has a violent and spiritual edge to her art. It is a transformative vision that imposes a special kind of attention on its viewer. Works like Temple of the Wing (1954), Samam (1951) and Down Below (1942 are metamorphic and full of occult symbolism.
+
+Lucero Isaac's mixed media sculptures Downstairs to Heaven. Act II (1989) and Devilish Viewer (1989) make a respectable bid for appreciation. I particularly like Laura Anderson's The Sacred and The Profane (1989) and "The Origins" series. In these drawings she embodies the profound sexual energy of the spiritual. The work consists of large, energetic drawings using carbon graphite and ink on paper. In spirit and basic understanding there is an innocence and pathos that is immediate and disconcerting because it anticipates the physical and spiritual as a continuous moment of becoming in which we don't know which is sacred or profane. It is the intensity of Anderson's vision that is so refreshing. Elena Climent, who is largely self-taught, uses the most mundane subject matter. But each moment she paints has a uniqueness that intends to capture something singularly Mexican. Climent constructs her pictures from the debris of everyday life in Mexico City - gas station altars, candid close-up views of middle-class interiors full of cheap religious and secular images, plastic lace, fading photographs and assorted other trash. What is particularly gratifying about these works is their deeply humane approach and genuine love for and realism about human beings.
+
+A few comments about the photography. Tina Modotti's work conceptualized the mood of nationalism throughout Mexico during the time that she worked there. She was influential and influenced other native photographers with images like El Machete (ca. 1928). Lola Alvarez Bravo's photograph The Dream of the Poor impressed me deeply. It shows a small boy asleep among several hundred sandals. He is a pure presentation-only a peasant-a symbol of the Mexican people. He is displaced and at a loss amid plenty. We haven't the slightest idea of what his dreams are. We only have a suspicion from Bravo's boldly discordant placement that he dreams about plenty of something. Bravo's photographs of the painter María Izquierdo (1947) and Diego Rivera (ca. 1945) are direct and display an intensity of seeing that makes the record of their faces a record of a prodigious animal power to endure.
+
+Graciela Iturbide's photographs are the work of a woman who evidently understands the absurdity of modern life in Mexico. Her wildly discordant and satiric Angel Woman shows a woman dressed in what appears to be traditional costume striding across a rugged landscape. The embodiment is heroic, but upon closer examination we notice that she is carrying a portable radio. Iturbide collapses the barriers between a multitude of cultural clashes blending them into one ironic statement about how we exist in the same space - only very differently. More cutting is her The Border (1989) in which a man with a tattooed back, sporting an image of the Virgin of Guadalupe, faces the horizon. Here she presents the human predicament where we are to be pitied and laughed at as we face the changing and unchanging realities of the world we have created. In her Powerful Hands she shows two generations of women, possibly a mother and daughter, in front of an assemblage of sculpted wooden hands. This moment reflects an undervalued wisdom of heart and spirit that have remained unchanged since ancient times.
+
+In works by Iturbide and Flor Garduño, especially her incredibly powerful and compelling Warsau #46 (1987) and Knives (1987) we seem to be dealing with a continuous and unfinished journey that mirrors the history of Mexico and humanity.
+
+In summary, this is a show that ventured too little and its pseudo-Mexicanism made me grit my teeth, since I expected it to be rooted in artists of Mexico. Given the prohibitive price of the catalog ($110) I was disappointed that no biographical material was included in the exhibition. Though every performance has its limits, the show transcended them by introducing us to a number of women artists who need to be better known, including María Izquierdo, Olga Costa, Sylvia Ordóñez and Mariana Yampolsky. Much as I mistrust the political climate that has treated us to this Mexican extravaganza I think the National Academy of Design and the Centro Cultural Arte Contemporaneo deserve a round of applause for creating an opportunity for a wider audience to become acquainted with these artists.
+
+TITLE: Locations of Desire
+WRITER: Kathleen Paradiso
+PAGE_NUMBERS: 5-6
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+From the Oedipal myth, Plato and Aristotle, through Augustine's Confessions and Freud's Interpretation of Dreams, to Derrida and his followers' relatively recent fashionable writing on language and literature, ideas of desire have engaged the Western imagination. This frame of reference weighed heavily on "Locations of Desire" curated by Terry Suhre, but raised some questions. Where do discourse and painting meet and part ways? Since desire - to have, be understood, know, love, go beyogd has been mapped from Logos to belly button, what's left to say, specifically, in terms of painting? Phyllis Bramson, Michiko Itatani, and Vera Klement addressed these questions gamely, and in radically different ways.
+
+Itatani's huge black and white paintings take big risks and have the muscle to carry them off. Bodies with bulging, twisting sinews lock in combat and explode across the canvas, some bent double, as if giving birth to themselves, or falling into their omphalos, after Freud. Heads are missing or distorted as if by the velocity with which they traverse tightly drawn planes or grids. Dopplegangers clutch their counterparts and Ego wars with Id. All are titans. An expansive painter who doesn't hide behind theory or irony, Itatani doesn't suffer from anxiety of influence either. Smashed under and across the tight grids, with their computer graphic look, her wide curved brushstrokes are nakedly expressive and romantic. Her images of flying primordial struggle plunder Blake's prophetic poems, with their Miltonic winds and Biblical and classical allusions, but Itatani's paintings are stronger than Blake's watercolors. Her images have still other antecedents in Goya's Black Paintings and Bacon, but the black and white makes them more bearable, if not too sanitary, Frankenstein gray notwithstanding.
+
+Though her painting is the opposite of classic, there is a classic transparency in the way Itatani translates ideas. Startlingly explicit in using signs and symbols of power, hers by right-she engages the Western canon with reversals, not apparent in the work itself-she's from Japan. One could fault Itatani for not handling this dynamite critically enough. She risks some of the tradition's own puffed up tendencies. It would be more politically correct at least to subvert some of the ever-stunning machismo of the archetypes, but she surely levels some stereotypes of artists. Moreover, the mix of images from literature as well as painting sufficiently complicates the issue to exonerate her awesome achievement.
+
+Whatever she depicts, the location of desire for Itatani in these paintings is power. The sheer ambition of her undertaking provokes questions people have stopped asking. What's the difference between image as signifier and a painting's body? Finish? Itatani's sharp contrasts form a strong skeletal composition; the quick line of a thigh sets it in motion. It's all there. Or is it? Would she do better to abandon the gargantuan foot and wimp out like Michelangelo with niceties of draughtsmanship in the extremities, or not? Trade off size for depth of painting (having already scaled down her work, which still over-flows the walls)? Make a three-mile painting with no trade-offs? The work can take such questions, trifling to serious, and they become relevant in view of what it transmits, and of what Itatani seems to be reaching for without apology masterpieces.
+
+Klement takes a humbler approach. With a few lines, patch of canvas or muted plane, images of thresholds and doors, she locates desire in a blank to be filled. Thin washes of gray have a mildewed look where faint constellations take shape as if by natural processes. A smidgeon of light defines a horizon, and patterns to the left suggest book binding, pages to be turned. These pieces rely a good deal on the viewer, in Minimalist fashion, and vital inconsistencies in the work show an unwillingness to settle into a mode, risking change. In her most recent paintings, Klement seems to have scraped paint right off the palette, or used the canvas as palette, juxtaposing thin washes with thick gobs of paint modeled into images - a birch, a river. Several heavily textured images are stranded on raw canvas, which, in the context of desire, is perhaps a witticism the canvas seems to be wanting something.
+
+Bramson is unconcerned with min-max modes. Her canvases are filled with comic strip or storybook-style figures that serve a narrative function. Images of hearts, spleens or eggplants, and potted plants clutter up split planes of color that rub against each other. Figures squat on opposite sides of a pattern of signs making hand gestures. A woman aghast holds an uprooted tree, and a pig-tailed person turns away, about communication, locating desire (as motive for language) in the need to be understood, or in the Other. What holds them all together is color. Orange desires its blue complement; red desires green, they meet in a gray in-between zone. In short, this binding medium shows that desire, for Bramson, is in the eye's appetite.
+
+The catalog argues unpersuasively that Bramson, Itatani, and Klement are similar, mainly because they are different from other artists. But their essential dissimilarity is no failing of the show, which instead makes a person think. The three artists's work can be seen at their respective Chicago galleries, Roy Boyd, Dart, and Deson-Saunders.
+
+TITLE: The Queer Show
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 6-7
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+The art historical canon has stressed the achievements of male artists, describing them as heros, geniuses and victors. This jargon of war evidently was not intended to include the limp wrist gay artist poetically depicting a gay subculture. In this galaxy of stars there has been little room for either daughters or gay and lesbian artists.
+
+In the last few years the discipline of art history, with its double standards of evaluation, has been challenged and modified by the special concerns of a generation of new writers on art working out of poststructural and postmodern models of inquiry. To varying degrees, thinkers such as James Saslow, Emmanuel Cooper, Douglas Crimp, Harmony Hammond, Arlene Raven and Lucy Lippard have alerted us to the need to deal with sexuality openly in order to assess the work and lives of artists without the prejudice, distortion and myth surrounding the homosexual presence in visual art.
+
+So in looking at "The Queer Show" I was happy to see that the problem that lesbians have been deprived of a political existence through "inclusion" as female versions of male homosexuality was finally raised. In a man-made world there is an active homosexual eroticism which manifests itself in a variety of visual forms from the Golden Age of the Greeks on in history painting and sculpture. Although such objectification appears to be an inherent component of both male and female eroticism, only in rare instances has the established contemporary art system broached questions of a lesbian nature when discussing the meaning of "difference" or "otherness" and "gender," if not "sexuality."
+
+For these reasons, the "Queer Show" is predictably unbalanced, with only a few works by lesbians. It is these I want to discuss. Martha Fleming and Lyne Laponte are represented by All Flesh is Grab. This is a hanging piece that echoes the sensuality of their installation at the New Museum's "Eat Me/Drink Me/Love Me." Working out of what seems to be the makeshift nature/culture field, this delicately framed, harp-like structure branches out as though reaching for a space that isn't there. Fixed at the center one finds a few stones wrapped in a transparent membrane-like an embryo waiting to be born.
+
+Linda Matalon's rectangular vertical box with its compellingly black slit images an isolation and mysterious allure. Her evocative layering of wax-like shoeshine tones are beautiful, creating a subtle tension between the softness of the sculpture's skin and the piercing through of its body.
+
+Marcia Salo's Victor/Victoria is by far the most sophisticated and exciting work in this show, and it is good technically. It is a revealing portrait because it is so archetypically awful, mingling as it does single shots and flashbacks. Victor/Victoria's commentary is on pseudo-mannish lesbian desire. As Salo points out, "female desire is contexted, psychologically, politically and linguistically." So this piece is about lesbian desire as a problem of identity and within the simulated space of patriarchal and heterosexist culture. I kept realizing, as I looked at it and enjoyed it, how sensitive, intelligent and eloquent it is about reclaiming oneself through breaking the taboos. Her imaginative use of a variety of configurations-cross-dressing, AIDS, ugliness and horror is terrifying. Like a shadow cast on a screen her photograph makes the lesbian a multiple personality reflecting all the complexity that careful attention to the label implies. Other works by lesbians included Eve Ashcraft, Carrie Yamaoka, Millie Wilson and Melissa Harris.
+
+Most of the work by gay male artists struck me as slick, uneven, shallow, competent, shabby and melodramatic. But there were some sensitive and moving images. I was particularly touched by Robert Marshal with his poignant comment, "I have tried to analyze childish emotions and to discover what I meant when I declared myself to be a girl in a boy's body." He shows himself as cast off in a female environment in which his language tries to create a feasible space for his being. I also liked Hunter Reynold's witty and moving drag; fingers pressed to his lips bidding us to be as silent as the homophobic world would like us to be about who we are.
+
+Wessel O'Connor's efforts to assert the right of gay and lesbian artists to a fair showing is commendable, and it appears to be a labor of love. But I couldn't help thinking that many of the stereotyped images of beef-cake, penises, ejaculations and the like did little to expand the audience's narrow definition of "Queer" art. I would like to think that the ability to recognize oneself, and others, primarily as human beings and to acknowledge the absoluteness of responsibility to each other would lead to a genuine recognition of large numbers of varieties within physical and sensuous facts. In any case, the "Queer Show" furnishes abundant evidence of the vitality of contemporary gay and lesbian art.
+
+TITLE: Ellen Banks
+WRITER: Alicia Faxon
+PAGE_NUMBERS: 7-8
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Ellen Banks, a painter familiar to the Boston area through her Boston Museum School teaching, showed her latest work in two simultaneous exhibitions in New York and Boston during October and November. Both exibitions testify to Banks's latest theme, which began in her work several years ago, abstract compositions based on musical scores. Her earlier work used Bach fugues and Chopin nocturnes as their inspiration, her most recent work interprets Brahms improvisations and Black spirituals. The main works are textured paintings of handmade paper glued to large-format canvases varying from 54"x 48" to 82"x 64", in glowing or somber colors.
+
+In Boston, that musically pure city, all the works at the Akin Gallery are based on Brahms scores. They have an iconic presence intheir spare figuration and subdued grounds. The largest one, Improvisation: Opus 76 #2, cohtrasts the orange bars of the score with a heavily textured glowing scarlet background. A cooler version in pale silver and blue, Opus 119 #4, balances more equal areas of massive surface structure with a layered background in which several veils of color diversify the dominant tonality.
+
+In New York, the scope of Banks's interests is shown by an equal division between spirituals and Brahms improvisations. They follow the same compositional format of linear pattern against a textured ground, but the color range of the spirituals appears to be more diverse and rich, and more representative of the mood of the music. One of the works is a series of eight small, handmade paper pieces representing measures of. Were You There? Here all shades of blues tinge the scarred paper, creating a somber and powerful piece.
+
+The Brahms compositions are also very impressive. The improvisations of Opus 116 inspired three of the paintings which have unusual color range and combinations. The deep red vertical bars against a bronze textured background of Opus 116 #2 is a visual tour de force in which color and form, figure and ground, exist in creative tension.
+
+There are three "Songbook" series at Soho 20 as well, each based on a spiritual and each entirely different in feeling from the deep, spacious blues of Roll, Jordan, Roll to the stark blacks, whites and grays of Nobody Knows the Trouble I've Seen.
+
+Here is an artist whose rigorous geometry may recall Mondrian, but whose color often evokes Monet - incidently, her two artistic ideals.
+
+TITLE: The Emporer's New Clothes: Censorship, Sexuality and the Body Politic
+WRITER: Devorah Knaff
+PAGE_NUMBERS: 8-9
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+That the body is a locus of political power struggle is not particularly newsworthy to women. However, we sometimes forget exactly how complex that struggle is.
+
+Richard Bolton has used the current debates over artistic freedom, pornography and free speech to create an installation that explores how images of the human body are used for different ends.
+
+It is the grossest sort of chauvinism to say that "The Emporer's New Clothes: Censorship, Sexuality and the Body Politic" is a thoughtful, intelligent show despite the fact that it is the work of a male artist. But I have to admit to some surprise that the exhibit was in fact so sensitive to feminist concerns. This no doubt partly results from the fact that many of his commentators were women, as were some of the photographers.
+
+The core of the exhibit is a series of potentially controversial images drawn from three arenas: art, popular culture and pornography. Everything from Mapplethorpe to S&M spiked dog collars to perfume ads is fair game. Bolton circulated these images to national and local community and artistic leaders, people on every side of the debates about censorship and the body, and the majority of the exhibit is devoted to their written responses. Each color photocopy of an image is surrounded by half a dozen commentaries on it.
+
+Also included in the show are the books and magazines from which these images were originally taken (to provide a cultural context that debates on censorship almost always lack, Bolton said) and a blank papered wall for visitors to pen their own comments on. Finally, painted on the back wall was a chronology of "some key events in the war on culture"-like the FBI's 1986 Library Awareness Program that asked librarians to spy on researchers - and the text of the eponymous tale.
+
+There are two absolutely striking things about this show. One is how little the photographs really matter. That's a strong statement, because some of the images, like a woman with pins stuck through her nipples, are horrible. The second most striking aspect of the show is how absolutely postmodern it is -the sine qua non of multivocality - which is also one of the reasons that the show is valuable to feminist and to art criticism. Not only does it address in a thoughtful way the real tensions between photography and artistic expression, but it demonstrates the inner contradictions of postmodernism.
+
+Feminists must, almost by definition, advocate a plurality of voices, a plurality that Bolton has certainly captured. But "The Emporer's New Clothes" shows the real danger both of privileging all voices (including those who seek to oppress us) and the dangers of being caught in the intoxicating pleasures of textual examination.
+
+Bolton seems to be aware of these dangers, because in his version of the "Emporer's New Clothes"-painted in three long columns on one wall of the exhibit - the ending of the story has been changed. "He has nothing on!' the people shouted at last. The emporer shivered, for he was certain that they were right."
+
+Rather than coming to his senses at last and learning to value his own judgment (which is what I remember the moral of the fable to be), the emporer simply decides to believe the crowd rather than the duplicitous tailors.
+
+That's the message of this exhibit as well. Despite Bolton's efforts to create a participatory environment, we remain separated from both ourselves and from the subjects of the images. Bolton seems to suggest that constructions of sexuality are almost too complex to grasp. We see bodies - including our own-through an amalgam of images that includes everything from the sadistic to the consumerist to the sublimely erotic. This allows us to play a number of different, and often quite satisfying, roles.
+
+But it means that we are always in the process of objectifying our bodies, of believing other people's stories about ourselves. Perhaps if the installation had been created by a woman, the moral would have been different. Perhaps she would have suggested that we could reclaim the right to de-objectify ourselves. Bolton has made a very convincing case for the opposition.
+
+TITLE: Jane Kaufman: Quilted Pieces and Screens
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 9-10, 14
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+For many feminist artists, the problem of getting reviewed is not the art they do but the materials they choose to do it in. I once interviewed Lee Krasner, who explained to me as we were talking about abstraction in quilts that craft-art wasn't "high" art because it lacked the deep feelings, philosophic issues and aesthetic dimensions of painting. Most New York art critics writing for the trade slicks tend to follow Krasner's boundaries. They measure art from an elitist position that corresponds to that of the New York School, despite the inroads made by postmodernism.
+
+Jane Kaufman is an artist who deviated from her roots, leaving behind the minimalism that brought her to art world attention in the 1970s, although traces of it are still evident in her current exhibition. As you enter the show you encounter two folding screens that evoke a Victorian bordello. The first is a curving mass of iridescent feathers and glass beads looking like a David Belasco production. The other, a foundation garment supporting a Ziegfeld-type showgirl, is encased in a blue mirror frame, encrusted with tacky amethyst glass and draped in clusters of ruby colored garnets. The format of these pieces embody Kaufman's feminist critique of woman as sex symbol, and her criticisms are as robust as Lillian Russell's perfomances in Hokey-Pokey (1912) at Weber and Fields' Music Hall.
+
+Kaufman has a great sense of humor and it smiles through the other eight quilted pieces that make up the fabric collages on display. She has deliberately chosen to work in a medium that has traditionally been identified with woman's work. It is a significant political statement, since her quilted pieces document and celebrate women's lives and convictions. By learning the various stitches she connects with women over time and joins separate fragments together to symbolize the way woman's past and present has become a creative force - a force for social change.
+
+It is no accident that one of the quilted collages is titled Some Things Are Black and White. The underlying support for it is as formal a grid as any New York minimalist could desire but there is nothing minimal about its content. The various kinds of marks: stripes, dots, zigzags, penguins, ostriches and other variations on the theme, become Foucault's pendulum, proving that design rather than motion is not fixed. Passsing behind the scenery, where formal concerns disappeared and where political considerations ironically emerge, one can't help laughing at the hand-painting and the refrain it sets up viz. "high art" and the act of burying one's head in the sand to escape from the "disagreeable" reality of racism. This wry ambiguity is central to grasping Kaufman's art. In works like her untitled hand-painted images and patch-work quilt from 1989, her Bon Appetit (1990) and an earlier work, Embroidered Crazy Quilt (1983-85), Kaufman maintains an uneasy relationship with an art historical past and present, suggesting the future lies elsewhere. Elsewhere, according to feminist theorist Teresa de Laurentis in Technologies of Gender (University of Indiana Press, 1987), is in the "... movement between the (represented), discursive space of the positions made available by hegemonic discourses (Krasner's aesthetics) and the space-off, that elsewhere, of those discourses; those other spaces both discursive and social that exist, since feminist practices (craft-art) have (re) constructed them, in the margins...."(p.26)
+
+TITLE: Linda Cunningham: Structural Transformations
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 10
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Linda Cunningham's stone gardens refer to the earth's geological structure, and at the same time allude to an elemental earthy continuity beneath the surface of an urban overlay. Located at two sites in lower Manhattan, on West Broadway at Franklin Street and at Chambers Street, these rocks and steel forms serve to remind us of the conflicted relationship between art and nature and between humans and their environment. In the literature of the sublime, as art historian Barbara Novak has reminded us, the desire to appropriate creation itself is primary.
+
+Today, at a time when the planet is in acute danger, many contemporary artists are expressing a renewed concern with the landscape and its symbolic meaning. Geology, geography, natural history and philosophy have all become part of the current artistic vocabulary regardless of an artist's politics. Understanding that the past has become crucial for trying to comprehend the present, Cunningham's work explores the enigmas of creation. Her descriptive fidelity to the physical details and minute peculiarities of lava rock and the characteristic coloration of organically manifested minerals discloses the spiritual nature of not only nature, but ourselves as human beings. Billions of years of geological time express the fragility of unreplaceable natural resources.
+
+Cunningham's steel and bronze materials, often salvaged from buildings that are being destroyed or those that have collapsed, represent the development of man-made hierarchies and binary oppositions, for example, nature vs. industry. The inequities, much like those between male and female, are expressive of a naive patriarchal thesis regarding Darwin's survival of the fittest. The nature/nurture dichotomy is part of Western philosophical thought and stems from 19th century notions that continue to influence contemporary thinking.
+
+This is Cunningham's point, and her sculpture argues that this should no longer be a part of our thinking.
+
+Art in public is like a museum without walls. Cunningham's sculptures invite viewers to interact with them. The participations is sometimes comic. Take for instance the brightly colored plastic box I found in a small crevice with a message for those curious enough to search for it. These stone and steel images express the unnatural confusion that one finds in the city. What the artist presents is a direct observation on a set of relationships in an urban society that are expressive of a new kind of alienation. Their importance lies in making us aware of what it means to be fully present in the world and in relationship to the mystery of all life, human and otherwise. They are about respecting ourselves and our environment. Looking at these objects one gradually becomes aware that Cunningham is proposing a different way of seeing which posits a new order, new kinds of human unity that transform the experience of urbanism.
+
+TITLE: Christina Schlesinger: Paintings from the Birch Forest
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 11
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Christina Schlesinger doesn't appropriate, use photographs or appear to indulge in postmodernisms. Unlike Madonna, she isn't a material girl. Eschewing the tendy, fashionable and obvious, she bases her painting on a system of creation that reaches back to the great hierarchical chain of being that tells us all things have life and do really live in some degree or measure. In this she shares an affinity with the visionary painters William Blake, Albert Pinkham Ryder and Marsden Hartley.
+
+Schlesinger is a lover of nature, and her work encompasses an aesthetic of sensuality and intimacy that speaks to the deepest human emotions. On a more formal level she has a passion for Chinese ink painting and has spent time in China learning to capture the traditional spirit of brush, which she has translated into Western oil techniques. In Winter Strokes Schlesinger drags a heavily loaded brush across the canvas in thin, loose washes of subtle curdled grays. She uses the brush to shape movements and textures, conveying the landscape's underlying geometric structure and stressing its permanence and stability. In Edge of the Woods the pale lavender/blue rocks on the left contrast vividly with the champagne hues of the middle ground, forming an iridescent continuous web of sensuous brushstrokes.
+
+Schlesinger's new work embodies matter and spirit as interchangeable, because thay are made up of the same substance and differ only as to mood and style. In landscapes like The Three Graces matter and spirit unite as two different aspects of the same energy. There is a constant undercurrent in the juxtaposition of the scattered broken limbs with the triad of rounded silvery birch trees that connects sensuality with nature. The forked crotches of Schlesinger's trees, i.e., Hunting Season are like truncated body parts; the knots of their trunks, surrounded by shaggy growths, resemble hair. Several of her fleshy branches intersect, connecting infinite zones of mottled space and pulsating with whimsical provocation.
+
+The same sexually charged undercurrent blazes through her silver birches. Focusing on isolated groupings as in Three Graces, Schlesinger highlights elements such as peeling bark, broken trunks and splintered branches, giving them an anthropomorphic quality. In paintings like Shiloh and Antietam we know that some of these beings have lived, struggled and been transformed by their experiences. In these two pictures life and death become categories that collapse into one and another, reminding us that all things that arise from the earth return to the earth from which they come.
+
+Cultivating her own garden, Schlesinger is a pure painter and a lyric colorist. In Birch Bodies her space reads like a Gauguin still life, her emphasis is on the physicality of paint while simultaneously stressing the two-dimensionality of the surface. Playing with spatial relationships and timeless subject matter she dares some striking viewpoints. The Long Goodbye joyously violates the sanctity of picture's frame with a continuously vibrating electric blue pattern of shimmering water set against the absolute stillness of two lone birches, one still upright and the other lying broken on the ground. Schlesinger's exhibition is a virtuouso performance that is remarkably successful and satisfying.
+
+TITLE: Femmes d'Esprit - Women in Daumier's Caricature
+WRITER: Rena Hansen
+PAGE_NUMBERS: 12
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+In Honoré Daumier's time, a "femme d'esprit" was a woman endowed with keen intelligence and sharp wit. When, after 1835, political pressures became too great for Daumier's virul;ent caricatures of public figures to appear safely in Charivari, the Parisian satirical journal, he began to turn his attention to to these newly emergent "femmes d'esprit," the blue-stockings, socialist women and women writers, as safer targets. This exhibition displays 54 drawings, captioned by Charivari's editors and writers, mostly on the subject of women who were daring to express themselves in politics and writing. Daumier portrays them as ugly, stringy and shrill, cruel to their downtrodden husbands, neglectful of their children and households and prone to "collaborate" with male writers in more than their writing. The journal was staffed entirely by men for an audience of men who approved only of domesticated women.
+
+There is also a selection of prints in which Daumier expresses his liberal sentiments by means of symbolic female figures of Peace, Liberty or The Republic. In contrast to the "femmes d'esprit" these women are physically and mentally strong, beautiful and powerful. They dress in classical Greek style and represent all that is noble and right in France. Numerous images in our public parks and older buildings still attest to our admiration for woman-as-symbol, with no individual identity or sign of any concrete achievement. It is interesting but not surprising to note that aristocratic Frenchmen of Daumier's time such as Condorcet and Saint-Simon supported intellectual and political women, whereas Proudhon and Daumier with their working-class backgrounds were opposed to women in any but domestic roles.
+
+The extensive and scholarly catalog and the commentary accompanying the exhibition are singularly unjudgemental about material that, in my opinion, demands to be judged. The authors say that we should "reflect on the authority asserted by stereotypes and consider how in both Daumier's time and our own, representation often reinforces the ideology of one audience only at the expense of another." These images still have a large audience only too ready to have their anti-"femmes d'esprit" ideologies reenforced. Is the problem of discrimination against women in power or reaching for power so far solved that such a cool and academically impersonal context is appropriate for a display of virulent anti-"femmes d'esprit" drawings?
+
+In the catalog introduction, Elizabeth Childs distances the reader with sentences like this one: "Our goal has been to examine Daumier's ambivalent- and from a contemporary viewpoint, often troubling-attitudes toward the women in his society as expressed in his satirical prints." I see nothing ambivalent in Daumier's attitude and find it not "often troubling" but always troubling to see images of women trying to participate in the larger society which hold them up to ridicule. In contrast, the book, Daumier - Lib Women, Bluestockings and Socialist Women, translated from the French and published by Leon Amiel, Inc. in 1974, has a preface by Francoise Parturier which takes a firm stand against Daumier's position. For example, on p. 6, "The period of the French Revolution with its great principles of liberty, saw men relentlessly excluding women from society with all the fervor of the Elders of the Church... in the Republic, too, women were to have neither the right to vote, nor to participate, nor to speak. They were to be pitilessly excluded from all the new-gound rights despite the fact that these were described as 'the inalienable rights of mankind.""
+
+Daumier's drawings are undeniably powerful. I found the smiles and giggles of the audience at the exhibition disturbing, perhaps because I identify with the women whose images were being ridiculed.
+
+TITLE: Sue Collier: Interiors
+WRITER: Rena Hansen
+PAGE_NUMBERS: 13
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+A year ago, in these pages, I compared Sue Collier to Matisse and Bonnard. This show still relates to these artists in color and pattern, but a new element has entered that neither Frenchman ever exhibited: a psychological relationship between human figures on the canvases and between them and the viewer. The vibrant warm colors and strong patterns of the walls and the woman's dress in Reflections of a Woman invite a closer look. A young woman leans over a bathroom sink examining her face in the mirror above. Draped over the sink is a filmy garment, presumably in the process of being washed. We see the mirror-image. The intense and serious expression of the woman gives a double meaning to the word "reflection." Profound questions seem to be asked: "Who am I? Why am I here? What does my life mean?" This meditative, questioning attitude is repeated in a similar female figure in three other paintings. The man sitting with the woman in two works has a relaxed unquestioning expression. There is no conversation inferred, both figures are silent. In many of the works there are teacups on the table. The artist explained that at her mother's house tea was a constant. Memories of Mother shows a woman gripping a teacup under her chin with an iron fist, suggesting an iron will. All the paintings, with the exception of the black and white Five Men at a Table, are beautifully patterned and colored, showing the same concern with how light changes colors as was evident in her last show. The figures are simplified into planes of color; the anatomy is accurate and solidly modeled.
+
+One large work, Peaceful in Bed, is mysterious. In a very large room with a steeply receding checked floor, a figure is huddled in a four-poster bed while a male figure approaches from the doorway. This work lacks the sense of technical resolution seen in the others. But here, too, one feels an impact similar to that made by a potent short story. A new narrative element has entered Collier's work that promises an interesting future.
+
+TITLE: Katie Seiden: Myth and Reality
+WRITER: Marilyn Benson
+PAGE_NUMBERS: 13
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Katie Seiden's installation of sculpture dramatizes the different environments a-nd scale of each of four separate galleries. Conceiving of each disparate space as a distinct challenge, Seiden installs works differing i-n theme, mood and size to reflect her passionate concerns.
+
+In the main gallery, big totemic works on Medusa bristle with anguish, defiance and venom. Using the Greek myth as a source, Seiden transposes the tortured spirit of Medusa (originally a matriarchal heroine before she was punished and changed into a hated and feared Gorgon) into an abstract, contemporary figure using footwear such as ice skates, boots and baby shoes encased in plaster and concrete. The "cutting edges" of at least 15 ice skates and many pointed wires seem to symbolize the sharp personality and forked tongues of Medusa. Two large horizontal mounded works filled with high-heeled shoes may be the stalactites and stalagmites filling Medusa's cave or the writhing inside of her head.
+
+A sickly yellow lighting illuminates "The Recall Series," inspired by sensational headlines in the news media of today. 5These small narrative sculptures commemorate victims of violent crimes which often end in death. In The Wolfpack Recalls The Unnamed Central Park Jogger, a pair of bloody Saucony running shoes embedded in cement point upward, their tongues outstretched, bound by many laces. The base is covered with blaring headlines and news articles from The Daily News, The Post and The New York Times on the crime and trial. Other works in the series are Robert Chambers Recalls Jennifer Levin, Howard Beach Recalls Michael Griffith, and Jean Harris Recalls Dr. Tarnower.
+
+Drawings in a third gallery relate in form to the upward spiraling shape of Seiden's Daphne and Apollo V sculpture centered in the middle of the room. In Ascent of The Grooms, small male figures extend out of circular forms of tar which seem to rocket out in space. Set against a background of shiny lead paint, a tree-like tar mass is encircled by small bits of green beach glass. The glass is drawn into the tar, entrapped here permanently as it may be on our polluted shores.
+
+TITLE: Endangered Species
+WRITER: Janet B. Eigner
+PAGE_NUMBERS: 15
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+For nearly two years I've followed the Renaissance woman, Martha Clarke, as she has created a theater piece about environmental extinction. One element particularly piqued my fascination, that she would be incorporating the animals from St. Louis' Circus Flora in the production held at the Brooklyn Academy of Music. St. Louis is where I live, and I had already reviewed that joyful, one-ring ensemble circus, entirely smitten with its dancerly choreography. Circus Flora had performed to highest acclaim at the Spoleto Arts Festival in South Carolina, where Martha Clarke had fed Flora the elephant and heard plenty from the circus' Artistic Director, Producer and CoFounder, Ivor David Balding, about efforts to prevent the African elephant from extinction.
+
+I found Martha Clarke's effort extraordinarily beautiful and worthy. Her fresh images are still thoroughly etched on my brain, though I felt the strength of the piece involved my senses more than my heart.
+
+The dim auditorium containing a large floor covered with wood chips and huge white double doors that occupy the rear of the set, projects a lonely, timeless mood. A high wire and a trapeze stretch above. Below and toward the front, an iron bedstead, a couple of plain wooden chairs, and a piano rest in the shadows.
+
+"Endangered Species" employs a small cast, six four-legged and eleven two-legged creatures. Ms. Clarke wants us to see the polarities of this world, so she cast a dark horse and a white horse, black dancers and white dancers, naked bodies and clothed ones, men and women widely varied in age and size.
+
+The drama meditates on and dances the basic elements of our universe, its wildness, the unstoppable rhythms of its natural world and the unquenchable polarities of the human essence: our intensely tender, introspective and generative possibilities, our unceasing need for violence, domination and destruction.
+
+David Grausman performed the score, created by Richard Peaslee and Stanley Walden. Brutal sounds of war and terror involving machine guns, glass shattering and wild cats screeching punctuated the non-stop, fast-paced drama. Other distilled musical and dramatic moments included recordings of old opera excerpts and recitation of Walt Whitman's poetry, adapted by Robert Coe and spoken by Michael Anderson, Paul Guilfoyle, Peter McRobbie and Frank Raiter. Judy Kuhn gently sang melancholy old Broadway and Civil War tunes, as well as, with Courtney Earl, Pergolesi's "Stabat Mater." But the pounding of live horses' hooves, rounding the metaphorical circus of life, provided the rhythm which undergirded and integrated the performance.
+
+Insistent hoofbeats augmented the dance as well. The horses' broad backs staged the dancers, Alistair Butler, Felix Blaska, Lisa Dalton and Valarie Henry, who had trained for months to learn balance while standing on a galloping horse. Dance movement was spare and powerful, like all of the elements in the dark, surreal piece.
+
+Ms. Clarke magically transformed the very real, two-ton Flora into an archetypal elephant, an insubstantial essence who loped lightly and silently by, framed behind the huge white doors. A cloud of mist clung to Flora, an apotheosis of species endurance. Several times she appeared from behind the doors, once running, ears flapping, head and trunk up, tusks gleaming. Later, Flora slithered her trunk around to the knob, and pulled shut the'double doors, to say, her British trainer Gerald Balding later quipped, "That's quite enough for now. Goodnight!"
+
+Though by the end of the first week of performances, Flora had gotten more favorable publicity than Baryshnikoff, "Endangered Species" was itself a casualty of lagging advance ticket sales and a terminal New York Times drama review and performed only half of its month-long schedule. Circus Flora opens at the Spoleteo Festival in May.
+
+TITLE: Rachel Rosenthal: Pangaean Dreams
+WRITER: Jo Hanson
+PAGE_NUMBERS: 16-17
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Often described as the grand doyenne or high priestess of performance art, Rachel Rosenthal evoked awesome powers her own and those of Gaia - in Kala Institute's 8th Annual "Seeing Time" performance series.
+
+Despite earthquake preparedness programs, Rosenthal nevertheless shook up the audience and revealed the infirmities of terra firma in a convincing enactment of the earth's creation, which erupted through her body and voice in thunderous sound and light. She also created enormous respect in this writer for the range and power of her means: communication and theatrical skills, informed passion, brilliant conceptualizing, and a nearly seamless integration.
+
+Pangaean Dreams (subtitled A Shamanic Journey - and it certainly is!) takes its name from the intuited construct proposed in 1915 by Alfred Wegener, German lecturer in astronomy and meteorology, that some 250 million years ago the supercontinent, Pangaea (All Lands) broke up into land masses and began what he called "continental drift." Ridiculed at the time, his ideas are manifest now in the science of plate tectonics which has revolutionized geological understanding of the earth and its cycles. Multiple plates support the continents. The plates regenerate continuously through a system of ocean ridges where lava outpourings from under the sea create new crust. Heavier plates dive under lighter ones and return to the inner earth to melt again. Earthquakes and volcanic eruptions on the earth's surface reflect the plate movements.
+
+"Thus Gaia is constantly giving birth to and devouring herself in a circular dance," Rosenthal writes. "(Plate tectonics) emphasizes the transformative nature of the Earth. It illuminates the Gaia concept of a living cosmic body...." The "dreams" are shamanic journeys through the creation and life of the Earth, focusing time and again on the precariousness of humankind's current position in the geological continuum.
+
+The "Gaia Hypothesis," called thus as it enters the fringes of scientific comprehension, proposes that the Earth is a living organism in which the totality reflects any changes anywhere in any part.
+
+Personalizing the assault on the Earth through the metaphor of her own bodily decline, Rosenthal's opening entry is in a wheelchair, holding crutches. She invokes autibiography, history, science, mythology, philosophy, ecofeminism and angst to roar, growl, coax, charm, seduce and Joke herself and the audience through grand theatre of the politics, economics and sociology of near-terminal wounds to the Earth, inflicted by a humankind that fails to make connections. (In a previous work, Rachel's Brain, she questions whether the human brain might be one of nature's many mistakes, now moving slowly toward correction/extinction.
+
+The integration of technical supports often made them equal performers with Rosenthal. Dain Olsen uses video and computer animation to render visual metaphors that parallel and illuminate the erupting of Pangaea that we observe in Rosenthal's body and voice. Lighting by Eileen Cooley seams over transitions and performs persona changes with Rosenthal as well as reinforcing text.
+
+Composer-performer Leslie Lashinsky creates acoustic, electronic and vocal elaborations on the text using on-stage instruments and objects. Making Pangaea's eruptions as real as the 1988 quake, Lashinsky banged, punched and shook ceiling-to-floor thunder sheets of thin copper and steel while lights caught and flashed in their violent motion. Carrying slender 8-foot aluminum rods through visual fields, Lashinsky rubbed the rods with gloved hands to elicit high, ethereal singing of great beauty. She is also a bassoonist who performs with major orchestras in the Los Angeles area.
+
+The child Rachel Rosenthal, born in Paris of Russian parents, came to the United States as a World War II refugee, already a veteran of performance within her familial environment. She studied art and theatre with Hans Hoffman, Merce Cunningham, Ervin Piscator and Jean-Louis Barrault. In California she created the Experimental Instant Theatre in 1956 and directed it for 14 years. A leader in the Los Angeles Women's Art Movement in the 1970s, she co-founded Woman Space- and found the impetus for her focus on performance art since 1975.
+
+Writing in the Village Voice (Oct. 4, 1988), Alisa Solomon quotes Rosenthal on the influence she found in Artaud's writings as "so liberating at that time because he insisted that you could have an expression that used all artistic means in a seamless way." The next stage of liberation - from the male paradigm came through her awakening in the women's movement and her subsequent decision to focus her formidible resources on global issues. Rosenthal, Solomon says, "is the only performer to address (ecofeminist) issues with such astonishing emotion, as if every toxic drop is a personal affront. That's what sinks the claws of her work into your flesh...."
+
+Rosenthal's performance history is wide-ranging and distinguished. In a New Art Examiner (Oct., 1987) review of her DOCUMENTA performance of Rachel's Brain, Maureen Sherlock speaks of "an exciting redefinition of the possibliities of performance." Lawrence Enscoe, in the Los Angeles Daily News (Sept. 17, 1990) describes the sold-out performances of Pangaean Dreams as "the watershed event of the Los Angles Festival," adding "[S]he infuses it with a mesmerizing sense of theatrics. [I]t's the theatre of Rosenthal's own body and voice-lithely snapping, twisting and playing out in the flesh the trauma of a volatile Gaia, Mother Earth, and her violent, drifting human community."
+
+Recently Rosenthal refused a grant of $11,250 from the National Endowment for the Arts because she could not sign her name to "that piece of obscenity." She places the issue in the context of previous experience with totalitarian harrassment and persecution of artists.
+
+TITLE: Dances for a Century: Historic and Contemporary 1906-1990
+WRITER: Effie Mihopoulos
+PAGE_NUMBERS: 18-19
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+The past, with its aura of self-discovery, always holds a special fascination. How and why an event took place, why it happened at a certain time, what circumstances led up to it and what its repercussions were. What we would have done given the same situation. Art, and the process of creation, also has the same magical lure-what inspired the artist and where the roots of that inspiration lie, how it relates to what came after it or what other works it inspired. In dance, particularly, where there is no concrete canvas before you, no set theatre script to go by, but only the "hearesay" of words reported after the event, the reconstruction of a choreographer's work is tantamountly important, because it gives you a glimpse of what the work could have looked like if you had been present when it was originally done. Given the ephemeral nature of the art form itself, it can never really be more than a suggestion of the past, since sparse notes and the vagaries of memory of those involved are never completely enough to reproduce a work in situ, let alone years later when the choreographer is no longer alive to make her own corrections. The transitory nature of dance always multiplies the problems of reconstruction. Even with video and film documentation, the question remains of what is happening off-camera during the lovely moments of close-up when a dancer's expressive face is busy emoting the necessary tour de force mood. How is the body moving, or is it moving at all?
+
+So it's something short of miraculous when a company takes on the task of reconstruction, particularly for more than one work, as in the case of Momenta at the Academy of Movement and Music. Artistic director Stephanie Clemens has taken on the chore of reinstating modern dance pioneer Doris Humphrey to her rightful place as one of the most important early choreographers. Her revolutionary dance technique, based on the fall and recovery theory, is lyrical, dramatic and exhilerating to watch. Although the students from the Academy that primarily make up Momenta haven't begun to master this technique yet, they can still offer us interesting insights of what Humphrey's work was like, particularly her early dances. Seeing these and the works of other early modern dance pioneers such as Humphrey's teacher, Ruth St. Denis, points out common roots and influences. Stylistic differences between the legendary modern dance creators begin to lessen as similarities become more apparent.
+
+In a floor exercise demonstration St. Denis put together circa 1915, called "Under the Leaves," buried in all the lyrical poses are some macho arm muscle flexing that is reminiscent of the work her husband and his Men Dancers did. In "Soaring," a work she and Humphrey choreographed jointly in 1920, the viewer's spirit is lifted with the billowing folds of a parachute manipulated by five dancers, usually with four at each comer and one standing below its huge arched dome, or on top of it in the center to reverse its course and form a lovely giant flower. Many of the early modern dance choreographers used banners, scarves or lengths of cloth that they waved about in various ingenious ways and patterns, but here the craft reaches an apogee. Even in the small Oak Park studio, the effect is staggeringly beautiful. Set in the open as it originally was with a real wind fluttering its edges, it must have been an incredible spectacle to behold.
+
+Before going to study with St. Denis, Humphrey took classes at Mary Wood Hinman's school in Oak Park. Breathing life into works found in the notebooks of Hinman, Clemens has newly reconstructed her most recent discoveries, Humphrey's "Three Dances." All three feature children from the Academy, dressed like Isadorables (the name Isadora Duncan's students came to be known by) in short chiffon tunics, flower wreaths in their long tresses. The dancers are the epitome of natural grace in their hops, skips and poses, playfully and prettily cavorting thtough the program.
+
+Also on the program were five of St. Denis's Orientalia, quick snippets of dances with a different, spectacularly exotic costume in each, most often East Indian. Humphrey's stately 1928 masterpiece to Bach's music, "Air For G String," was another presentation.
+
+TITLE: Classical Indian Dance: DASAVATARAM: MANIFESTATIONS OF LOROKISHNU
+WRITER: Effie Mihopoulos
+PAGE_NUMBERS: 19, 14
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Religious devotees often express their feelings in elaborate spectacles, from the processions of the Christian church to the seasonal dances of the American Indians. In India, where everything is regularly codified, dedicated temple dancers (devadasis) perform to their deities in temple ceremonies. These devotional dances often focus on the lore of the Hindu pantheon. The dances' combined elements of sensuousness and devotion create a uniquely dynamic spirituality.
+
+Bharata-natya, one of the oldest styles of classical Indian dance, is a continuous spectacle. The graceful, statuesque poses give it an air of architectural grandeur. The costumes, always of rich silk and laden with gold trim, emphasize the dancers' physical attributes. Golden jewelry glitters with a profusion of gems. Flowers bedeck the dancers' heads and their long trailing braids. Their bare feet and palms are painted red, and heavy make-up enhances their facial beauty. Bells around ankles add an emphatic echo to the hard-hitting stamping of feet, and the eyes and hands offer a mimetic language that completes the effect of pomp and circumstance. The musicians, often seated at the side of the stage, simultaneously sing or sound out rhythmic syllables that the dancers translate into steps.
+
+Westerners don't normally see the pageantry of the temple dances more often, a single dancer performs a series of solos that only suggest the full splendor of the original. Even in solo performances, however, especially by consummate artists like the celebrated Hema Rajagopalan, a sense for the detail of the ceremonial spectacle comes across. But when the number of performers is multiplied, we can actually visualize the scope of the original. While one elaborate costume may wow the viewer, a row of them in an array of vivid, shimmering hues can leave us in stunned deligh
+
+Rajagopalan, who heads an Indian dance academy, Natyakalalayam, presented just such a spectacle, the dance drama Dasavatara-with a cast of over 50-as a benefit for the Chinmaya Mission Chicago. She herself played in the orchestra, also chanting the rhythmic vocalization. Suseela Ramaswany sang and composed the music with T.S. Sankaran, who played flute. M.R. Ganeshan was the percussionist. Choreographed by Hema Raiagopalan with the assistance of her daughter Krithika, the epic work was capably rendered.
+
+With this many dancers, one expects uneven dancing. Some performers were quite talented. As the demon in Varaha(Boar), Gowri Ramnath, with her darting wild eyes, was particularly convincing. In Vamana (Young Sage, Divya Sunder as Vamana showed a studied seriousness appropriate to the role. Arti Subramaniam as Krishna brought a fierce intensity to her dancing in both Narisimha (Half Lion, Half Man) and Krishna. Chaya Rangarai as Sita in Rama danced with an exceptional fluidity. Vidya Kurella as Vishnu and Usha Tadikonda as Laksmi in the opening section, Matsya (Fish), lolled regally. This exotic opening followed on the heels of the Invocation Dance; obeisance to the godhead at the beginning of each bharata-natya performance is but one reminder of the religious nature of classical Indian dance.
+
+The complex story line is another (this performance lasted nearly four hours). Essentially, when there's a decline in religious practice, Vishnu descends, in 10 manifestations, to correct the situation. The somewhat Darwinian progression begins with an avataram (incarnation) as a fish: Brahma the creator goes to sleep during the dissolution of the universe, and the Vedas slip out of his mouth. After a demon hides them in the ocean, Vishnu becomes a fish, kills the demon, and restores the scriptures to the world. In Vishnu's final incarnation, after many adventures, he becomes Kalki, the horse-faced one, and destroys the world because of the intolerable evil in it.
+
+The choreography too is sometimes sparse and practical. Often characters enter or exit with a simple chain of little hopping steps that get them about quickly and efficiently. The posed and posturing dancing has all the characteristic features of classical Indian dance, but there's nothing overly fancy, nothing like the virtuosic speed to make you sit up and take note, nothing like the way Rajagopalan herself would have danced it. Yet the pageantry, moment by moment, takes over and carries the work. Spectacle isn't created for star performers, but for the cumulative effect on the viewer. As Swami Chinmayanda is quoted in the program as saying, "It is vain to waste one's time considering which God to worship. Worship Him in any form. It is the sincerity of devotion that matters." And there was no lack of fervor in this particular form of worship.
+
+TITLE: Mexico: Gender, Culture and Society
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 20-21
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: PANEL
+CONTENT:
+The first presentation was by the new director of the National Academy of Design, Edward P. Gallagher, who thanked Barbara S. Krulik, interim director and who has been named to the new post of deputy director for her work on the show. He went on to acknowledge the importance of the exhibition and the Academy's pride in hosting it.
+
+Gallagher was followed by Edward Sullivan, who raised some very serious questions concerning the monumentality of the task of representing the culture of Mexico, much less the art by women in Mexico. He then commented on his approach to this subject, asking why a "white gringo" was doing this and if such a person can be sensitive to the issues. He hoped he had been, while acknowledging that a male feminist cannot hope to deal with the same subjects in the same way that a female feminist might. Sullivan spoke of the "colonization of women's art" and of how both Latin Americans and North Americans had been deprived of exposure to the enormous impact of women on Mexican culture. He also mentioned the many other exhibitions going on all over New York.
+
+Jean Franko discussed gender and representation in Mexico citing Maria Scargo and Frida Kahlo as examples of sexually liberated women, criticizing the Metropolitan Museum for its concept of the "sleep" of Mexican culture and pointing out that when Spain conquered Mexico there were negotiations and hybridizations that are still visible in Mexican art and life. All of which enrich the culture. Franko also pointed out that the Aztecs were conquers too. Women, she explained, were active agents of hybridization, citing examples like the Virgin of Gaudalupe. She concluded her talk with an overview of political movements in Mexico during the 1950s, 60s and 70s, suggesting that now it is the strong women who are toting the machos along.
+
+Sarah Lowe spoke about Tina Modotti's communism and how it helped to shape a vision of Mexican nationalism by providing revolutionary icons. Ironically, Modotti was deported by the revolutionary government. Hayden Herrera spoke about Kahlo as a cult figure, mentioning Madonna's admiration for her as a wild and sexy vamp, the film producers interested in her life, her bisexuality and obsessive relationship with Rivera, and the fashion industry's targeting of her style as a hot property. Herrera was very pointed in her criticism of all this media exploitation of Kahlo and her work. Mary-Anne Martin then presented an overview of the market for Frida's work, citing such record prices as Diego and I, the first Latin American painting to break the $1,000,000 price barrier. She also noted the Mary-Anne Martin Fine Arts' purchase of Two Nudes in a Jungle while at the same time discounting any lesbian connotations attached to the painting (a point to which I will return shortly).
+
+Martin was followed by Janet Kaplan, who spoke on Varo, commenting on her Catholicism and how it figures in her work, and mentioning the distinct outsider position Varo held as a Spanish woman in a Mexican society. The final speaker, Elena Climent, gave a very touching autobiographical talk on the development of her art and the meaning of its urban imagery. She spoke of the nostalgia she grew up with and the purist folk aesthetics that dominated the older generation of Mexican artists. She described the pain this caused her and the incredibly difficult struggle she had finding an imagery of her own that was expressive of her generation and embodied its concerns. Climent then showed slides of her work, discussing the uniqueness of her experience in Mexico City and the significance of the nontraditional subjects she chose to paint. She noted how the more things change the more they remain the same, citing the persistence of altars as one aspect of an unbroken continuum.
+
+The question and answer session was somewhat diminished by the absence of both Herrera and Martin, who had other commitments to rush off to (I wish people wouldn't accept honorariums when they don't have the time to fully earn them.) We were all deprived of what might have been a stimulating discussion because neither of these women stuck around for the fireworks. Both had raised questions about sexual freedom and gender, and both seemed to want to avoid discussing Kahlo's lesbianism. This seemed strange given the title of the symposium, which very clearly focused on issues of gender. When the question was raised, all of the panelists were apparently struck dumb. Finally curator Edward Sullivan offered to comment on Frida's sexual orientation-her love for women and her influence on gay males in Latin America. He was very direct, pulled no punches and dealt with difference as a natural course of scholarship. He was refreshingly honest and informative.
+
+Once Sullivan opened the discussion, Jean Franko ventured forth, saying that sexuality in the 1930s and 40s in Mexico was a coded system of values that one had to look for because of several factors, including religion and politics. I couldn't help feeling sad that with all the work the women's movement has done, female feminists still feel awkward dealing with women's love for other women. The word lesbian seems to terrify them, and they seem uncomfortable according the lesbian space in women's studies in the history of art. Let's hope we can do better next time around.
+
+TITLE: Abstract Expressionism: Other Dimensions
+WRITER: Cynthia Navaretta
+PAGE_NUMBERS: 21, 14
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: PANEL
+CONTENT:
+The panel, like the exhibition of the same name at the Whitney extension where it was held, was to "investigate the role of small-scale painterly abstraction in American art from 1940 to 1965" and to determine whether the "lesser-known artists have been overlooked because they worked exclusively in small formats."
+
+Jeffrey Wechsler opened by explaining that the current exhibition was a reduced version of the original show that had traveled to several venues. As for the title concept, he said, "Ordinarily one thinks of vast canvases as representative of Ab Ex; this exhibition is the other side. Many of the Ab Ex artists, including Pollock, made paintings less than 36 inches -the major painters worked at times in small scale- and some lesser-known worked only in small-scale."
+
+Irving Sandler called it a revisionist show that has revised accepted notions of Ab Ex. "The achievements of Pollock and Rothko may have been because of large scale. [A]rtists who worked small may have wanted to induce intimacy [but] size was important. Still, Rothko and Newman evoked sublime and exalted images, creating a sense of vastness [T]hey achieved vision with color alone-color is at its best when used in large areas. Pollock's bodily inventions forced him to work in large scale. Big pictures offered challenges; large canvases replaced French painting. The great image of Ab Ex is the size of the brush-house-painter's size. There was also then an appetite for large paintings."
+
+Dore Ashton said that scale differed from size-5' x 5' was really not so large-and that she saw many small-scale paintings at the Tanager Gallery in the early 50s. Wechsler believes that the perception, "Ab Ex is large paintings," has become the reality, so that museums perceiving the paintings of the period as large, only show their large ones, although they may own smaller ones, too. Sandler said the label Ab Ex is a confusing one.
+
+Charles Seliger, the only artist on the panel, appeared to be present only to talk about himself, and, given the opportunity, to complain of the scant attention he's received in his lifetime. (His works are small). Sandler comforted him by saying "there was a taste for the large picture."
+
+Opening the floor to the audience, Sandler fielded the first question from someone who expressed the desire "to understand quality." Sandler said he bases judgements on his "own perception." He "looks as hard as he can, sees a lot and responds." As to why there were only 15 artists in his book, "There were other artists, but I chose those 15 for their attitudes towards their own group." Wechsler threw in, "small-scale painters were quiet, non-aggressive types."
+
+At this point there began a series of scatter-shot questions and statements largely from women in the audience such as: "How viable is Ab Ex at this moment?"; "Susan Rothenberg, Elizabeth Murray, Freya Hansel all have the same impulse"; "Ann Gibson is working on a book on women of Ab Ex"; "What happened to the women of Ab Ex?" In an attempt to mollify this outburst, Ashton cited the Pollock/Krasner show, saying "she wasn't neglected; Krasner was the inferior painter. [A]nother woman, Sonia Sekula, had a breakdown." Throwing a crumb, Ashton finished with, "I was married to an artist who was ignored."
+
+In sum, Wechsler argues that small is important and neglected, presumably to the benefit of his own career. Who else has come up with anything new about Ab Ex lately?
+
+Irving Sandler dismisses the concept, but then his investment is in the large works, subject of his several books. His "arguments"-brush size, color and "Ab Ex is large paintings" are not necessarily persuasive -perhaps just a restatement of belief. In this context, a quote from Rothko comes to mind: "To paint a small picture is to place yourself outside your experience. . . . However you paint the larger picture you are in it." This, however doesn't explain anything beyond the obvious. Yes, bigger really is, uh, bigger.
+
+Note: The exhibition, "Abstract Expressioism: Other Dimensions," included the works of Lee Krasner, Ethel Schwabacher, Sonia Sekula, Janet Sobel and 23 male artists. Two or more works were shown for 13 of the men and for one woman (Lee Krasner); all otheres were represented by a single small work.
+
+TITLE: Berthe Morisot
+WRITER: Sylvia Moore
+PAGE_NUMBERS: 22
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+Bethe Morisot, one of Impressionism's founding members, brought a dedicated painter's skill, a fresh and daring vision, and, not least, a woman's viewpoint to her art. Although, according to high priest of Impressionist scholars John Rewald, she was the founder whose work remained most faithful to the movement's initial concepts, her work was for many years undervalued in the same manner as that of Mary Cassatt, both artists circumscribed as "merely" painters of women and children. However, interest in Morisot has increased since the centennial celebration of her birth in 1941 and the publication of selected correspondence in 1957. The 1987 retrospective at the National Gallery in Washington and its beautifully illustrated catalog by Charles F. Stuckey and William P. Scott reawakened appreciation of the high quality of this artist, who was in the forefront of a revolution. Anne Higonnet's honest and perceptive biography, drawing on previously unpublished journals and correspondence, adds much to our knowledge and understanding of Morisot.
+
+Needless to say, Morisot's accomplishments were not achieved without difficulties. Despite a loving family, supportive husband, intellectually stimulating friends and, for most of her life, a lack of financial worries, Morisot had her frustrations. She had to struggle against prevailing attitudes and customs intended to "protect" women. Obviously, she could not sit up nights in cafés discussing art nor attempt the frank subject matter of a Degas. Moreover, Morisot was pressured throughout her twenties to marry, and like any modem woman agonized over the question of whether marriage and motherhood could be combined with a career. (She had good reason to contemplate this, since her sister Edma had abandoned art upon her marriage. Morisot finally married Eugene Manet at age 33 and gave birth to her beloved daughter Julie at age 37.) She endured not only the rejections and contempt directed at the rebel Impressionist group, but also the accusations of "unwomanly" behavior aimed at women artists.
+
+On the other hand, Morispt was fortunate to come of age when professional art training was becoming available to upper-middle-class women. Higonnet describes Berthe and Edma's early studies and the sisters' growing interest in art as a serious pursuit. Landscape lessons with Corot and sketching trips to the Louvre galleries (chaperoned by their mother) led to acquaintances with other artists, young men they would not otherwise have encountered. Initially attracted to Morisot by her charm and potential as a model-Eduouard Manet, for example, painted her many times-her colleagues came to respect her for her seriousness of purpose, diligence, originality and talent. Eventually she was known as a "painter's painter."
+
+A good biography of a woman artist should help the reader comprehend the personal and social forces that shape her career. This is a good biography. We come to know the conflicts, enthusiasms and doubts of this intense, hard-working artist who was also a kind, gracious and loving woman. Not only the artist, but also her family and friends come to life in readable prose, yet Higonnet does not neglect relevant facts about the world these people inhabited and its effect upon their lives and work. Quotations are skillfully interwoven for emphasis and evidence. Higonnet admires Morisot, a woman who "negotiated a narrow but almost uncannily astute path between the demands of society and those of art."
+
+The book has a few black and white illustrations, hardly adequate. For color and detail, go to the Stuckey/Scott catalog, which reveals Morisot's artistic range as, ever growing and developing, she tried different mediums and experiments. Though, like most of the Impressionists, her subject matter consisted largely of landscapes, portraits and genre, her variations within these parameters are numerous and her skills admirably suited to her subjects. With hindsight, we can see clearly how Morisot skirted the very edges of Abstract Expressionism with her fluid coloristic shorthand.
+
+Morisot, truly an avant garde artist, is again recognized for her role in the history of modern art. She also, says Higonnet, "takes a central place in the history of women artists, a history she could not foresee because she was so much one of its pioneers."
+
+TITLE: Women in Mexico
+WRITER: Cassandra L. Langer
+PAGE_NUMBERS: 23
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: REVIEW
+CONTENT:
+I am presently reviewing this book through a xerox of the real thing, kindly provided me by the public relations officer of the NAD, Howard L. Moore. The $110 catalog is a disturbing demonstration of how little sensitivity toward the viewer's pocketbook its producers had. This is hardly a cure-all for neglected women artists. I cannot comment on the color plates, nor can I tell you much about the quality of the production itself; I can only tell you that it has essays by Edward Sullivan and Linda Nochlin in English and Spanish - a plus in our multiracial climate. Nochlin states that her first encounter with "a Mexican woman artist" was more than twenty years ago. She then relates that artist was Remedios Varo, who isn't Mexican. She later discovered Frida Kahlo and others. What her highly intelligent essay highlights is how much we have to learn about Mexico and the art its women made. I say this because ignorance concerning Latin America is rampant among North American scholars. Nochlin's essay emphasizes the need for a major reevaluation of the supposedly universal standards and values we use to judge art. In the final analysis one has to wonder why an essay titled "Mexican Women Artists" isn't about Mexican women.
+
+Sullivan's essay, what I can read of it due to the poor quality of my xerox, appears to be an extensive overview of the framework of the show, the conditions under which women in Mexico produced art, and the position of women in Mexican culture. He gives an extended postmodern reading of the impact of Frida Kahlo's work on gay male artists such as Nahum Zenil and Julio Galan (included in the Americas Society show at 680 Park Avenue at 68th St). He suggets that Kahlo's influence allowed them to come to a greater realization of their own emotional goals. During the symposium discussion, Sullivan mentioned that he did not know of any women artists, gay or otherwise, who had been influenced by Frida Kahlo. I can certainly think of one, Quimetta Perle, and I am sure there are others he'd like to know about. Frida has become a cult figure among lesbian artists.
+
+TITLE: Crafts in the Art Marketplace
+WRITER: Pamela Blume Leonard
+PAGE_NUMBERS: 31-32
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: ARTICLE
+CONTENT:
+It is an irony that the US crafts arena of the visual arts is dominated by white males, yet it lags behind painting and sculpture by conventional measurable standards such as status; supporting disciplines such as theory, history, curatorial positions and development; grant opportunities and awards; number and significance of exhibitions; and marketing and gallery representation opportunities. The above occur in frequencies ranging from nonexistent to insufficient, and the primary reason is unquestionably related to gender: crafts are historically linked to domesticity and women and are therefore situated lower in the arts hierarchy than painting and sculpture. The most predictable result is that artists working in crafts media earn considerably less for their work than similarly established artists working in the "fine arts" arena.
+
+"This can be demonstrated by comparing selling prices of ceramics and glass, the most established and highest priced of crafts media, to selling prices of fine arts at recent auctions. In February, 1989 the US crafts world was delighted to be included for the first time in an auction sponsored by a major international art dealer. Christie's (New York) held a sale of contemporary ceramics and glass, and at last crafts marketers were able to assure crafts collectors that a secondary market for their acquisitions exists. This is is an important component for purchasers who are buying with investment value in mind, for the obvious reason that in order to reap the benefits of an improving market there must be a structure in place for reselling work, i.e., a mechanism to allow profit-taking. Also, both buyers and sellers of clay and glass knew that high auction sale prices received for paintings and sculptures and the resulting publicity of those sales had been a driving force in escalating prices for those oeuvres over the last decade.
+
+From the flurry of auctions in late1989 and early 1990 that included clay and glass, one can point to numerous disparities in market value between "art" and "craft." For instance, Dale Chihuly, who is the most prominent glass artist in the United States and arguably in the world, did not command a selling price higher than $12,000. He is in every major contemporary glass collection; indeed it would be impossible to take seriously a collection of contemporary glass that does not contain at least one piece by Chihuly, yet $12,000.00 was the top auction price for his glass. Of course, he is still a fairly young man of fifty and this could be the reason that his work did not achieve financial heights, and it should be noted that his work has sold in galleries for up to $30,000. Another master is Peter Voulkos, often acknowledged as the most important ceramist of the 20th century. It was he who first interpreted Abstract Expressionism in clay and who was the leader of the West Coast clay movement of the 50s and 60s. His Snake River of 1959, priced at $50,000-$70,000, brought $55,000 at the February 23, 1990 auction of "Contemporary Art including Prints, Ceramics and Glass." In the same auction Alphabet, a small 1959 painting by Jasper Johns sold for $572,000; it had been expected to bring $300,000-$350,000. I admit that two sales from one auction are hardly overwhelming evidence of discrimination against crafts in the marketplace, but such ratios are typical. I also admit the difficulty of making comparisons between artists and between prices for their work. Are Peter Voulkos and Jasper Johns appropriately juxtaposed? How can I defend that juxtaposition when there is no Venice Biennale for crafts where Peter Voulkos might have exhibited, when there are few museums which seriously collect contemporary crafts, when there are few craft historians to document Voulkos' significance in the long history of ceramics and no history or theory of contemporary crafts media currently being taught in US colleges?
+
+I defend such a comparison as I might defend the comparable worth of a registered nurse and a foreperson, an office clerk and a laborer, in the knowledge that gender hierarchy created and perpetuates our culture's belief that painting and sculpture, which often have little remaining attachment to daily life, are more valuable spiritually, intellectually and financially than creative endeavors that have historical ties to function and ritual, ties which link them to women.
+
+By using examples of a white man as a painter, a glass artist, and a ceramist I do not wish to detract from the accomplishments of women and minorities in these media nor overlook the excellent work done in other crafts media not included in the auctions. Both clay and glass are fields which in the United States are predominantly male, overwhelmingly white and "star" oriented. Therman Statom and James Tanner are among the few black stars in glass and clay, and it is telling that their work was not included in any of the auction catalogues I consulted. Most of the stars are white men, though a notable exception whose work was in two auctions is Ginny Ruffner, a hotly collected glass artist whose work is in most major contemporary glass collections. Ruffner has shown her work intemationally, she has been featured in Absolut Vodka advertisements (as were Andy Warhol and Frank Stella), and she has been the subject of numerous published articles. Her painted lampglass sculpture Armchair Architect, of 1989 sold for $4,000 at a March, 1990 New York auction. One month earlier Cindy Sherman's Untitled, of 1987, a color photograph, sold for $12,100 at Christie's. Of course Cindy Sherman faces obstacles both as a female and as an artist working in photography, an arena that was not initially embraced by fine art.
+
+The point is not to pit Peter Voulkos against Jasper Johns nor Ginny Ruffner against Cindy Sherman. That is the opposite of the point,.and I use the examples only to show that our culture's bottom line, money, reflects the low status of crafts and to predict that this will not change so long as the status and value of women and minorities is unequal to the status and value of white men.
+
+TITLE: Solo Shows
+WRITER: unknown
+PAGE_NUMBERS: 26-28
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: ALMANAC
+CONTENT:
+Kim Abeles Artists books. Douglass College Libry, New Brunswick, NJ, 1/9-2/27.
+
+Joan Anker Paintings. Pindar Gallery, 127 Greene, NYC, 2/12-3/3.
+
+Xenobia Bailey - Headgear with African Influence. Indianapolis Musm, 1200 W 38 St, Indpls, IN, 2/2-28.
+
+Linnell Barnhart- Family Album, ceramic sculpture. Matrix, 1725 I St, Sacramento, CA, 2/6-3/8.
+
+Jennifer Bartlett-Pastels. Paula Cooper Gallery, 149 Wooster, NYC, 1/5-2/2.
+
+Janice Becker-"Heads" paintings & drawings. Prince Street Gallery, 121 Wooster, NYC, 2/8-27.
+
+Suzanne Benton - Death & other Secrets, steel, bronze, paper. St. Peter's, 619 Lexington, NYC, 1/31-3/12; Mystery & Dialogue, Anna Howard Gallery, Washington Depot, CT,2/2-27.
+
+Theresa Bernstein-watercolors & prints. Sragow Gallery, 99 Spring, NYC, to 2/28; Museum of the City of New York, to 3/31.
+
+Marcia Bigliani - Paintings, "Metaphysical Landscapes." Noho Gallery, 168 Mercer, NYC, 1/8-27.
+
+Kathleen Blackshear-Paintings, sculpture, etchings. School of Art Institute, 37 S. Wabash, Chicago, IL, to 1/9.
+
+Betty Blaton-Taylor Paintings. Lubin House Gallery, 11 E. 61 St, NYC, 2/6-28.
+
+Darla Bjork "The Scream/Der Schrei." Ceres Gallery, 91 Franklin, NYC, 2/26-3/23.
+
+Meri Bourgard-Drawings & paintings. First Street Gallery, 560 Bway, NYC, 2/19-3/9.
+
+Eva Bouzard-Hui-Ceramic figurines & drawings. Phoenix Gallery, 568 Bway, NYC, 1/29-2/23.
+
+Nancy Bowen Sculpture. Betsy Rosenfeld Gallery, 212 W. Superior, Chicago, IL, 1/11-2/9.
+
+Phyllis Bramson - Paintings. G.W. Einstein Co, 591 Bway, NYC, 2/2-27; Douglass Coll Libry, New Brunswick, NJ, 4/15-6/17.
+
+Mona Brody-New Works With the Earth. Interchurch Canter, 475 Riverside, NYC, to 2/1.
+
+Margaret Casella - Photographs. Midtown Y, 344 E. 14 St, NYC, to 2/10.
+
+Muriel Castanis-Post-Modernist sculpture. Hokin Gallery, 245 Worth, Palm Beach, FL, 1/15-2/9.
+
+Rosemarie Chiarlone - Mixed media. Barbara Gillman Gallery, 270 NE 39 St, Miami, FL, 3/15-4/15.
+
+Lisa Collado - Collage. Gallery David, 594 Bway, NYC, 2/13-24.
+
+Sharon Collins-Photographs, images of Nepal. Soho Photo, 15 White, NYC, to 1/5.
+
+P. Lynn Cox-Landscapes in Motion, paintings & drawings. Hiram College Art Center, OH, to 2/1.
+
+Janet Culbertson-"Facts of the Peconic" paintings, drawings, photos. East End Arts Council, 133 Main, Riverhead, NY, 3/20-5/4.
+
+Linda Cunningham - Public Sculpture. W. Bway/Chambers & W. Bway/Franklin, NYC to 2/1.
+
+Judy Cuttler - Bowery Gallery, NYC, 4/12-5/1.
+
+Elisa Decker-Paintings & watercolors. La Mama Galleria, NYC, 3/21-4/7.
+
+Eleanor Dickinson-Crucifions & recent works. Graduate Theological Union Gallery, Berkeley, CA, to 3/10; Himovitz Gallery Pavilions, Sacramento, 1/6-27; Show N Tell, 2509 Bryant, San Francisco, 2/5-3/2.
+
+Elsie Driggs Retrospective, paintings & drawings. Phillips Collection, 1600 21 St NW, Washington, DC, 1/26-3/17.
+
+Kathleen Dunne - Paintings. Rose Cafe, 220 Rose, Venice, CA, to 1/19.
+
+Evelyn Eller-Retrospective 1981-1991. Manhasset Public Libry, 30 Onderdonk, NY, 4/1-26.
+
+Ellen H. Fagan - Paintings, "Dancers." Wave Again Gallery, 265 College, New Haven, CT, to 1/30.
+
+Barbara Feldberg-Paintings. Atlantic Gallery, 164 Mercer, NYC, 1/22-2/9.
+
+Lorna Feldman - Anaclisis. CIU Art Lounge, Chicago, IL, to 1/25.
+
+Janet Fish Night paintings. Robert Miller Gallery, 41 E., 57 St, NYC, 1/29-2/28.
+
+Barbara Friedman - Paintings. 55 Mercer Street Gallery, NYC, 1/29-2/16.
+
+Francie Bishop Good-Mixed media constructions. Phoenix, 568 Bway, NYC, 1/3-26.
+
+Barbara Goodstein-Bowery Gallery, NYC, 3/22-4/10.
+
+Arlene Gottfiied-Bacalitos & Fireworks, color photographs. Union Square Gallery, 118 E. 17 St, NYC, 3/2-4/13.
+
+Grace Hartigan - Five Decades 1950-1990. ACA Galleries, 41 E. 57 St, NYC, 1/10-2/9.
+
+Carolyn Henzler - Urban Solitudes. Eductn'l Alliance Gallery, 197 E. Bway, NYC, 1/20-2/15.
+
+Sue Hettmansperger - Paintings & drawings. A.I.R., 63 Crosby, NYC, to 1/5.
+
+Elizabeth Higgins - Prince Street Gallery, NYC, 3/1-20.
+
+Emily Hixon-Fragments. Amos Eno Gallery, 594 Bway, NYC, 3/9-28.
+
+Rosalind Hodgkins-Paintings. Broome Street Gallery, 498 Broome, NYC, 1/29-2/16.
+
+Robin Holder - Monoprints. YWCA Gallery, 30 Third Ave, Brooklyn, NY, to 2/22.
+
+Diane V. Horn-"Transitional Reflections." Rider Coll Gallery, Lawrenceville, NJ, to 2/24.
+
+Brenda Horowitz-Paintings. Atlantic, 591 Bway, NYC, 2/12-3/2.
+
+Norma Isaaca-45 years of painting. 112 Greene, NYC, 2/16-3/3.
+
+Keiko Kanesaki-Kimonos, wearable art. Cast Iron Gallery, 159 Mercer, NYC, to 1/23.
+
+Penny Kaplan- Books as Sculpture. Lowenstein Libry Gallery, 113 W. 60 St, NYC, to 1/5.
+
+Diane Kempler - New work. Connell Gallery, 333 Buckhead, Atlanta, GA, 3/22-4/26.
+
+Kay Kenny-Photographs/Paintings. Level 3 Gallery, Philadelphia, PA, to 1/27; Photgraphy Center, 1395 Lexington, NYC, to 2/14.
+
+Lee Krasner-Paintings 1965-1970. Robert Miller Gallery, 41 E. 57 St, NYC, 1/4-31.
+
+KYRA Site specific sculpture. Broward Community College Gallery, Pembroke Pines, FL, to 2/21.
+
+Barbara Davis Lawrence-Paintings 1977-1990. St, John Cathedral, NYC, 2/3-27.
+
+Annette Lemieux-Josh Baer Gallery, 476 Broome, NYC, 3/16-4/13.
+
+Jessica Lenard-Paintings & drawings. Soho 20, 469 Broome, NYC, to 1/26.
+
+Toby Z. Liederman - Connections: Immanence, porcelain & stoneware sculpture. Greenburgh Nature Ctr, Scarsdale, NY, 4/28-5/18.
+
+Agnes Martin-Paintings & drawings 1974-1990. Stedelijk Museum, Amsterdam, 3/23-5/12.
+
+Ann Meredith-Photographs of women with AIDS. Douglass College Libry, New Brunswick, NJ, 3/1-4/12.
+
+Setsuko Migishi - Paintings. Natl Musm Women in Arts, 1250 New York Ave NW, Washington, DC, 4/2-5/19.
+
+Mary Miss Notes on Projects in Public Places. Freedman Gallery, Reading, PA, 4/2-28.
+
+Ayako Miyawaki - Appliqué works. NMWA, DC, 6/4-8/7.
+
+Lisette Model - Photographs, 50 year retrospective. I.C.P., 1130 Fifth, NYC, 2/8-3/24.
+
+Marnie Montgomery-Meditative work. Dadian Gallery, Wesley Seminary, 4500 Massachusetts Ave NW, Washington, DC, 1/9-3/2.
+
+Joan Nelson - Paintings. Freedman Gallery, Reading, PA, 2/19-3/17.
+
+Lorraine O'Grady-Photo montages. Intar Gallery, 420 W. 42 St, NYC, 1/21-2/22.
+
+Joan Personette-Retrospective 1959-1987. National Museum of Women in the Arts, DC, to 2/3.
+
+Dodie Petro Paintings. The Art League, 105 N. Union, Alexandria, VA, 2/7-3/4.
+
+Jane Piper Selected Paintings 1976-1990. New York Studio School, 8 W. 8 St, NYC, 1/24-2/23.
+
+Liubov Popova - Paintings & drawings. MOMA, 11 W. 53 St, NYC, 2/14-4/23; Los Angeles County Museum, CA, 6/23-8/18.
+
+Reeva Potoff- Installation. Brooklyn Museum Lobby, 200 Eastern Pkway, Bklyn, NY, to 3/11.
+
+Brigitte Reichl-Installation. School of the Art Institute, Chicago, IL, 4/5-5/3.
+
+Pamela Reilly-"Other Selves: Self-portraits." Ceres Gallery, 91 Franklin, NYC, 1/29-2/23.
+
+Charlotte Robinson - Paintings & drawings. San Antonio Art Institute, TX, 1/12-2/18.
+
+Lynn Rosenfeld-Bowery Gallery, 121 Wooster, NYC, to 2/6.
+
+Deborah Rosenthal - New paintings. Bowery Gallery, 121 Wooster, NYC, 2/8-27.
+
+Rachel Rotenberg-Sculpture. College of New Rochelle Libry, NY, to 2/10.
+
+Adrienne Salinger-Photographs. Midtown Y Gallery, NYC, to 2/10.
+
+Gale Sasson-Wall sculpture & cast. paper. Ceres Gallery, 91 Franklin, NYC, to 1/26.
+
+Dorothy Shamonsky-Sculpture, installation. Ceres Gallery, NYC, to 1/26.
+
+Norma Shatan-Paintings. Prince Street Gallery, NYC, 5/3-22.
+
+Peggy Shaw-Living Systems, collaged paintings. Betsy Rosenfeld Gallery, 212 W. Superior, Chicago, 2/15-3/16.
+
+Rhonda Roland Shearer - Sculpture. Feingarten Gallery, Los Angeles, CA, to 1/4.
+
+Lorna Simpson - Photographs. Josh Baer Gallery, NYC, 4/20-5/18.
+
+Sylvia Sleigh Paintings. G.W. Einstein, 591 Bway, NYC, 5/1-30.
+
+Kiki Smith-Sculpture. University Art Museum Matrix Gallery, 2625 Durant, Berkeley, CA, Feb-April.
+
+Nancy Spero - Recent works. Josh Baer Gallery, 476 Broome, NYC, 2/16-3/9.
+
+Linda Stein - Constructions. Anita Shapolsky Gallery, 99 Spring, NYC, to 1/26; Multi-media environments, Soho 20, 1/29-2/16.
+
+May Stevens Paintings. Herter Art Gallery, U of Mass, Amherst, 2/5-27.
+
+Francisca Sutil - Fragments of Life. Nora Haime Gallery, 41 E. 57 St, NYC, 2/13-3/23.
+
+Elyse Taylor Paintings. Douglass Coll Libry, New Brunswick, NJ, to 2/27.
+
+Merle Temkin-Sculpture. Soho 20, NYC, to 1/26.
+
+Joyce Tenneson - Photographs. Barbara Fendrick Gallery, 568 Bway, NYC, to 2/9.
+
+Rosemarie Trockel-Sculptures, knit-paintings, drawings. University Art Museum Galleries 2,3 $4, Berkeley, CA, 6/12-9/8.
+
+Wallace & Donohue - Constructions. NMWA, Washington, DC, 1/29-5/5.
+
+Rose Weinstock - Memories of Summer. Oakside Cultrl Ctr, 240 Belleville, Bloomfield, NJ, to 1/13.
+
+Lesa Westerman - Photographs. Collegiate Church Photo Gallery, 50 E 7 St, NYC, to 2/10.
+
+Jackie Winsor - Sculpture. Newport Harbor Musm, 850 San Clemente Dr, Newport Beach, CA, 2/2-4/5.
+
+Brenda Zlamany-New work. E.M. Donahue Gallery, 560 Bway, NYC, to 1/31.
+
+TITLE: Group Shows
+WRITER: unknown
+PAGE_NUMBERS: 28
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: ALMANAC
+CONTENT:
+Contemporary Rhode Island Quilts - Narragansett Bay Quilters. Hera Gallery, 327 Main, Wakefield, RI, 2/2-24.
+
+Drawings-Women in the Visual Arts annual celebration of International Women's Day. Erector Square Gallery, 315 Peck, New Haven, CT,3/7-31.
+
+Diversity & Ethnicity - Rivera, Kuo, Williams. Center for Photography at Woodstock, NY, to3/9.
+
+Neo-Geo Dachman, Herman, Sabalis, et al. Paramount Center for the Arts, 1008 Brown, Peekskill, NY, 2/16-3/16.
+
+"Ancient Origins"-Takiguchi, Angel-Wing, Eisen, Rubin, Warn, Brenna, et al. America House Gallery, Piermont-on-Hudson, NY, to 3/16.
+
+"Wave Hill Pictured"-Conner, Groover, et al. Wave Hill, 675 W. 252 St, Bronx, NY, opening 5/7.
+
+Nature 8 artists. Benton Gallery, 365 Country Rd. 39, Southampton, NY, 4/13-5/2..
+
+Art of the Forties -Works in all mediums from the museum's collection. MOMA, 11 W. 53 St, NYC, 2/24-4/30.
+
+Masked/Unmasked-Ahrons Arts Ctr, 466 Grand, NYC, to 4/7.
+
+"The Body in Question" - Cypis, Ferrato, Goldin, Jenkins, Kruger, Levart, Livingston, Macklin, Mann, Oken, Plachy, Sherman, Sims,, et al. Burden Gallery, 20 E. 23 St, NYC, to 2/28.
+
+The European Eye: Landscape Photography of the 1850s. Min/Lowinsky Gallery, 584 Bway, NYC, to 2/28.
+
+"Physicality"- Benglis, Cross, Lehman, Murray, Pfaff, Rockburne, Stockholder, et al documenting 20 years of color dimensionality in painting. Hunter College Gallery, 450 W. 41 St, NYC, 3/5-30.
+
+The New Hope Modernists, 1917-1950 James Michener Musm, Doylestown, PA, to 4/28.
+
+Copenhagen Postcards & Nairobi Albums from the International Festival of Women Artists celebrating the U.N. Decade for Women. Natl Musm Women in the Arts, 1250 New York Ave NW, DC, 2/11-5/17.
+
+WCA Senior Honorees - Bernstein, Constantine, Loloman, Okubo, Pierce. Natl Musm Women in the Arts, DC, 2/15-3/17.
+
+"Tough Issues"-mixed media, DC chapter exhibition in conjunction with WCA National Conference. Gallery 10, 1519 Connecticut Ave NW, to 2/23.
+
+"Comparisons: An Exercise in Looking." Hirshhorn Museum, Washington, DC, to 4/21.
+
+New Quilts: Interpretations & Innovations Textile Museum, 2320 S St.NW, DC, to 4/28.
+
+"Personal Metaphors"-metal artists Kluge, Threadgill, et al. Connell Gallery, 333 Buckhead, Atlanta, GA, 3/21-4/26.
+
+Amish Quilts from museum collection. Indianapolis Musm of Art, 1200 W. 38 St, IN, to 3/30.
+
+Power: Its Myths & Mores in Amer. Culture 1961-91- Indpls Mum, 9/7-11/3/91.
+
+"Degenerate Art": The Fate of the Avant-Garde in Nazi Germany - Los Angeles County Musm, CA, 2/17-5/12.
+
+Samplers & Samplemakers: An American Schoolgirl Art 1700-1850- L.A. County Musm, 11/14-2/2/92.
+
+Eclectic Imagery-glass, wood, fiber, wood, clay & paper. Eileen Kremen Gallery, 619 N. Harbor, Fullerton, CA, 4/6-5/2.
+
+The Independent Group: Postwar Britain & the Aesthetics of Plenty - Cordell, Smithson, et al. University Art Musm, Berkeley, CA, to 4/21.
+
+Gallerie has discontinued publication of its large-format glossy magazine showcasing women artists. Instead they are offering a series of monographs. The first two: Family by Tee Corinne; autobiographical, images and text; Lee Maracle; theoretical text, six photographs of the author by Brenda Hemsing. $24/8 books, Gallerie Publications, Box 2901 Panorama Drive, N. Vancouver, BC, Canada V7G 2A4.
+
+TITLE: Opportunities & Slide Calls
+WRITER: unknown
+PAGE_NUMBERS: 29
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: ALMANAC
+CONTENT:
+International Art Horizons- open, all media, $30,000 in prizes and NY exhbn; juried, entry fee; deadline: Apr 12. Application from I.A.H. Dept RAU, Box 1533, Ridgewood, NJ 07450, (201) 487-7277.
+
+Mini Print International Cadaques- max. image10x10cm, $50/3 works; juried, traveling exhbn, catalog, sales; deadline: Apr 30. ADOGI, Aptd de Correos 9319, Barcelona 08080, Spain.
+
+Salon de L'Abstraction-abstract art only, $22/1-4 slides or photos; juried; 10% commission on sales; exhibn in Montreal Gallery; deadline: Apr 30. SASE only for return slides; FRRIC Internatl, C.P. 65, Succursale C, Montreal, Que, Canada H21 4J7, (514) 523-8763; FRRIC Internatl, same as above.
+
+Salon du Portrait - all media, all size, portrature only; $22/1-4 slides or photos; exhbn in Montreal Gallery; deadline: May 3
+
+Crafts National-ceramic, fiber, metal, glass, wood; $20/3 entries; juried; deadline: Apr 26. SASE Crafts Natl, Zoller Gall, 102 V.A. Bldg, Penn State, University Pk, PA 16802.
+
+Crafts National - $25/3 slides, juried, cash awards & exhbn; deadline: Jun 20. SASE to Mari Galleries, 133 E. Prospect, Mamaroneck, NY 10543, (914) 698-0008.
+
+44MAX only artists living west of the Mississippi; 2-D, 44" max dimension; $12.50/3 slides & resume; deadline: Mar 26; purchase awards, exhibn at Alder Gall & Eugene Hilton. Alder Gall, 767 Willamette, Eugene, OR 97401.
+
+"Community Properties" - all media, exploring idea of communities for inaugural exhibit; deadline: Apr 1. Send up to 20 slides, film or video, resumé to Huntington Beach Art Ctr, 2000 Main, Huntington Beach, CA 92648.
+
+Juried Exhibition-deadline: Apr 19. SASE to First Street Gallery, 560 Bway, NYC 10012.
+
+Juried Exhibition - $15/3 slides, deadline: May 19. SASE to Pleiades Gallery, 164 Mercer, NYC 10012.
+
+U.S. West Nat'l Exhibn-2& 3-D, open, $15/4-20 slides or photo, description, bio. "Accepted entries exhibited to galleries, arch design firms,, corporate collectors." Colman Prodns, Box 1484, Port Angeles, WA98362, (206) 452-8027.
+
+Soho 20 feminist gallery-now reviewing slides & applications for its Natl Affiliate Artists Category; deadline: Mar 22; Affiliate Memberships, 469 Broome, NYC 10013, (212) 226-4167.
+
+Pleiades Gallery -artist-run-now viewing slides-164 Mercer, NYC 10012, (212) 226-9093.
+
+Call for Fe-Mail Art - utterences about women; no jury, no returns; deadline: Mar. 25. A.P. Owens, Box 597996, Chicago, IL 60659.
+
+Arts Midwest Regional Fellowships― thirty $5,000 awards to artists in IL, ION, IA, MI, MN, ND, OH, SD, WI; deadline: Mar 29. Entry form: Arts Midwest, 528 Hennepin, Mpls, MN 55403; (612) 341-0901.
+
+Studio Assistant Internships at 100 Women's Studio Workshop, Box 489, Rosendale, NY 12472; deadline: Apr 15.
+
+Free Studio Spaces, NYC for 1 year; no stipend or equipment; annual deadline Jan 1. Info: Space Program, Marie Walsh Sharpe Art Fndn, 711 N. Tejon, #B, Colorado Springs, CO 80903.
+
+New International Artists' Colony, New Zealand aims to provide multi-cultural community-based program for artists. Info: Airini Taylor, 32 Moray Pl, Dunedin, NZ.
+
+Artists in Space, Australia offers room and exhibition space in artist-run warehouse gallery, $60/week, up to 4 weeks. Info: S. Shovelhead, Box 263, Glebe, Sydney 2037, Australia.
+
+Artworld Hotline-900-990-7011 ext 1020, $1.99/first minute, 99¢/each add'l minute; current inormation on grants, galleries, opportunities, jobs, scholarships.
+
+SAGE journal on Black women, is soliciting essays, narratives & interviews for issue on relationships; deadline: Sep 1. Editors, Box 42741, Atlanta, GA 30311.
+
+Nightmares & phobias from survivor's accounts wanted for book/video project addressing after affects of rape; free to remain anonymous. Sarah Mello, 1412 Summit #414, Seattle, WA 98122.
+
+TITLE: Events, Conferences, Symposia
+WRITER: unknown
+PAGE_NUMBERS: 30
+VOLUME: 15
+ISSUE: 4
+SEASON_YEAR: Winter 1991
+TYPE: ALMANAC
+CONTENT:
+Feb. 16, 17-8:30pm, Dance, "Women's Way," Ethnic Folk Arts Ctr, 179 Varick, NYC, $8/$5 students, seniors; (212) 289-5664.
+
+Feb. 19-21 Conference, Expanding Visions, Washington Marriott, DC, Women's Caucus for Art; info: M. Banner, 9925 Dickens, Bethseda, MD 20814, (301) 493-5729.
+
+Feb. 20-23 Conference, College Art Association, Sheraton Washington Hotel, DC; info: CAA, 275 7th Ave, NYC 10001.
+
+Feb. 20-7pm, Slide Lecture, Clarissa Sligh, Hillwood Art Musm, Brookville, NY; info: (5160 299-2788.
+
+Feb. 23 Conference, "Children, Angels, Writing & the Environment,", Natl Musm Women in Arts, DC; info: H. Hahn, IWWG, Box 810, Gracie Sta, NYC 10028.
+
+Mar. 1-30 12pm, Tours in honor Women's History Month, Natl Musm Women in Arts, DC, free.
+
+Mar. 1-2-8pm, Performance, Reality #105 by Options in Performance Traditions Co., Studio, 220 E 4 St, NYC, $8; info/res: (212) 533-9585.
+
+Mar. 1-3 Convention, Feminism & Science Fiction, Madison, WI; info: K. Nash, Wiscon, Box 1624, Madison 53701, (608) 231-2324.
+
+Mar. 3-2pm, Video Festival, Asian-American women, Brooklyn Musm, 200 Eastern Pkwy; free; info: (718) 638-5000.
+
+Mar. 3-3pm, Panel, "Eve's Legacy," Cassandra Langer, moderator, Hillwood Art Musm, C.W.Post Coll, Brookville, NY; info: (516) 299-2788.
+
+Mar. 7-9-8pm, Dance, Perspectives in Motion, Marymount Manhattan Theatre, 221 E. 71 St, NYC, $12; info: (212) 627-3123.
+
+Mar. 7-14 Conference, Art Libraries Society of North America, Kansas City, MO; info: P. Parry, 3900 E. Timrod, Tucson, AZ 85711, (602) 881-8479.
+
+Mar. 8 7:30pm, Panel, "Imaging Our Erotics, Cypit, Scneeman, Acker, San Francisco Art Institute, 800 Chestnut, $5/$3 students.
+
+Mar. 8-10, 15-17, Film/Video Festival, Women in the Director's Chair, 3435 N. Sheffield, #201, Chicago, IL 60657, (312) 281-4988.
+
+Mar. 15-16 4pm, Symposium, Art, Forgery/Art, Authenticity, Brown Univ, Providence, RI.
+
+Mar. 18-6pm, Discussion, Video & Public Broadcast Opportunities (as vehicles for political activism) School of Art Institute, Chicago.
+
+Mar. 18 7:30pm, Lecture, Viola Frey, sculptor, San.Francisco.Art Institute, 800 Chestnut, $5/$3 students; info: (415) 771-7020.
+
+Mar. 20-24 Conference, Society of N.A. Goldsmiths, Atlanta, GA; info: SNAG Conf, 5254 Powers Ferry Rd, Atlanta 30327.
+
+Mar. 21-24 Conference, Society for Photographic Education,New Orleans, LA; info: SPE '91, Box 318, Univ of Colorado, Boulder 80309, (303) 492-0588.
+
+Mar. 22-23 Conference, "The Obstacle Course: Professional Women Past to Present," concurrent art exhibn: "A Personal Journey: Women Artists," Univ of Pittsburgh, 104 Frick F.A. Bldg; info: (412) 741-2676.
+
+Mar. 23 10am, Symposium, "Private Visions: Public Spaces: Women in Photography," New School, 66 W. 12 St, NYC, $25; info: (212) 473-3729.
+
+Apr. 3-6 Conference, Natl Council on Education for the Ceramic Arts, Arizona State Univ, Tempe; info: NCECA, Box 1677, Bandon, OR 97411.
+
+Apr. 5 Symposium, "Creating the Federal Image: Art for a New Nation," Univ of Delaware; info: L. Farber, Dept of Art History, Newark, DE 19716, (302) 451-8415.
+
+Apr. 8-11 Conference & Workshop, "Queens, Queen Mothers, Priestesses & Power: Case Studies in African Gender," organized by Flora Kaplan, director Museum Studies New York Univ and Schomburg Center for Reasearch in Black Culture; free & open to public. Info: J. Sharkey, (212) 998-8080
+
+Apr. 18-21 Symposium, Metamorphoses of the Avant-Garde Artist, 1908-1939, Univ of Puget Sound, Tacoma; info: K. Hooper, Univ Puget Sound, WA 98416, (206) 756-3276.
+
+Apr. 19-21 Conference, Living in the Margins: Class, Race & Gender, NW Women's Studies Assoc, Washington State Univ; info: N. Bierbaum, WSU, Pullman, 99164, (509) 335-6830.
+
+Apr. 19 & 20-7:30pm, Dance, "Impressions of a Woman," Marie Alonzo, Teachers Coll, 120 St/Bway, $10/TDF$2.
+
+Apr. 25-7pm, Lecture, Mary Miss, RISD, Providence, RI.
+
+May 17 9am, Symposium, "1919-1945, Craft Revivals: Multi Cultural & Regional Contributions, American Craft Musm, 40 W. 53 St, NYC, $75/$65 members; (212) 956-3699.
+
+Jun. 9-22 Study Retreat, Council of American Embroiderers, Univ San Diego, CA; info: SASE to L. Palmer, 2496 Asbury Ct, Decatur, GA 30033.
+
+Jun. 16-22 & 23-29- Symposium, Quilt/Surface Design, Pontifical Coll Josephinum, Columbus, OH; info: L. Fowler, 464 Vermont Pl, Columbus 43201, (614) 297-1585.
+
+Jul. 4-6 Workshop, Quilter's Holiday, Ohio Univ, Athens; info: (800) 336-5699.
+
+Jul. 14-26 Workshops, Feminist Women's Writing, Aurora, NY; info: SASE to Box 6583, Ithaca, NY 14851.
+
+Aug. 1-4 Conference, Intermountain Weavers, concurrent with juried exhbn,"Fiber Celebrated '91," Colorado College; info: SASE to J. Siple, 2322 Condor, Colorado Sprgs, 80909.
+
+Nov. Symposium, 1930-1945: The Modernists, Amer. Craft Musm, NYC; telephone for date- not set at press time, (212) 956-3699.
\ No newline at end of file
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+
+Assistant
+TITLE: GENDER IN ART AN ONGOING DIALOGUE
+WRITER: Sophie Rivera
+PAGE_NUMBERS: 1, 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: PANEL
+CONTENT:
+A group of women artists decided to express their growing disenchantment with the women's movement. "Gender in Art An Ongoing Dialogue," was a title just vague enough to attract a large turnout of artists at the AIR gallery. Following a brief slide presentation, moderator/artist Nancy Spero set the tone with an opening statement full of vague references to a meeting the artists had held several years ago. Spero mentioned neither the topics discussed nor the conclusions formulated, just that they had discussed "a common bond between women."
+
+The panel, in trying to redefine "feminist," "feminine," and "female," were unable to agree, but initially opted for "female." According to artist Rosemary Mayer "a feminist esthetic is a very precise thing; a feminine esthetic is a lousy term; and a female esthetic could possibly have meaning." Before Mayer could elaborate on the "possibility of meaning," artist/anthropologist Elizabeth Weatherford challenged the choice of "female." She preferred "feminist" to describe women artists' work but conceded that "certain stylistic choices are made."
+
+Critic Lucy Lippard said, "If a woman is thinking about her work as by a woman she is probably pre-feminist, post-feminist, or something-or-other-feminist." Artist Nancy Kitchel said, "so little imagery is left to be applied to female, feminine, and feminist art." After using the panel's terms, Kitchel bemoaned the fact that "art has been separated by its terminology out of the stream of human activity" so far as to become a "separate category alien to the artists' intentions."
+
+Spero pointed out that Rosemary Mayer's sculptures were titled with the names of great and powerful women. Yet Mayer claimed her intention was not really feminist. "My work was feminist to the extent that I thought people should be aware of the lives and activity of those women. It was not feminist to the extent that I thought those forms were female," answered Mayer. She elaborated on the stereotypes associated with art done with stitching and fabric. There was no general agreement about the relevance of techniques learned by women growing up and their application to a feminist consciousness in art.
+
+The discussion had little to do with the stated subject. Some of the panelists commented on the male dominance of the art world--a theme which surfaced early, got lost, then re-surfaced in response to sharp audience questioning. The audience expressed feelings of powerlessness in a male dominated society. Artist Joan Semmel answered that women are our audience, that women have a gut response to art, and that her own art came out of a sense of powerlessness (although Semmel no longer feels powerless). Spero strongly disagreed. One could not help get the feeling that we were listening to an economic theory, that many of the women were interested only in the marketing and marketability of feminist art.
+
+The heart of the dilemma seems to be the intrinsic value versus the extrinsic commodity value of art. As to whether there is a specific female art form--a panelist asserted that the traditional female approach has been to reach out, while the male approach has been to look into himself in order to create. This was directly contradicted by statements of at least half a dozen women about their own creativity.
+
+The confusion deepened when someone mentioned that she had been reading a book claiming that people were pushed, because of education, away from the visual toward the verbal. This led to the speculation that female and male spatial perceptions are different--a useful statement, if true, but taken wholly out of context.
+
+The discussion might more appropriately have been titled: "Disgruntled Artists Lower Consciousness." Despite claims of innovation, the ground had been gone over before.
+
+TITLE: THOUGHTS PROVOKED BY A "GENDER-IN-ART" PANEL
+WRITER: Joan Semmel
+PAGE_NUMBERS: 1, 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ARTICLE
+CONTENT:
+The impetus for the woman's movement in the art world was blatant discrimination, exclusion and isolation. It was important for many of us in the early years to have the opportunity to see each other's work, and to gain the confidence to further develop and expand our own work. We then returned to our private worlds to work intensively, gradually gaining exposure, first in women's shows, then in wider contexts.
+
+The profusion of women's panels this season is a signal that we are once again seeking nurturance from each other, and that the movement is readying itself for the next stage in its development. Unfortunately many of the panels have failed to deal with the substantive issues and have left us with an aftertaste of frustration and negation.
+
+A panel that calls itself "Gender In Art-An Ongoing Dialogue" and then refuses to deal with content or sources, or gender itself except in terms of careerism, does a disservice to us all.
+
+Because women's work has been discriminated against for years, many women are paranoid about having their art described as distinctively female, feminist, or feminine. Some think women's art should be accepted because it is the same, or as good as, men's. I want it to be accepted because it is different. Therein lie its power and its possibilities.
+
+Has art made by women been excluded from the cultural mainstream simply because of the prevalence of discriminatory practices against women? Or because it also often validates an experience, a female experience, one from which the male world feels excluded? Is it not from this very validation that women's art derives its special authenticity? Is it not time that the female experience became part of the making of our collective history, of our supposedly collective culture, where it may serve to modify some of the anti-humanistic tendencies of that culture?
+
+Do we as women artists consciously seek the sources of our work? Some women are afraid that the seeking of those sources will be ideologically coercive. I disagree. Self-knowledge stimulates self-definition.
+
+If women's art encompasses a wide range of styles, are there similarities in content? What in our relationship to our space, to time, to materials, to our sexual roles, is different from men's and how does this affect our work? Why does so much of women's art deal with sexual motifs, organic form, autobiography, process and craft materials, highly personal and non-hierarchic form? How does this overlap with tendencies in women's writing?
+
+The questions are endless. It is time for an ongoing dialogue.
+
+TITLE: ART OFFENDS AT DOUGLASS
+WRITER: Anne Marie Rousseau
+PAGE_NUMBERS: 1, 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ARTICLE
+CONTENT:
+Bibi Lencek, 41st in the Women Artists Series at Mabel Douglass College Library, showed, thru Nov. 21, paintings of a young couple (modelled by Lencek and companion) in various positions of lovemaking. Done in a cool realistic style, the paintings used such "banal" details as patterned sheets, tissue box, wall plug, and potted plant to give a "sense of place." Ms. Lencek says that although the figures are prominent, she considers them "merely a part of an indoor landscape."
+
+In a letter to Targum, the Rutgers newspaper, Douglass Student Barbara Ambler protested the show. It was, she said, distracting, "undermining the quality of my life" as a Christian. She wished to lead a life "pleasing to God," but sex "in the wrong situation...can destroy us." Another letter from a more worldly student protested the portrait of Alexander in the Alexander Library, because "each time I see it I begin to fantasize about sex."
+
+Although most students seemed neutral or unconcerned, the distress of the minority was so acute that an open forum was held, Nov. 11.
+
+Protestors included Ms. Ambler and other members of the Intervarsity Christian Fellowship. Espousing a "Christian Ethic," they objected to public display of work which aroused sexual fantasy. Sex is "a beautiful gift from God," they said, but belongs only within the bonds of "Holy Matrimony." One student read from the Bible of Adam and Eve's recognition of their nakedness and covering themselves, from which he inferred the sinfulness of the naked body. Turning to Ms. Lencek, he said, "The Devil speaks to us in many ways."
+
+A more lenient faculty and administration noted that artists have for centuries depicted male and female nudes in secular and religious paintings, mentioning Titian, Rubens and Ingres. One faculty member observed, "These are not sweaty paintings," noting that no genitalia were portrayed. Reviewer Lynn Bershak said, "Lencek alters the positions of the lovers as one would re-position flowers or fruit in a bowl...lovemaking is a subject for genre painting" like nursing mothers or children at play. Robert Tanksley, Co-ordinator for Religious Affairs, noted that spiritual asceticism is achieved by confrontation and transcendance, not avoidance.
+
+Assistant Professor Gloria Orenstein said that after her trip each day through the New Jersey oil fields, scenes of love were a relief and reminder of good in humanity. Other staff members agreed that the art was a joyous distraction from grim reality, and that painting gas stations was more truly pornographic.
+
+Several students admitted they hadn't really looked at the paintings. Thinking they had learned something about art, they agreed to try again. (One said that although he came to the library often, he hadn't noticed the art until he read about it in the paper.) Lynn Miller, librarian, and director of the series, apologized to those whom the show had offended, but announced it would remain up.
+
+Now in its fifth year, the Women Artists Series began as an informal effort to fly the flag for women artists at a woman's college with primarily male art professors. Artist Joan Snyder had approached Daisy Brightenback, head librarian in 1971, with the idea of using the library walls as an alternative space for showing women's work. Although many women were working, painting and producing at the time, few had opportunities to show. Sympathetic, Brightenback turned the project over to Lynn Miller, then a new librarian eager to make the library exciting. She and Snyder got a little money from the library budget, scrambled for transportation, hitched trailers to Miller's station wagon, rented trucks, got parking tickets, argued with policemen, and working with the artists, put together the early shows.
+
+From the first mimeographed announcement to the present professional catalog, media coverage, impressive roster of participating artists, and, as Ms. Miller says, "everyone in the WORLD sending in slides," has been a long road and a major achievement.
+
+TITLE: A Philadelphia Story
+WRITER: unknown
+PAGE_NUMBERS: 2
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: EDITORIAL
+CONTENT:
+The Philadelphia Museum of Art sent a form letter to galleries (picked up by a WAN correspondant at a Solo Co-op) inviting entries for an American Family show in '76. The letter specified conditions of submission in detail--photos and slides to be returned, Xeroxes not, etc. Taking this at face value, WAN reprinted the information for its readers (Nov.). But the museum was annoyed to receive such entries, even those including return envelope. Tara Glass Robinson, Co-ordinator of Exhibitions, wrote us that this was not an open show, and that it was, in fact, already selected (reported in Dec. WAN).
+
+Please tell us--when is an invitation not an invitation? What is an open show?
+
+TITLE: Alternatives
+WRITER: unknown
+PAGE_NUMBERS: 2
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: EDITORIAL
+CONTENT:
+Quote #1: A December Visual Dialog article on alternative spaces quotes Trude Grace writing in Art Journal: Artists Space in NYC...avoids the...'system in which decision making is by critics, curators, committees and dealers.'
+
+Quote #2: A recent letter from the Committee for the Visual Arts names a "possible panel" to select work for Artists Space in '76--Linda Cathcarte, Curator...Albright Knox... Whitney Museum/Douglas Crimp...past curatorial staff Guggenheim Museum/ Edit de Ak... Art-Rite...Art in America/Peter Frank...Art News, Art in America.../Linda Shearer, Assistant curator Guggenheim Museum/Roberta Smith.. Art Forum Museum of Modern Art, Paula Cooper Gallery.
+
+The letter requests suggestions of additional critics, curators and gallery people as well as suggestions of artists.
+
+What is happening to the "Alternative?" Is it becoming "The System?"
+
+TITLE: PAINTERLY REPRESENTATION
+WRITER: Pat Passlof
+PAGE_NUMBERS: 2
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+ARTISTS TALK ON ART Nov. 21. Louis Finkelstein, Mod.; Rosemarie Beck, Paul Georges, Wolf Kahn, Raoul Middleman, Paul Resika, Panelists.
+
+I loved this panel for its warmth and camaraderie, even or especially for its practiced passions: Resika rhapsodizing on a tear duct; Georges in a funny and fiery attack on the Met, the French show, the academic mind and "naked representation"; Kahn in a confessional mood: Middleman in two hilarious anecdotes on the clues to likeness or how we recognize each other; Beck more reserved and thoughtful; moderator Finkelstein saying affectionately, but probably meaning it, that if Georges were any more successful, he'd be unbearable.
+
+I loved the panel's intimacy with the works which concerned it. Though I knew they'd fought these fights before, I could even empathize with their delight in landing a few blows on the dead horse of abstraction. Lastly, Georges on Leslie's second O'Hara: "I was so happy to see the improvement--he finally got that big foot out. The trouble is, that painting needed a big foot!"
+
+TITLE: Art Workers News and the Council
+WRITER: unknown
+PAGE_NUMBERS: 2
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: EDITORIAL
+CONTENT:
+Is it naive to expect a government body, such as the New York State Council on the Arts, to fund a group criticizing it, in this case the Foundation for the Community of Artists?
+
+The grounds originally given by the Council for de-funding the Community were that it and its publication, Art Workers News, are no longer needed. Given the present legal, economic and tax status of artists, that statement is absurd.
+
+Art Workers News can be dull and unfocused, but no more so than a lot of art funded by the Council. AWN investigations of dangers of art materials, workings of art bureaucracies, studies of legislation, and programs of insurance for artists may not make titillating reading, but they benefit all artists. If some of AWN's advocacies have been unrealistic, their reports on applications of art moneys are indeed real, and their protests led the council to establish appeals procedures where none had existed, and, for the first time, to promulgate a set of guidelines.
+
+There should be open guidelines, publicly accounted for--a necessary antidote to bureaucratic whim. For instance: funds should go to projects the private sector can't or doesn't provide, should deliver for artists, not administrators, and be allocated according to a merit system more impersonal than the presently operative one.
+
+One thinks of NYSCA projects that are the cosy fiefdoms of a few and their cronies. The Community of Artists operates in the general interest, as advocates of all artists. It should have the funds to do a proper job.
+
+TITLE: COLOR, LIGHT & IMAGE, Work and Statements
+WRITER: Constance Kane with Alice Baber
+PAGE_NUMBERS: 2
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+An International Invitational, curated by Alice Baber. Women's Interart Center, NYC, thru Jan. 30. Excerpts from an interview, Constance Kane with Alice Baber:
+
+KANE: You have the makings of a book as well as a record of works in the exhibition.
+
+BABER: ...Some artists sent in a poem. Others wrote a biographical statement, sent photos of themselves, or works in the show, or other works. There are four volumes on display. Of course the ideal situation would have included more space, more time, and many more countries.
+
+KANE: Current trends are recognizable. For instance, collage elements...in the work of Mimi Schapiro and the sculpture of Eugenie Gershoy. Patterns in Joyce Kozloff's paintings have echoes of the American Indian, as well as quilt-like pattern that recalls Appalachian handiwork....
+
+...Joan Semmel's work has more to do with the current interest in erotic art. Alice Neel has always done her own thing in those penetrating, uncomfortable portraits. She has always held up a taut psychological mirror. But, I can't say that it's particularly female. Perhaps Sylvia Sleigh's interest in subject matter is feminine, but the work itself is not...I think Elise Asher's work has always been crisply feminine, in a very pretty and poetic way--rather like a self-portrait in calligraphy. But many, like Louise Nevelson, Betty Parsons, Ruth Frankin, Hedda Sterne, and Addie Herder simply seem to be doing their own thing and always have.
+
+Did you have trouble getting work from such countries as Turkey, Iran and India?
+
+BABER: Luckily I was able to borrow those from the Grey Gallery at NYU. It was important to show that women all over the world from many diverse backgrounds are working in the arts. Yes, many countries don't allow paintings to be sent out of the country, or, in some cases, to return. Getting work through customs can be a serious problem.
+
+KANE: ... I know how much time a project like this can take. What satisfactions did it give?
+
+BABER: ... Showing some of these artists for the first time in NY was gratifying, especially in international women's year... It was an exciting experience...
+
+TITLE: Letters To The Editor
+WRITER: Lucy R. Lippard, Carolyn Berry
+PAGE_NUMBERS: 2
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: LETTER
+CONTENT:
+Dear Editors,
+
+A propos of Phoebe Hellman's remarks reported in Women Artists Newsletter Nov. 1975: the tampaxes distributed at the Whitney Museum five years ago in the Ad Hoc protests were nice clean ones, marked, as I recall, "50% women" (referring to the Annual), not, in any case, tainted by the "dirt" some well-conditioned people still associate with menstruation!
+
+There have been so many inaccurate accounts of the early days of the women artists' movement that I guess the time has come to start correcting the basic facts, even as minor as this one.
+
+And, incidentally, while my view of what happens at these panels doesn't always coincide with that of your writers, I think it's a terrific idea to cover them so thoroughly. Many thanks.
+
+-- Lucy R. Lippard, New York
+
+Dear Ms.
+
+My entry form for the Marietta Art Show has arrived and I notice it is an all man selection jury--I enclose their aims (see below). I am not entering this show.
+
+-Carolyn Berry, Monterey, CA.
+
+Mainstreams '76 will promote the concept that the qualities in art to which man personally reacts are those that are symbols of man's existence and his involuntary quest for beauty. These qualities bridge all centuries, all art styles, and are, apparently, very close to the essence of man's communication with man. Our purpose is to bring, insofar as possible, the best examples. of painting and sculpture to our college and community.
+
+(reprinted without permission)
+
+Sleigh Letter Corrected
+
+WAN has shot its proofreader at dawn. Sylvia Sleigh's letter last month was intended to clarify, not further confuse. A WAN quote, "It's time for a major museum to do a major show of women, not one started and paid for by women," might in the context have been taken to refer to the Women Choose Women show at the NY Cultural Center. In that show, as Sleigh wrote, "The only obligation on exhibiting artists was to deliver their work, and the catalog was funded."
+
+TITLE: ART TO HEART TALK
+WRITER: Judy Seigel
+PAGE_NUMBERS: 3
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+Panel-HUMANIZING THE ART WORLD-12/13 Joellen Bard, Mod; Diane Burko, Richard Karp, Cindy Nemser, Jonathan Price, Jacqueline Skiles, Panelists.
+
+The seemingly well-fed, well-dressed, well-educated "humanists" on this panel about "Humanizing the Art World" are outraged at a system which has allowed them this much, but, to date denied them the fame, wealth or power they see elsewhere.
+
+Their talk mixed truth impartially with nonsense. The salient truth was Jackie Skiles' observation that the moneys going into Art Councils across the land have created thousands of middle class jobs with fringe benefits for arts administrators, but have moved scarcely an artist into the middle class.
+
+On balance, though, the foolishness bothered me more than the truths roused me, and, wincing at the howlers, I began to apply a kind of "Yeah, Like" clause in my mind, as antidote to the effects of blither on my pre-holiday psyche. Here, more or less verbatim, are some of their sillier assertions and my irritated replies:
+
+THEM: It is content that infuses art with vitality.
+ME: Yeah, like the painting of the most beautiful object in the world is the most beautiful painting in the world.
+
+THEM: Corporations promote abstract art because aesthetics are safe. Stripes, circles, etc. won't propagate revolutionary ideas.
+ME: Yeah, like the Constructivists and Futurists did abstract art to support monarchy.
+
+THEM: The artistic object today often has nothing to do with the world beyond it.
+ME: Yeah, like what is art, anyway?
+
+THEM: Artists start with warm and spiritual, rather than pragmatic things.
+ME: Yeah, like crucifixions, flagellations, battle scenes and grids.
+
+THEM: Humanism means warmth, tenderness, kindness to neighbors and sharing.
+ME: Yeah, like rage and aggression are purely aesthetic.
+
+THEM: What's wrong with being refused [from a co-op]? Rejection is humanistic, too.
+ME: Yeah, like "warmth, tenderness, kindness to neighbors and sharing."
+
+If "humanizing the art world" is a code phrase to mean wrenching power from the fallible humans who now possess it, I'm interested, but the pious cant is distracting.
+
+Any extension of human thinking, from Fibonacci to the Pyramids, is "humanistic." Limiting art to "pictures," so-called "explorations of self" and a few other minor genres, curbs art and intellect as much as "inevitable progression" ever did. Who needs a know-nothing backlash in the name of "humanism"?
+
+TITLE: WOMEN LOOK AT WOMEN
+WRITER: Gail Singer
+PAGE_NUMBERS: 3
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+"Women Look at Women," the work of 30 women photographers from the permanent files of the Library of Congress closed Dec. 31 in Washington. 150 pieces selected from the show, from the 1890's through the present, will tour the country beginning in January.
+
+The exhibitors deserve credit for the vision and patience necessary to sift through the Library's vast collection of Imogen Cunningham, Laura Gilpin, Marion Post Wolcott, Gertrude Käsebier, Toni Frissell, Dorothea Lange, Diane Arbus and others. But the imposed subtitles--"As Women Alone," "As Modern Women,' " "On the Farm," "As Wives," "As Mothers," etc.--are often distracting and irrelevant. Simple chronology might have better paralleled the changes in the women, their medium and subject matter.
+
+But the show is well worth seeing--for the glory of these important artists grouped together--another reminder of our collective wealth.
+
+TITLE: DID YOU OR DIDN'T YOU?
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: SUBSCRIPTION
+CONTENT:
+Maybe you think you did but you didn't. Subscribe to WAN, that is. Some of our friends were so sure they'd subscribed that they were very surprised to get a "last courtesy copy" notice. Check the name label on your newsletter. If there's a number after your name (eg, 975, meaning you subscribed Sept '75) you're a subscriber. If there's no number and you know you subscribed, send us a card. We could goof too. If you're still on the "courtesy" list, won't you please subscribe now? We need the subscriptions. We need your support.
+
+TITLE: Merle Marsicano ANNOUNCES SPECIAL CLASSES IN DANCE FOR WOMEN IN THE ARTS
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ADVERTISEMENT
+CONTENT:
+Merle Marsicano ANNOUNCES SPECIAL CLASSES IN DANCE FOR WOMEN IN THE ARTS
+day and evening classes
+STUDIO: 42 W. 15th Street
+CALL: 929 5983
+January 15 through February 7, 1976
+
+TITLE: Anita Steckel Elise Asher Paintings on Plexiglass 1972 - 1975
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ADVERTISEMENT
+CONTENT:
+Anita Steckel
+Elise Asher
+Paintings on Plexiglass 1972 - 1975
+UNIVERSITY OF RICHMOND - MARSH GALLERY
+Richmond, Virginia
+January 11 through January 31, 1976
+and
+WASHINGTON WOMENS ARTS CENTER
+Washington, D.C.
+February 8 through March 28, 1976
+
+The Book As Art-Standing Bookstructures - Painted Plexiglass
+FENDRICK GALLERY - Washington, D.C.
+January 9 through February 8, 1976
+
+TITLE: The Soho Center for Visual Artists
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ADVERTISEMENT
+CONTENT:
+The Soho Center for Visual Artists
+114 Prince Street, New York, N.Y. 10012
+Exhibition hours: Tues.-Fri. 1-5 p.m. Sat. 11-5 p.m.
+sponsored by The Aldrich Museum of Contemporary Art, Ridgefield, Conn.
+
+TITLE: INFORMATION ROUNDUP
+WRITER: unknown
+PAGE_NUMBERS: 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: CALENDAR
+CONTENT:
+NY State Artists not associated with commercial or co-op galleries: Send resume & 2-20 slides to Unaffiliated Artists File, Artistspace, 155 Wooster St., NYC 10012. Series of exhibitions to be chosen by rotating panels, beginning Feb. Material, held permanently, may be updated or removed by artist.
+
+Outreach: Celebrate Women-3 hr. TV WNET/13, Sunday, Feb.1, 1PM-Panel discussions with authorities in fields of art, education, finance, politics, women and work.
+
+Kaleidoscope One-Special issue by Quest-seeks contributions of ideas, insights & inspirations. 2000-5000 words, & graphics. Deadline Feb. 15. Enclose SASE marked "For Kaleidoscope"; graphic specifications from Alexa Freeman. Box 8843, Wash.,D.C. 20003.
+
+Environmental Piece-at Women's Art Center, 400 Brannan, San Francisco, CA 94107-to include all media-from painting to cake decorating; open to all women; equal space allotted to all-one square foot. Send or bring work thru May 31. Include return postage.
+
+Goddard College-MFA Writing Program-Prose, Poetry & Drama. 12 day residencies. Feb. 8-20, Aug 3-5 & 6 month projects; distinguished faculty. Ellen Voigt, Dir., Box 400, Plainfield, Vt. 05667.
+
+Woman's Work- Works by 18 women composers from 1587 to present on 2-record set dist'd by Gemini Hall Records, 808 West End Ave, NYC 10025. By mail-$10.75.
+
+Womens Work-Magazine of Performance Scores by 15 cont. women artists. Anna Lockwood, Music Dept. Hunter College, 695 Park Ave, NYC 10021 $5
+
+PROTEST CIRCULATED:
+
+A letter from Artists Meeting for Cultural Change protesting a scheduled Whitney Museum show entitled Three Centuries of American Art "entirely culled from the collection of John Rockefeller III" because it "includes no Black artists and only one woman artist" and is "a blatant example of a large cultural institution writing the history of American art as though the last decade of cultural & social reassessment had never taken place." They "strongly object to the...museums & Rockefeller...using a private collection of art, with its discriminatory omissions, to promote upper class values and a socially reactionary view of American art history." Jan. 3 protest at the Whitney, plus plans to protest nationally. Box 728, Canal St. Sta., NYC 10013
+
+TITLE: SCHEDULE OF EVENTS
+WRITER: unknown
+PAGE_NUMBERS: 4
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: CALENDAR
+CONTENT:
+Jan. 22 5:30 PM-Seminar: Bias Free Illustration. AIGA Gallery, 2059 Third Ave. $2.50
+
+Jan. 28 8:30 PM-New Art Publications-Annette Michelson (October), Joseph Kosuth (The Fox), Mike Robinson (Artrite), Joyce Nureaux (Scan). Artists Space, 155 Wooster. $1
+
+College Art Assoc. Annual Meeting, Hilton Hotel, Chicago
+
+Feb. 1 2-5PM-Art Periodicals Today
+3:30-5:30-Women's Caucus: Workshop: Changing the Art World Structure
+
+Feb. 2 9:30-12Noon-Artists Speak with Critics
+12-2PM-Women's Caucus for Art Business Meeting
+4:30-6-Women Scholars in the Arts: Progress Report
+8:30-11-Women Artists Speak on Women Artists
+
+Feb. 3 12-2PM-Panel: Androgynous Aspects of Art
+2-4:30-Chicago: The Gold Lady
+4:30-6-Panel: Women in Museums: How To Succeed
+7-8:30-Convocation: Of Men, Women and Art, Linda Nochlin Pommer.
+
+TITLE: CALENDAR
+WRITER: unknown
+PAGE_NUMBERS: 2, 5
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: CALENDAR
+CONTENT:
+ELISE ASHER-Large Painting on Plexiglass 1972-75, University of Richmond, Va. Jan 11-31. Washington Womens Art Center, 1821 Q St. NW Wash. D.C. Feb 8 thru March. "The Book As Art"-Standing Plexiglass Bookstructures-Fendrick Gallery, Wash. D.C. Jan 9-Feb 8.
+
+HELENE AYLON-Paintings. Grapestake Gallery, San Francisco, CA, thru Jan MIT Gallery, Cambridge, Mass. March 12-April 9.
+
+ANNE BELL-Abstract shaped canvases. Aames, 93 Prince, NYC, thru Jan 24.
+
+MIRIAM BRUMER-Abstract Paintings. Lotus Gallery, 81 Spring, NYC Jan 24
+
+SIGRID BURTON-Paintings. Artists Space, 155. Wooster, NYC, thru Jan 28.
+
+DIANE CHURCHILL-Paintings & Platforms. SoHo 20, 99 Spring, NYC Jan 28.
+
+LOIS DODD-Paintings of windows, studio interiors & night scenes. Greene Mt. Gallery, 135 Greene, NYC thru Jan 22.
+
+CHRISTINE DOLINICH-Constructions & Drawings. Middlesex College Gallery, N.J. thru January.
+
+LAUREN EWING-Video. Artists Space, 155 Wooster, NYC, Feb. 7-28.
+
+HARRIET FEIGENBAUM-Tuscan Valley Configurations of Hay & Wood & Drawings. CUNY Grad Center Mall, 33 W 42, NYC, Jan 21-Feb 23
+
+ANN FREILICH-Works on Paper. Roko Gallery, 90 E 10 St. NYC thru Jan 31
+
+EUNICE GOLDEN-"Body Landscapes." Paintings & Photos. SoHo 20, 99 Spring, NYC, thru Jan 28.
+
+JANE GREER-Diary Drawings. 112 Greene St. Gallery, NYC, thru Jan 15.
+
+DOROTHY HELLER-Recent Paintings-Betty Parsons Gallery, 24 W 57, NYC, Feb. 3-21.
+
+HARMONY HAMMOND-Abstract Landscapes. Lamagna Gallery, 380 W. Bway NYC, thru Jan 27.
+
+SUZANNE HODES-Abstract Paintings. Phoenix, 939 Madison, NYC, thru Jan 23.
+
+GILLIAN JAGGER-Impressions 1965-75. Lerner-Heller Gallery, 789 Madison, NYC, thru Jan 17.
+
+STEPHANIE BRODY LEDERMAN-Recent Work. Central Hall Gallery, 52 Main St., Port Washington, NY, thru Jan 25.
+
+SUSAN LEITES-Paintings. Artists Space, 155 Wooster, NYC, Feb 7-28
+
+INVERNA LOCKPEZ-Wallpieces. Artists Space, 155 Wooster, NYC, Feb 7-28.
+
+ETHEL MAGAFAN-Mountainscapes, Midtown, 11 E 57, NYC, Jan 20-Feb 14.
+
+JEAN MAGGRETT-Martial Arts Drawings, Books Plus, 3910 24, San Fran., CA, thru Feb 13.
+
+CYNTHIA MAILMAN-Landscapes seen from the automobile. SoHo 20, 99 Spring, NYC, thru Jan 28.
+
+JUANITA MCNEELY-Nine Panels, Prince St. Gallery, 106 Prince, NYC, Jan 23-Feb 11.
+
+SUSAN MIDDLEMAN-Paintings & Drawings. Wolfe St. Gallery, 420 S Washington, Alexandria, Va. thru Jan.
+
+KATE MILLETT-"Small Mysteries"-Sculptures of figures-fenced off. NoHo Gallery, 542 LaGuardia Pl. NYC, thru Jan 21.
+
+CONSTANCE MORRIS-Paintings. Waverly Gallery, 103 Waverly Pl., NYC, Jan.
+
+RENE MURRAY-Recent Ceramics. Greenwich House Pottery, 16 Jones, NYC, thru Jan 31.
+
+KATHRYN PERRY-"Selected Greens"-abstract painting. Carlton, 127 E 69, NYC, thru Jan 24.
+
+ELLEN PHELAN-Fans. Artists Space, 155 Wooster, NYC, thru Jan 31
+
+PERLE FINE-Grid paintings. Annely Juda, 20 E 69 St, NYC. Jan.
+
+DALIA RAMANAUSKAS-New Drawings. Hundred Acres Gallery, 456 W. Bdwy, thru Jan 24.
+
+JEANNE REYNAL-Mosaics of People. Bodley Gallery, 1063 Madison, NYC
+
+MARGOT ROBINSON-Abstract Paintings. NoHo Gallery, 542 LaGuardia Pl., NYC, thru Jan 21.
+
+JUDITH ROTHSCHILD-Relief Paintings, Annely Juda Gallery, London, Eng., thru Feb 12.
+
+ETHEL SCHWABACHER-Pastel Portraits. Bodley Gallery, 1063 Madison, NYC.
+
+HAZEL SIEGEL-Geometric Paintings & Constructions. Arras Gallery, 29 W 57, NYC, thru Jan 10.
+
+SYLVIA SLEIGH-Paintings. AIR Gallery, 97 Wooster, NYC Jan 31-Feb 25.
+
+LOIS SMILEY-Abstract Landscapes. Carlton, 127 E 69, NYC, thru Jan 31.
+
+MIMI SMITH-Drawings with Recordings. 112 Greene St. Gallery, NYC, thru Dec 31.
+
+ANITA STECKEL-Paintings & Collages-Erotic Fantasies. SoHo Center for Visual Arts, 114 Prince, NYC, thru Feb 7.
+
+SARAH SUPPLEE-Realistic Landscapes. Lamagna, 380 W. Bway NYC, thru Jan 27.
+
+SELINA TRIEFF-Figure paintings. Prince St. Gallery, 106 Prince, NYC, thru Jan 21.
+
+RUTH VOLLMER-Sculpture/Drawing. Neuberger Museum, Purchase, NY to March 14.
+
+BARBARA ZUCKER-Sculpture. 112 Greene St. Gallery, NYC thru Jan 15.
+
+Zuka-Collage portraits-historical, graphic works. Betty Parsons, 24 W 57, NYC, thru Jan 24.
+
+GROUP SHOWS
+
+AIR Invitational-AIR, 97 Wooster, NYC, thru Jan 28. 17 women artists, each chosen by an AIR member.
+
+19th Century American Women Artists-Downtown Branch Whitney Museum, 55 Water St. NYC, Jan 14-Feb 25.
+
+7 American Women: The Depression Decade-Vassar College, Poughkeepsie, NY, opening reception Jan 18 2-5 pm thru March 3. Lucienne Bloch, Rosalyn Bengelsdorg Browne, Minna Citron, Marion Greenwood, Doris Lee, Elizabeth Olds, Concetta Scaravaglione; curated by Karal Ann Marling & Helen Harrison.
+
+Three Women Painters-Springfield Art Asso. Gallery, Springfield, Ill. Jan 15-Feb 27. Judith Kingsley, Jan Miller, Linda Nyman.
+
+40 Years of American Collage-Buecker & Harpsichords, 465 W. Bway NYC, thru Feb 28.
+
+4 Artists-Women in the Arts Gallery, 435 Broome, NYC, Jan 17-Feb 14. Sanda Aronson, Barbara Asch, Sally Friedman, Sophie Newman.
+
+Four Women/1 Man-O.K. Harris Gallery 383 W Bway, NYC, thru Jan 24. Sharon Gold, Mary Gregoriades, Beth Horowitz, Marilynn Gelfman-Pereira. Lina Hallenbeck, Victoria Lomaugh, Leslie Flanders.
+
+Masters Thesis-C.W. Post Gallery, Hillwood Commons, Greenvale, NY. Reception Feb 8, 2-5pm, thru Feb 13. Noelle Brosch,. Ann Chapman, Marilyn Hockhauser, Margaret Miller.
+
+From Women's Eyes: Women Painters in Canada-Agnes Etherington Art Center, Queens University, Kingston, Can. thru Jan 30. Historical survey from 17th Century to present.
+
+25 American Artists-Andre Zarre Gallery, 20 E. 69, NYC, thru Jan 17, Jo Baer, Lynda Benglis, Ronnie Elliott, Perle Fine, Marisol, Pat Lipsky, etc
+
+Black and White/Drawings & Prints-York College Library, 150-14 Jamacia Ave., Jamacia, NY, thru Feb 27. Margorie Apter-McKevitt, Carol Crawford, Hope de Felice, Jacqueline Freedman, Carole McCully, Florence Siegel, etc.
+
+American Painters in Paris-New Convention Center, Paris, France. Celebrating America's Bicentennial. Thru Jan 15. Elena Urbaitis, etc.
+
+The Woman's Studio-Members Show-1643 E.Genesee St., Syracuse, NY, thru Jan.
+
+Two Printmakers-Graphic Eye Gallery, 111 Main St., Port Washington, NY, thru Jan 25. Sara Amatniek & Cass Shaw
+
+Four Person Show-Ward-Nasse Gallery, 131 Prince, NYC, thru Jan 30.
+
+New Works-Babcock, 805 Madison, NYC, thru Jan 28. Margit Beck, Helen Hoie, etc.
+
+Women on the Waterfront-South Street Seaport Museum, 9 Fulton, NYC. Promotion of Women's Year in Canada
+
+TITLE: Who's Who In Female Art Women's Photography Journal Calendar Nineteen Hundred and Seventy-Six
+WRITER: unknown
+PAGE_NUMBERS: 5
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: ADVERTISEMENT
+CONTENT:
+Who's Who In Female Art
+Women's Photography Journal
+Calendar
+Nineteen Hundred and Seventy-Six.
+Jo Ann Frank, Jill Freedman, Dorothy Gloster, Betty Hahn, Deborah McCreedy, Mary Ellen Mark, Barbara Morgan, Lilo Raymond, Sophie Rivera, Eva Rubinstein, Naomi Savage, Ming Smith
+
+Five dollars and ninety-five cents, plus eight percent New York City/State sales tax and seventy-five cents postage. Allow two weeks for delivery.
+
+Deduct one dollar and fifty cents from the calendar price when subscribing to "Women's Photography Journal" for seven dollars a year, which is a two dollar saving from the newsstand price of seventy-five cents per issue.
+
+Send money to "Women's Photography Journal," Post Office Box 118, Manhattanville Station, New York City 10027
+
+TITLE: A History of Women Artists
+WRITER: Susan Manso
+PAGE_NUMBERS: 5
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+A History of Women Artists, by Hugo Munsterberg, N.Y., Clarkson N. Potter, Inc., 1975; 150 pp., $12.95.
+
+A History of Women Artists by Hugo Munsterberg is a quick read. In 147 pages Munsterberg undertakes a global survey of female artists from Neolithic times to the present, including the so-called crafts and devoting more than half the book to the twentieth century. He is very selective.
+
+Artists are included if their age or posterity has found them significant,' but what Munsterberg himself thinks is not apparent. Rarely has a book, even in the survey genre, displayed so little point of view. Instead of a critical stance, Munsterberg keeps score. Of Rosa Bonheur:
+
+"Certainly the praises heaped upon her during her lifetime were much too extravagant, and there is no doubt that several of her male contemporaries, who were less successful at the time, have emerged as far greater artists. [Also]... she is surpassed by at least two women painters of the period, Berthe Morisot and Mary Cassatt. However, it may be that as the emphasis upon formal values declines ...the narrative and naturalistic qualities of her work will be again appreciated."
+
+The excerpt is representative, and while this survey of women artists is a sympathetic one (forget his use of 'one-man' show), its scorekeeping is silly and unnecessarily defensive. Joan Mitchell isn't Picasso but neither is De Kooning. Anyway, who cares: we are not buying stocks.
+
+Attempting to rank the sexes would involve, moreover, examining under what conditions art is produced and Munsterberg doesn't do this. Instead, there are capsule summaries of each artist's life and work, including over 100 reproductions of rather poor quality. These summaries, particularly the anecdotal material, make one want to hear more.
+
+One is struck, for example, by how frequently fathers (and husbands) figure in the artists' development and one wonders where the mothers were keeping themselves. We're also curious about the personal history of such artists as Angelica Kauffmann and Lily Martin whose husbands devoted themselves to their wives' careers, or Labille-Guiard's insistence on the right of women to teach art and the speculation about what being raped meant to Artemisia Gentilesche's art.
+
+Whichever figures strike one, there isn't any doubt that much more can be said, and in this connection, it's a pity that Munsterberg did not include a bibliography. He's also evasive about gender descriptions of art, telling us for example that Laurencin's work is usually seen as "feminine, meaning that it is gentle and poetic rather than bold and expressive." And his views about stature and influence can be questioned along with the odd suggestion that "for some reason, women are more gifted verbally than visually." But the book's limits make our questions, or complaints about the omission of (say) American quiltmakers, or Grace Hartigan, beside the point. However, Munsterberg does whet the appetite and his work should encourage others to go further.
+
+TITLE: RECOMMENDED READING
+WRITER: unknown
+PAGE_NUMBERS: 5
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: CALENDAR
+CONTENT:
+Visual Dialog - California quarterly special issue "Women in the Visual Arts" includes an introduction by Cindy Nemser, interview with Joyce Kozloff by Judy Seigel, visual arts sources bibliography by DeRenne Coerr, analysis of prevailing statistics on sex discrimination in the arts by Eleanor Dickinson & Roberta Loach- and more. $3 each. from Box 1438, Los Altos, CA 94022
+
+La Mamelle - West Coast quarterly of contemporary art activity; $7/ year, P.O. Box 3123, San Francisco, CA 94199. Also functions as an information & support network for artists with exhibition space, book store specializing in art periodicals & publications by artists, videotape series of artists' projects. Also grant funds.
+
+Midwest Art - Articles, reviews & most comprehensive show calendar for Ill., Wisc., Missouri, Ind., Mich., Ohio. $5/year-10 issues. Box 07419, Milwaukee, WI 53207.
+
+Art magazine/24 Issue in celebration of Women's Year in Canada - Women's Year Roundup (exhibitions, publications), profiles, photographs & articles on women artists- the breadth of Canada. $2.50. 234 Eglinton Ave. E., Toronto, Ont. M4P1K5
+
+TITLE: ISABEL BISHOP
+WRITER: Susan Schwalb
+PAGE_NUMBERS: 6
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+by Karl Lunde
+Harry N. Abrams, Inc. NYC 1975 $37
+171 illustrations, including
+50 plates in full color
+
+"No painting ever seems 'finished, even after many months of work: there is simply a time when she can do no more with it. She tries to express in a painting the unfinished quality of life." So writes Karl Lunde of the work of Isabel Bishop in his introductory essay to the recent volume reproducing paintings, drawings, and etchings. Isabel Bishop has been captivated primarily by one subject --the men and women who live and work in the vicinity of her Union Square studio. She depicts their everyday gestures and momentary, unconscious actions, making us see the monumental in the commonplace and transitory.
+
+This book does justice to Isabel Bishop's work. The reproductions are excellent, the etchings full scale in most cases. Bishop first does studies, then etchings and aquatints, which prepare for the paintings. This process is described with great sensitivity. Isabel Bishop is a truly beautiful book; it gives the feeling of possessing the works of the artist.
+
+TITLE: The Nude in Photography
+WRITER: Helen Burr
+PAGE_NUMBERS: 6
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+"The Nude in Photography," by Arthur Goldsmith. Ridge and Playboy Press, 1975. $19.95
+
+This lap-sized, pseudo-intellectual presentation of the mostly female nude as seen by fine-art and commercial photographers would have fared better as two books.
+
+In the chapter called "Scandalous Beginnings," we are drawn to the strength of Muybridge's still-photo action sequences of the male and female model, to the delicacy and great charm of the French picture postcards, to Bellocq's keen and sympathetic portrayal of a New Orleans prostitute, and to the unique visions of Weston, Lange and Morgan. The Playboy-style pictures done by Look, Life and SatEve Post photographers appeal to other sensibilities. The final chapters are an unhomogeneous mix of commercial, semi-pornographic, fine-art (the primal nudes of D. Niccolini) and experimental work. The text should have been set apart from the pictures--not placed on most of the pages as small bits of chattery prose.
+
+However, if you received 'this book for Christmas, it is fun--if you are a woman, to compare your body with the great variety of nudes here, and, if you are male, to pick and choose and daydream over all the girls.
+
+TITLE: Art on the Edge
+WRITER: Pat Passlof
+PAGE_NUMBERS: 6
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: REVIEW
+CONTENT:
+Art on the Edge - Harold Rosenberg. Macmillan Publishing Company, 1975 $12.95
+
+Rosenberg's tall figure stalking the art world or sitting back, stiff leg out, observing the events to which the professional art watcher must attend--developments of the past fifteen years have forced him to an ironical distance. The ideals, however, of the early years as poet, Marxist and friend of the artist remain the standard against which all else is measured.
+
+Seen from Rosenberg's distance, the busy-ness of the art world takes on a faint Swiftian tint--is silhouetted and flattened. For example: his use of the word, "Moffetters" to refer to those who agree with curator Kenworth Moffett's assessment of Olitski. With this one mild word, Rosenberg dwarfs the actors on the stage; they grow down, quaint and squat, the "preeminence" of Olitski with them.
+
+These "Moffetters" are to be found astride the first segment of Rosenberg's new book, "Art on the Edge," in which 28 essays in three sections called Creators, Reflections and Situations are assembled and directed to a point. The book's title derives from one of the concluding chapters, "On the Edge," in which the Brobdingnagian feats of "Documenta 5" are discussed. In the foreword Rosenberg states: "...this prolific support of art and hyperanimation of the art scene themselves carry the danger of propelling painting and sculpture over the edge that separates them from the crafts, commercial design and the mass media. "
+
+We know that the significance of "Documenta 5" was inflated precisely by the sum of two million dollars but can this be seen as "prolific support of art"--an extravaganza which includes a token few paintings & sculptures under the banner "Art is Superfluous"? If official salons are accurate indexes of the direction art is taking, then art is heading "over the edge."
+
+TITLE: Women Artists Newsletter
+WRITER: Cynthia Navaretta
+PAGE_NUMBERS: 6
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: MASTHEAD
+CONTENT:
+Vol. 1 No. 8
+Panel
+Women Artists
+NEWSLETTER
+50 cents
+January 1976
+Panel Nancy Spero, Mod.; Nancy Kitchel, Laurace James, Lucy Lippard, Mary Miss, Rosemary Mayer, Elizabeth Weatherford, Panelists.
+
+Photo: Dottie Attie
+AIR Invitational, opened Jan. 3
+Some other same day Soho openings:
+Kate Millet at Noho, Cynthia Mailman at Soho 20, Harmony Hammond at Lamagna. Also: 4 women at O.K. Harris.
+
+STAFF
+Editor: Cynthia Navaretta
+Feature Editor: Judy Seigel
+Design Director: Susan Schwalb
+Contributors: Helen Burr, Constance Kane, Susan Manso, Pat Passlof, Sophie Rivera, Anne Marie Rousseau, Joan Semmel, Gail Singer.
+
+WOMEN ARTISTS NEWSLETTER, published ten times a year by Midmarch Associates, NYC, is available by subscription, $5 per year, or by single copies at selected bookstores, including Jaap Rietman and Womanbooks, and at A. I. R., Artists Space, Hansen and Ward-Nasse Galleries in NYC, 50¢ per copy.
+
+WOMEN ARTISTS NEWSLETTER is supported by a grant from the Coordinating Council of Literary Magazines made through funds received form the New York State Council on the Arts, subscriptions and other contributions.
+
+TITLE: SUBSCRIBE
+WRITER: unknown
+PAGE_NUMBERS: 6
+VOLUME: 1
+ISSUE: 8
+SEASON_YEAR: January 1976
+TYPE: SUBSCRIPTION
+CONTENT:
+WOMEN ARTISTS NEWSLETTER relies heavily on reader enthusiam to spread the word and "sell" subscriptions. We need your help. If you like the Newsletter, please-- TELL YOUR FRIENDS! (Group rate for 5 or more subscriptions is $3 each.)
+
+SUBSCRIPTION FORM
+WOMEN ARTISTS NEWSLETTER
+P.O. Box 3304, Grand Central Station, NYC 10017
+
+Subscription $5/year. Institutions $6. Student & group rate (minimum of 5 subscriptions) $3/year. Additional Postage (all air mail): Canada $1.50, other foreign $2.00
+
+Name
+Address
+City
+State
+Zip
\ No newline at end of file
diff --git a/genai/Newsletter_OCR_LLM_Project/parsable_versions/Vol_4_Issue_9_parsable.txt b/genai/Newsletter_OCR_LLM_Project/parsable_versions/Vol_4_Issue_9_parsable.txt
new file mode 100644
index 0000000..58d0991
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+++ b/genai/Newsletter_OCR_LLM_Project/parsable_versions/Vol_4_Issue_9_parsable.txt
@@ -0,0 +1,1030 @@
+
+Assistant
+TITLE: First Annual WCA Awards for Outstanding Achievement in the Visual Arts
+WRITER: unknown
+PAGE_NUMBERS: 1
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: MASTHEAD
+CONTENT:
+ISSN 0149 7081
+75 cents
+Women Artists News
+Vol. 4 No. 9
+First Annual WCA Awards for Outstanding Achievement in the Visual Arts
+
+On the White House lawn, after presentation of awards by President in Oval Office: (from left) Charlotte Robinson, Selma Burke, Louise Nevelson, Alice Neel, Ann Sutherland Harris, Isabel Bishop, Lee Anne Miller
+
+Sen. Harrison Williams addresses the Coalition of Women's Art Organizations.; Joyce Aiken, Judith Brodsky, and Louise Wiener at the dais (see page 2 for Coalition story)
+
+Awards Ceremony
+Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O'Keeffe received citations from President Carter in a ceremony at the White House Jan. 30. They were then honored by the WCA at the Embassy Row Hotel in the First Annual WCA Outstanding Achievement in the Visual Arts Awards ceremony.
+
+Speakers at the WCA ceremony were: Charlotte Robinson, WCA conference program director; Lee Anne Miller, WCA president; Mary Ann Tighe, Deputy Chair, NEA; Ann Sutherland Harris, awards selection committee chair; Joan Mondale, honorary chair, Federal Council on the Arts & Humanities.
+
+Citations and acceptance remarks were followed by the presentation of a work of art to each of the five women by a "younger woman artist."
+
+Isabel Bishop-citation by Eleanor Tufts; work of art by Ora Lerman
+Selma Burke-Tritobia Benjamin, citation; Lilli Thomas, work of art
+Alice Neel-Ann Sutherland Harris, citation; Pat Mainardi, work of art
+Louise Nevelson-Athena Tacha, citation and work of art
+Georgia O'Keeffe-Ruth Weisberg, citation and work of art
+
+Awards selection committee-Ann Sutherland Harris, Lucy Lippard, Linda Nochlin, Athena Tacha, Eleanor Tufts, Ruth Weisberg
+
+TITLE: Second Annual CWAO Convention Coalition Day in Washington
+WRITER: Susan Schwalb
+PAGE_NUMBERS: 2
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+Monday, Jan. 29, 1979: Signs, buttons, delegates... The day-long convention of the Coalition of Women's Art Organizations opened at the Embassy Row Hotel in Washington, DC. Upon registering, all delegates (representing organizations or attending as individuals) received a packet with the jam-packed program for the day, political information (how to talk to one's legislator, how a bill becomes law), booklets on arts legislation and the status of women in art, a statement of CWAO goals for the coming year, and documentation of CWAO activities since last January's convention.
+
+CWAO president Joyce Aiken opened the meeting promptly at 9 a.m., welcoming the approximately 200 delegates who packed the hall and formally introducing CWAO officers. Speakers included Gail Rasmussen, executive director, and Bella Schwartz, president, of Artists' Equity Association, DC chapter. Both stressed the need for artists to be involved in government. (CWAO has been working with Artists' Equity on such issues as the Art Bank Bill.)
+
+Next, representatives voted to accept a position statement presented by Ruth Weisberg, CWAO Vice-President for Programs and Goals. This included proposals for a federal agency arts access directory, actions in art education against the monopoly of Janson and Gardner textbooks, and formation of a national network to influence legislation directly.
+
+Then, evoking the spirit of Houston, La Verne M. Love, Women's Coordinator, Smithsonian Institution, asked us to join hands in a prayer for sisterhood. Love stressed the importance of reaching out to include more minority women.
+
+Ellouise Schoettler, CWAO Executive Director, presented a legislative report referring, among other things, to the vicissitudes of the White House Conference on the Arts, which may now be held in 1980 if funds are appropriated. A spirited discussion followed her reading of a resolution in support of the Art Bank Bill, raising the issues of equitable representation for women and minorities, as well as the need for contracts to protect the rights of artists whose works might be purchased. As currently written, the legislation includes a deaccession policy that has upset many artists. The resolution was tabled for further discussion.
+
+Proceeding promptly in the crowded agenda, Louise Weiner from the Dept. of Commerce discussed a time-motion study on culture being conducted by her department. She spoke also of ways Commerce can work with artists' groups for mutual goals.
+
+Next was Judith Brodsky, who, with a stirring tribute to his accomplishments, introduced one of the key speakers of the morning, Senator Harrison A. Williams of her home state of New Jersey. Williams has been an active supporter of the arts in Congress for 20 years and is a sponsor of the Art Bank Bill. He emphasized that we as artists must communicate ideas not only through our works, but with our voices to the legislature. He spoke glowingly of the potential of the Art Bank-both for those who produce art and those who will be inspired by art in the workplace.
+
+Closing the morning program, Mayor Marion Barry of the District of Columbia described his plans to incorporate art into city agencies. These include rotating exhibits by local artists in the mayor's office and setting up an arts advisory board. According to Mayor Barry, "We gauge our cities by their art and artists," and these are often key tourist attractions.
+
+Adjourning to the Rayburn House Office Building on Capitol Hill, delegates lunched with women working in the State Department and in other Washington institutions. Rep. Sidney Yates (D-Ill.), who might be described as a "converted feminist" on art issues, read the depressing statistics he had presented to a congressional committee, which detailed the minuscule representation of women on grant panels and in national collections. (Women at my table from the personnel of the department National Gallery of Art removed their identity badges in embarrassment at these statistics.)
+
+The floor was then taken by June Wayne, our eloquent principal speaker. She came to Washington first in 1939 to protest dismissals of artists from the WPA project. Describing the success of that initial artists' contingent, Wayne reiterated the need for adequate statistics on the number of women in public collections, noting that all museums receive public funds. She discussed other issues, including the inequity of tax laws for artists, the limited number of grants given to women artists, and her ambivalence about the Art Bank Bill (deaccession being her major objection). Inspired by this message, delegates then went to plead the case of women artists directly with their legislators. For many it was a first experience of political lobbying.
+
+At a debriefing meeting and wine-and-cheese party later, participants were generally enthusiastic about their afternoon. Most had been able to speak directly with members of Congress or their staffs. The flush of excitement was on the faces of all I spoke with, and they were optimistic about our issues. (On a more realistic note, I am sure that our initial contact in Washington is only the beginning of many such actions.)
+
+In conclusion: It was an impressive day of hard work, well planned. My only regret is that more artists could not afford the trip, and I hope that future CWAO national events can be organized to include the voices of more artists.
+
+Other notes: On Tuesday, at the panel "Folk Art and Neo-Folk Art," Pat Ferrero showed slides of a former art instructor of mine, Grace Earl, from Carnegie-Mellon U., my special favorite during her one brief semester. I had so few women instructors in my university days that I was delighted to find Earl once again. She lives now in a small apartment in San Francisco, where she creates fantastic quilts.
+
+The ceremony for "Outstanding Achievement in the Visual Arts" brought tears to my eyes as I watched my dear friend and mentor Isabel Bishop receive an award. Along with most others in the room, I was overwhelmed by the presence of these distinguished women, each with her own personality Louise Nevelson with inch-long eyelashes; Alice Neel, crying from the lights or the moment; the formidable Selma Burke. (O'Keeffe sent a brief telegram.) I loved seeing each artist being herself and presenting yet another perspective as role model. At the exhibition of the artists' work that opened at the Middendorf Lane gallery after the ceremony, numbers of women-some shy, some bold couldn't resist asking for an autograph or to have their picture taken with one of the artists. Isabel Bishop found herself placed in front of her portrait by Alice Neel and was surrounded by admirers.
+
+At Wednesday's "Performance and Events" panel, I was especially impressed by Suzanne Lacy's frank discussion of use of the media. This was the first time I had heard an artist describe publicly how she had organized an event so that no matter how it was picked up by media her message (in this case, on rape) would get through. More artists should talk about how they gain publicity for shows and events.
+
+During the week I met women I had known only by name or through correspondence; others were old friends from a year ago. Home now, tired, back at school and studio, I think of next year. WCA says it may take art and politics to New Orleans.
+
+TITLE: ANNETTE NACHUMI "The Visible Interior" New Paintings
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+"Evolution" 84" x 52" oil
+ANNETTE NACHUMI
+"The Visible Interior"
+New Paintings
+February 27 - March 17, 1979
+Reception Saturday, March 3, 3-7 p.m.
+
+SHIRLEY GORELICK
+March 24- April 18, 1979
+
+SOHO 20
+99 Spring St.
+New York City
+
+TITLE: Viridian gallery
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+Viridian gallery
+24 West 57 St., New York, NY 10017/(212) 245-2882
+Tuesday to Saturday, 11 a.m. to 6 p.m.
+
+TITLE: PLEIADES GALLERY JOELLEN BARD
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+Gunny and Lee
+80" x 40" acrylic
+PLEIADES GALLERY
+152 Wooster St. N. Y. C. 10012
+JOELLEN BARD
+MARCH 27 APRIL 15, 1979
+
+TITLE: WASH ART 79
+WRITER: unknown
+PAGE_NUMBERS: 3
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+WASH ART 79
+MAY27
+INTERNATIONAL MEETING OF FINE ART DEALERS
+D.C. NATIONAL ARMORY
+12 TO 9 PM
+
+For information concerning advance dealer registration, advance tickets, catalog, and special events, write or call:
+ART: IMFAD, 1800 Belmont Road, N.W.
+Washington, D.C. 20009 Tel. (202) 234-5000
+
+TITLE: Decoration Day at ArtistsTalkOnArt
+WRITER: Judy Seigel
+PAGE_NUMBERS: 4
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+"If there's anything I'm certain of at this moment, it's that ornament and decoration have become dead arts in the west." Clement Greenberg, Art International, January 1975
+
+That quotation, batting around in my files for four years, came to mind on the auspicious occasion of "Decoration Day" in Soho last month. Whether Greenberg was thinking primarily of something like the squiggles stamped by General Electric onto refrigerator doors to "ornament" or "decorate' them, or whether he had the fine arts sector in mind, is not clear. Either way, he should have read his Wölfflin. In Principles of Art History (1932) Wölfflin said, "The history of art is not secondarily but absolutely primarily a history of decoration."
+
+For Greenberg, and anyone else who may have missed it, here's a rundown on the first of two recent panels about modern art that declares itself, first and foremost, decoration:
+
+'Interior (and Exterior) Decoration'
+ATOA panel, Jan. 26
+Robert Jensen, mod.; Valerie Jaudon, Ned Smyth, Robert Kushner, Joyce Kozloff, Scott Burton, Miriam Schapiro, Arlene Slavin, speakers.
+
+There was an air of Old Home Week at the "Interior (and Exterior) Decoration" panel Jan. 26. When a man in the audience called out to Joyce Kozloff, "Louder-we can't hear you!" everyone laughed, because they knew it was her husband Max. Miriam Schapiro's husband, Paul Brach, also made some fine points from the sidelines, including the fact that in ancient Greece the artist who carved the capital of a column received exactly the same wage as the one who "sculpted" the figures in the pediment.
+
+The program opened with slides: each panelist whipped through a set of wonders that ranged from the Piazza Italia in New Orleans, designed by Charles Moore, and the Dag Hammarskjold Plaza fantasy in concrete, "Five Arcades," by panelist Ned Smyth, to Miriam Schapiro's collages-of-kimono shown side by side with the antique kimonos that inspired them. (Schapiro noted later that artists have always used resources-"their studios are filled with reference materials"-but in the recent past have been skittish about owning up to it.)
+
+I say the artists "whipped through" their slides because with eight speakers one might have expected the show to drag a bit, as it can when hungry artists bask too long in the spotlight. But, perhaps bullied by their leaders, or perhaps because each of them has had considerable recognition already, the panelists proceeded smartly, even a bit too smartly. I would have liked a little lingering-to ply the secrets of Miriam's intense kimonos, for instance, or the underglaze magic of Joyce Kozloff's tile wall constructions.
+
+Scott Burton, an anomaly in this context, earned his place with a concise review of aspects of the history of furniture as decoration, and earned forever a place in my heart by describing the pink, light blue, and yellow painted on sections of his child's furniture as "babied-out" versions of the primaries.
+
+Discussion after the slides was desultory, picking up only mildly when one would-be Young Turk declared from the floor that decoration lacks "confrontation." (His own work is, he allowed, based on the sundial.) Joyce ended this confrontation by sweetly but firmly explaining that their premise is decoration for its own sake. The absence of further confrontation may have been due to current general acceptance-even ascendance-of the art. In fact, pattern painting, a major form of the new decoration, has recently been declared by the popular press to be not only "the rage of Europe," but "the most vital" current style!
+
+In the audience were other non-confronters, including Mimi Weisbord, who has survived a move to Soho and gotten a CAPS grant for her book; Yale Epstein, who established a WAN first by liking his picture with the WAN writeup of his panel; Judith Solodkin, now of new large Solo Press premises at 461 Park Ave. South; a phalanx of Heresies women, particularly from the Women's Traditional Arts issue on which both Schapiro and Kozloff worked; a flock of regulars; ghosts of panels past; and probably just plain decoration groupies like myself-some of whom may also have been at the first ATOA panel on pattern painting moderated by Peter Frank at the Open Mind on Greene Street, Feb. 7, 1975 (perhaps the first "public" appearance of the topic up from the underground, one month after Greenberg's certainty).
+
+When they dipped the gallery lights, then threatened to eject us forcibly, small companies began to peel off in search of bars to continue the reunion. But when set upon by jukeboxes, strolling minstrels, or other anti-conversation devices of management, I cede the field immediately. I mean I went right home.
+
+Note: The next ATOA panel, Feb. 2, was "Sources of Patterning and Decoration," with Carrie Rickey, moderator, and Brad Davis, Richard Kalina, Robin Lehrer, Tony Robbin, and Barbara Zucker, speakers.
+
+TITLE: PUBLICATIONS
+WRITER: unknown
+PAGE_NUMBERS: 4
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+The Anti-Coloring Book. Susan Striker, Edward Kimmel. NY: Holt, Rinehart & Winston, 1978. Paper. Written by two art teachers, The Anti-Coloring Book is carefully designed to stimulate a child's artistic imagination and self-expression. Contains 45 art projects, each presenting a partial drawing with limitless possibilities for completion. A fun, challenging workbook. -SB
+
+The American Film Institute Guide to College Courses in Film and Television. Dennis Bohnenkamp, Sam Grogg, Jr., eds. Peterson's Guides, Box 2123, Princeton, NJ 08540. 1978. 430 pp: $9.75 paper. This comprehensive and well-organized compilation of all US college film and TV courses includes alphabetical listings by state and school, with notes on facilities, faculty, courses, etc. Foreign TV and film schools are also listed, and there are sections on career info, festivals, and awards. Appendix.
+
+The Rubber Stamp Album. Joni K. Miller, Lowry Thompson. Workman Publishing, 1 West 39 St., New York, NY 10018. 1978. 215 pp: $6.95 paper. The Rubber Stamp Album covers the practical, creative, and unusual aspects of rubber-stamp lore (e.g., "stampable edibles"). It contains everything: stamp trivia, catalogs, pads, hygiene, collections, art. Original, detailed, well illustrated, it also contains a complete listing of stores and museums offering stamps, and a list of rubber-stamp reading material. -AK
+
+Oil painting lessons in your own home!
+Let a qualified instructor teach you this easy and exciting glazing method. Complete a painting in one session. Send $10 for basic lesson: Rodehaver, 5017 Timberwolf, El Paso, Texas 79903.
+
+TITLE: DANCE EVENTS
+WRITER: unknown
+PAGE_NUMBERS: 4
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: CALENDAR
+CONTENT:
+Mar 6/13/20/27 8pm Mary-Jean Cowell, Myrna Packer, Leslie Rudden, Christina Svane, et al.-'Choreographers Showcase.' ATL, 219 W 19. Res: 924-0077.
+
+Mar 11-18 Jan Van Dyke-Corcoran Gall, 17 St & NY Ave NW, Wash, DC. For times & info: Melane Kinney, (202) 462-1321.
+
+Mar 23-24 8pin / Mar 25 5pm Carol Conway-Marymount Manhattan Thr, 221 E 71. $4.50; TDF+$1. Res: 674-8034.
+
+TITLE: STAFF
+WRITER: unknown
+PAGE_NUMBERS: 4
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: MASTHEAD
+CONTENT:
+STAFF Editor Cynthia Navaretta / Feature Editor Judy Seigel/ CETA Staff Jennifer Arndt, Leslie Satin Designer Lori Antonacci | Typographer Lucinda Cisler / NY Distribution Jessica Seigel/ Student Interns Susan Bellows, Katie Bull, Anita Karl Contributors Harriet Alonso, Barbara Aubin, Jeanette Feldman, Sylvia Moore, Susan Schwalb
+
+TITLE: art almanac / SOLO SHOWS March 1979
+WRITER: unknown
+PAGE_NUMBERS: 5
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: CALENDAR
+CONTENT:
+prepared by almanac staff under CETA Title VI program, New York City Department of Employment
+
+Fritzie Abadi-Paintings, collages. Phoenix, 30 W 57, Mar 17-Apr 5.
+
+Ida Applebroog-Recent bookworks. Franklin Furnace, 112 Franklin, to Mar 3.
+
+Rita Baragona-Paintings & prints. Bowery, 135 Greene, Mar 9-28.
+
+Joellen Bard-Plexiglass, paper, & canvas. Pleiades, 152 Wooster, Mar 27-Apr 15.
+
+Linda Bastian-Paintings, drawings, prints, silks. Soho 20,99 Spring, to Mar 21.
+
+Siri Berg-'Black Series' & 'The 4 Elements.' Paintings. The New School, 66 W 12, Rm 410, Mar 2-27.
+
+Susan Lynne Berger-Rug-hooked tapestries. Craft Alliance, 6640 Delmar Blvd, St Louis, MO, to Feb 28.
+
+Colleen Bickman-'Cloisonne in Reverse.' 171 Spring St Enamels, Mar 10-Apr 22.
+
+Nell Blaine-Oils, watercolors, & drawings. Fischbach, 29 W 57, Mar 31-Apr 25.
+
+Dorothy Block-Retrospective exhib'n of paintings. 47 Bond, Mar 18-Apr 7.
+
+Cheryl Bowers-New paintings. Hamilton, 20 W 57, to Mar 3. Schaffner, 8406 Melrose Ave, LA, to Mar 10.
+
+Nancy Honea Bragg-'Hodge Podge,' paintings. Georgia Tech Student Ctr Art Gall, Atlanta, GA, to Mar 3.
+
+Judith Brodsky-'Diagrammatics,' 32 intaglio prints, 1976-78. AAA, 1614 Latimer St, Phila, to Mar 6.
+
+Moira Brown-Drawings. HERA, 560 Main, Wakefield, RI, to Feb 25.
+
+Colleen Browning-Paintings. Kennedy, 40 W 57, to Feb 17.
+
+Diane Burko-Recent paintings & drawings. Genesis, 41 E 57, Mar 7-31.
+
+Julia Margaret Cameron-'A Centennial Exhibition,' photographs. Neuberger Mus, SUNY, Purchase, NY, to Mar 18.
+
+Cynthia Carlson-Paintings on paper. Barbara Toll Fine Arts, 138 Prince, to Feb 24. Paintings & installation. Marian Locks, 1524 Walnut, Phila, to Feb 22.
+
+Edith Carlson-'Progression of Light,' drawings. CUNY Grad Ctr, 33 W 42, to Mar 27.
+
+Peggy Cassen-Oil & encaustic paintings. 80 Wash Sq E, to Mar 2.
+
+Sonia Chusit-Drawings & constructions. Morris Mus, Normandy Hts Rd, Morristown, NJ, to Feb 28.
+
+Rosemary D'Andrea-Paintings. Unitarian-Universalist Church, Stewart Ave/Nassau Blvd, Garden City, NY, to Mar 22.
+
+Mary Beth Edelson-'Inner Passages: To Get Us Through,' drawings, photos, sculptural installation. Henri, 21 & P Sts NW, Wash, DC, to Feb 8.
+
+Josefina Fontanals-Photographs. Spain Art, 665 Fifth Ave, to Feb 16.
+
+Claudia Fouse-Paintings. Work of Art, 87 Atlantic Ave, Bklyn, NY, to Mar 4.
+
+Emily Fuller-Paintings, Paperwork, & Shrines.' 55 Mercer, Mar 20-Apr 7.
+
+Carol Goebel-'Flower Series,' pastels. Levitan, 42 Grand, Mar 3-31.
+
+Elsa M. Goldsmith-'Women on the March,' drawings & paintings. Great Neck, NY, High School.
+
+Freyda Grand-Paintings. Center Gall, 426 W Gilman, Madison, WI, to Jan 18.
+
+Elise Gray-'Dream Sherds.' 14 Sculptors, 75 Thompson, Mar 21-Apr 8.
+
+Ilise Greenstein-Art is a Language.' An Alternative, 13329 NE 17 Ave, N Miami, FL, to Feb 28.
+
+Gini Hamilton-Sticks & Stones,' sculpture. Just Above Midtown, 50 W 57, to Mar 6.
+
+Amy Hamouda-'Unsalable Images,' sculpture. Noho, 542 LaGuardia Pl, Mar 6-25.
+
+Ila Kamper-Sculpture. Center Gall, 426 W Gilman, Madison, WI, to Feb 15.
+
+Gertrude Käsebier-'A Pictorial Heritage,' photographs. Del Art Mus, 2301 Kentmere Pkwy, Wilmington, DE, Mar 2-Apr 22.
+
+Hanna Kay-Paintings. Hansen, 17 S William, to Mar 31.
+
+Elena Kepalas-Bronze sculpture. Phoenix, 30 W 57, to Feb 22.
+
+Margaret Israel-Works in clay. Greenwich House Gall, 16 Jones St, Feb 27-Mar 24.
+
+Kochta-Oil paintings. Guild, 1145 Madison Ave, to Mar 1.
+
+Pat Lasch-Paintings & sculpture. AIR, 97 Wooster, to Mar 7.
+
+Mimi Korach Lesser-Family Album,' paintings. Pindar, 127 Greene, Mar 20-Apr 8.
+
+Barbara Levy-Photographs. Artists Space, 105 Hudson, to Mar 10.
+
+Lauren Lindsay-Recent work, mixed media on canvas. Viridian, 24 W 57, Mar 27-Apr 14.
+
+Rita Lintz-Alternatives,' photographs. CUNY Grad Ctr, 33 W 42, to Feb 16.
+
+Marcia Lippman-'Undercurrents,' photographs. Camera Club of NY, 37 E 60, to Mar 19.
+
+Gerilyn Lischin-Paintings & collages. Nat'l Art Ctr, 484 Broome, to Feb 18.
+
+Winifred Lutz-Paper. Marilyn Pearl, 29 W 57, to Mar 1.
+
+Margo Margolis-Paintings. Miami-Dade Comm Coll, Miami, FL, to Feb 15.
+
+Margaret Miller-'Games,' sculpture & drawings. Just Above Midtown, 50 W 57, Mar 6-31.
+
+Sabra Moore-Paintings & works on paper. Salena Gall, LI Univ, Flatbush/DeKalb Aves, Bklyn, NY, to Mar 6.
+
+Marguerite Munch-Works on paper, & objects. Myers, 19 E 76, to Feb 8.
+
+Annette Nachumi-'The Visible Interior,' new paintings. Viridian, 24 W 57, to Mar 17.
+
+Elaine Perlman-Photo-Onanism.' Photographica Gall, 315 W Erie, Chicago, Mar 2-23.
+
+Alice Phillips-Paintings & drawings. Interart, 549 W 52, Mar 6-Apr 10.
+
+Linda Plotkin-Color ink washes. Einstein, 243 E 82, to Feb 3.
+
+Barbara Raleigh-Foil constructions. 171 Spring St Enamels, extended to Mar 4.
+
+Bridget Riley-Works 1959-78. Neuberger Mus, SUNY, Purchase, NY, to Mar 18.
+
+Faith Ringgold-Pre-Feminist Paintings from the 1960s. Summit, 101 W 57, to Mar 17.
+
+Judith Rothchild-'Sideo's Garden,' relief collages. Landmark, 469 Broome, to Mar 8.
+
+Savannah-Drawings & photographs. Nat'l Art Ctr, 484 Broome, to Feb 14.
+
+Miriam Schapiro-'An Approach to the Decorative,' works on paper. Gladstone/Villani, 38 E 57, to Feb 28. Lerner-Heller, 956 Madison, to Feb 28.
+
+Edith Schloss-'Sunsets,' oils & watercolors. Ingber, 7 E 78, Mar 10-Apr 4.
+
+Katherine Schmidt (1898-1978)-Drawings. Zabriskie, 29 W 57, Mar 6-31.
+
+Barbara K. Schwartz-"Traces,' acrylic paintings. Viridian, 24 W 57, Mar 6-26.
+
+Geraldine Serpa-Rubber stamp art. Kauri Shell, 1023 H St, Arcata, CA, to Mar 3.
+
+Arlene Slavin-'Waterbird,' mural. Milliken, 141 Prince, to Mar 8.
+
+Sandra Slone-Sculpture. Nat'l Art Ctr, 484 Broome, to Mar 4.
+
+Mimi Smith-Sculpture/drawings, 1966/1978. Douglass Coll Lib, New Brunswick, NJ, to Mar 9. 'Color TV Drawings.' 55 Mercer. to Mar 17.
+
+Jenny Snider-Black Books & Earlier Works,' oil pastel drawings. Franklin Furnace, 112 Franklin, to Feb 10. Works on paper. Hamilton, 20 W 57, to Mar 3.
+
+May Stevens-'Mysteries & Politics.' Steinman Ctr, Franklin & Marshall Coll, Lancaster, PA, to Mar 12.
+
+Shaw Stuart-Box sculpture. Studio Gall, Stamford, CT, Mus, Mar 5-31.
+
+Anne Tabachnick-New paintings & drawings. Ingber, 3 E 78, to Mar 7.
+
+Susanna Tanger-Recent paintings. Droll/Kolbert, 724 Fifth Ave, to Mar 3.
+
+Meryl Taradash-Collage paintings. Tanglewood, 165 Duane, to Mar 22.
+
+Margaret Taylor-Paintings, etchings, drawings. 47 Bond, to Feb 3.
+
+Rosa Thummel-Oil paintings. Nat'l Art Ctr, 484 Broome, to Feb 18.
+
+Joyce Timpanelli-Mantle Pieces.' Droll/Kolbert, 724 Fifth Ave, to Mar 3.
+
+Gail Vernon-'Evernon & the Introduction of Related Strangers,' clay sculpture & wall pieces. Clay Place, Pittsburgh, PA, Mar 12-Apr 5.
+
+Idelle Weber-Chatham Coll, Pittsburgh, PA, Mar 4-24.
+
+Lucinda Wilner-Paintings. Chrysalis Gall, Fairhaven Coll, Western Wash U, Bellingham, WA.
+
+Janica Yoder-Photographs. Corcoran, 17 St/NY Ave NW, Wash, DC.
+
+Wilfred Zogbaum-Welded sculpture. Zabriskie, 29 W 57, Mar 6-31.
+
+TITLE: GROUP SHOWS
+WRITER: unknown
+PAGE_NUMBERS: 5-6
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: CALENDAR
+CONTENT:
+Pacific Ocean Interface-Bayard, 456 W Bway, to Jan 27. Sculpture, Shirley Lancaster; paintings, Marie Tharp; et al.
+
+Conseil de la Peinture de Quebec -Pleiades, 152 Wooster, to Mar 4.
+
+Brooklyn '79-Paintings, sculpture. Comm Gall, Bklyn Mus, Eastern Pkwy, to Mar 4. Abrams, Acosta, Ahkao, Bangs, Benincasa, Bohman, Brody, Brown, Campbell, Dingledy, Fink, Gardner, Grodnitzka, Isaacs, La Rosa, Liebman, Lloyd, Matsushima, Nii, Sikes, Todd, Wallin, et al.
+
+Patterns & Sources of Navajo Weaving-Queens Mus, Flushing, NY, Mar 3-Apr 22.
+
+Winter Show-106 Prince, to Mar 7. Monica Bernier, Sharyn Finnegan, Ora Lerman, Janet Schneider, Norma Shatan, Frances Siegel, Selina Trieff, Gina Werfel, et al.
+
+Visual Works by Choreographers-Mixed media. Buecker & Harpsichords, 465 W Bway, Mar 10-Apr 28. Mura Dehn, Sophia Delza, Simone Forti, Midi Garth, Anna Halprin, Sylvia Palacios Whitman, et al.
+
+Industrial Sights-Photographs. Whitney Downtown, 55 Water, to Feb 28. Berenice Abbott, Hilla Becher, Margaret Bourke-White, et al.
+
+Private Icon-Mixed media. Bronx Mus of the Arts, 851 Grand Concourse, Mar 1-Apr 22. Donna Byars, Alexandra Coote, Natalie Dymnicki, Mary Beth Edelson, Wendy Ward Ehlers, Ana Mendieta, Betye Saar, Eileen Spikol, Carolee Thea, et al.
+
+2 at Midtown Y Gallery-Photographs. 344 E 14, to Feb 25. Mona Zamdmer et al.
+
+3rd Annual Competition-'Small Works,' mixed media. 80 Was Sq East, NYU, to Feb 9. Cathey Billian, Marcella Nelson, Linda Schrank, Doris Whitlock, Abbie Zabar, et al.
+
+3 Artists-Lynn Kottler Gall, 3 E 65, to Mar 2. Carol Chevian, Linda Fisher, et al.
+
+Contemporary Landscape-Seagram Bldg, 375 Park Ave, to Apr 26. Vija Celmins, Nancy Graves, Georgia O'Keeffe, et al.
+
+Nat'l Assn of Women Artists Exhibit-Paintings, graphics, sculpture. Equitable Life, 1285 Sixth Ave (51 St), to Mar 16.
+
+New Work-Touchstone, 118 E 64, to Feb 28. Toby Buonagurio, Nancy Brett, Gloria Kisch, Stephanie Rose, Charlotte Shoemaker, Helen Soreff, et al.
+
+Visions: Inner-Outer-Photographs. Interart, 549 W 52, to Mar 2. 'A View of India,' Stella Snead. 'A Room of My Own,' Nina Howell Starr.
+
+Art Forms by Women-WIA, 435 Broome, Mar 3-24. Julia Barkley, Joan Giordano, Paula Ross, Meryl Taradash.
+
+Bronx Women's Art Festival-Friends of Bx Comm Art Gall, Bx Comm Coll, Mar 18-31.
+
+CCF/CETA Site Work-Multi-media. World Trade Ctr, Tower 1, 43rd flr, to Mar 2. Beaumont, Berkeley, Bricker, Erickson, Halvorsen, Hook, Jones, Keller, Kraut, Kuo, Mailman, Mattia, Maksymowicz, Morse, Ortega, Portnow, von Rydingsvard, Thompson, Waterman, Werner, et al.
+
+5 at Max Protetch-Paintings, 37 W 57, to Mar 3. Louisa Chase, Hermine Ford, et al.
+
+MA, the Japanese Concept of Time & Space-Multi-media. Cooper-Hewitt Mus, 2 E 91, Mar 13-May 27.
+
+Indelible Images Contemporary Advertising Design -Cooper-Hewitt Mus, 2 E 91, to Mar 25.
+
+The Dream King Ludwig II of Bavaria-Drawings. Cooper-Hewitt Mus, 2 E 91, to Mar 25.
+
+The Invented Landscape-Photographs. New Mus, 65 Fifth Ave, to Apr 14. Bonnie Donohue, Martha Madigan, Tricia Sample, Gwen Widmer, et al.
+
+Drawings & Collages-Ericson, 23 E 74, to Mar 8. Ynez Johnston, Yvonne Thomas, et al.
+
+Sculpture-Jackson-lolas, 52 E 57, to Mar 24. Claude Lalanne et al.
+
+The Planar Dimension: Europe, 1912-1932-Sculpture, reliefs, objects. Guggenheim Mus, 1071 Fifth Ave (89 St), Mar 9-May 6.
+
+3 Riverdale Artists-Mixed media. Wave Hill Ctr, 675 W 252, Bronx, to Apr 4. Abby Karp, Lois Smiley, et al.
+
+Images from a Neglected Past-Chinese in America. Loeb Student Ctr, NYU, 566 LaGuardia Pl, to Mar 1.
+
+Gallery Artists-Rhoda Sande, 61 E 57, to Feb 3. Siri Berg, Aline Geist, Ruth Klein, Marion S. Riseman, Raffaela Schirmer, Jane Schneider, Netty Duell Simon, Janet Suisman, et al.
+
+Unpublished Masterpieces-Photographs. Daniel Wolf, 30 W 57, to Mar 3. Julia Margaret Cameron et al.
+
+Calves' Heads, Eels' Tartar, & Little Birds on Toast: NY Eats 18th/19th/20th-century menus. N-Y Hist Soc, 77 St/CPW, Mar 7-June.
+
+Friends of Puerto Rico-Cayman, 381 W Bway, to Mar 10.
+
+The American Scene on Paper-19th-cent. watercolors. N-Y Hist Soc, 77 St/CPW, to Aug. Baroness Hyde de Neuville et al.
+
+Provincetown Septet-Collector's Gall, 51 E 10, to Mar 15. March Avery, Inger Jirby, et al.
+
+2 at Leslie-Lohman-Etchings, drawings. 485 Broome, to Mar 3. Rolande & Sandy De Sando.
+
+Women's Open Art Show-Auragyns, 601 Allen St, Syracuse, NY, to Feb 10.
+
+Eastville Artists-Paintings, prints, photographs. Woodhouse, Guild Hall, 158 Main, E Hampton, NY, to Mar 6. Nanette Carter, Gaye Ellington, Hazel Gray, Rosalind Letcher, Frances Miller.
+
+2 at Visual Studies Workshop-31 Prince St, Rochester, NY, to Feb 23. Xerox drawings, lithographs. Joan Lyons et al.
+
+Alternative Images-Everson Mus, Syracuse, NY, to Apr 1. Charlotte Brown et al.
+
+The Artist's Progress A Time Show-Boston Visual Artists Union, 77 N Wash St, Boston, to Mar 31.
+
+WEB Winter Show-All media. 80 Belmont St, Fall River, MA, to Mar 2.
+
+Photogenerations-photographs, photoconstructions, sculpture. Craft Ctr, 25 Sagamore Rd, Worcester, MA, to Mar 16. Shelly Farkas, Paula Gross, Susan Haller, Jo Hanson, Ellen Land-Webber, Amy Stromsten, et al.
+
+Fantastic Illustration & Design in Great Britain 1850-1930-Mus of Art, RI School of Design, 224 Benefit St, Providence, Mar 29-May 13. Kate Greenaway, Beatrix Potter, et al.
+
+Downtown at CMU-Architectural design projects. Entrance Gall, Mus of Art, Carnegie Inst, Pittsburgh, PA, to Mar 31.
+
+French Prints-Mus of Art, Carnegie Inst, Pittsburgh, PA, to June 10.
+
+Eye on the '70s - Color Prints of Our Decade-Phila Mus of Art, to Feb 28. Cathey Billian, Helen Frankenthaler, Sylvia Mangold, Martha Zelt, et al.
+
+Masks for Unmasking-Anne Hathaway Gall, 201 E Capitol SE, Wash, DC, to Feb 4. Pat Barron, Lucy Blankstein, Nancy Cusick, Laura Huff, Monica Lundegard, Carol Ravenal, Ellouise Schoettler, Rose Mary Stearns, Ann Zahn.
+
+WCA Honors: Bishop, Burke, Neel, Nevelson, O'Keeffe-Middendorf/Lane, 2014 P St NW, Wash, DC, to Mar 6.
+
+Limitations Unlimited-Wash Women's Arts Ctr, 1821 Q St NW, Wash, DC, to Feb 24.
+
+Private Spaces-Photographs. Wash Women's Arts Ctr, 1821 Q St NW, Wash, DC. Barringer, Boddy, Bond, Brown, Clem, Edelman, Edmondson, Fram, Garrison, Giesecke, Hadley, Hassan, Mosley, Peabody, Rebhan, Samour, Stevenson, Sudow, Tackney, Ward, Wexler.
+
+Drawings by Washington Artists-Works on paper. Corcoran, 17 St/NY Ave NW, Wash, DC, Anne Truitt et al.
+
+2 at Warehouse-Alexandria Campus, Northern VA Comm Coll, 3447 S Carlyn Spgs Rd, Alexandria, VA, to Feb 15. Marian Van Landingham, Lynn Pruitt.
+
+MFA Thesis Show-Weatherspoon Art Gall, Univ of NC, Greensboro, to Jan 28. Ann Badgett, Melissa Bristol, Doreen Coyne, Margaret Anne Glenn, Jane Goco, Bunny Ryals, et al.
+
+American Paintings from Corporate Collections-Mus of Fine Arts, 440 S McDonough St, Montgomery, AL, Mar 6-May 7. Helen Frankenthaler, Helen Lundeberg, Georgia O'Keeffe, Hedda Sterne, et al.
+
+6 California Artists-Mixed media. 61 W Hubbard, Chicago, Mar 10-31. Betsy Pacard et al.
+
+Narrative Imagery-ARC, 6 W Hubbard, Chicago, to Mar 3. Nancy Boswell-Mayer, Phyllis Bramson, Joanne Carson, Linda Cohn, Renee DuBois, Beverly Feldmann, Thelma Heagstedt, Ellen Lanyon, Kay Rosen, Cathy Ruggie, et al.
+
+Loosely Proportionate & Semi-Structural-Ctr Gall, 426 W Gilman St, Chicago. Page Coleman, Kathy Field, et al.
+
+2 at Craft Alliance-Blown glass. 6640 Delmar Blvd, St Louis, MO, to Feb 28. Sally Wicht et al.
+
+3 at WARM-414 First Ave N, Minneapolis, MN. 'Alluvial Fans,' Barbara Kreft-Benson. 'Other Intuitions,' Linda Magozzi. 'Thermal Moods,' Terry Genesen-Becker.
+
+ARC Exchange-WARM, 414 First Ave N, Minneapolis, MN, to Mar 17.
+
+Arte Postcards-Lee-Hoffman Gall, 538 N Woodward, Birmingham, MI, to Feb 21.
+
+3 at Art Space-10550 Santa Monica Blvd, LA, CA. to Feb 23. Elaine P. Feldman, Arlene Golant, June Sobel.
+
+Feminist Perspectives-Univ of CA, Santa Barbara, to Feb 9. Nancy Fried, Myrna Shiras.
+
+Ancient Near Eastern Art-with 'Ancient Art of the Asian Steppes & Highlands.' Public Lib, 600 E Mariposa St, Altadena, CA, to Mar 4. Exposition Park Pub Lib, 3665 S Vermont Ave, LA, Mar 5-11. Arroyo Seco Regional Branch Pub Lib, 6145 N Figueroa St, LA, Mar 12-18. Pub Lib, 20 N Harvard Ave, Claremont, CA, Mar 19-25.
+
+Portrait of the Woman as a Young Artist-Weber State Coll Art Gall, Ogden, UT, to Feb 23. Downing, Elliott, Goldstein, Licini, Maitland, Marfia, Mathers, McClelland, Meier, Metzger, Murphy, Perry, Quinn, Redman, Shark, Swartwood.
+
+First Western States Bienniel Exhibition-Art Mus, Denver, CO, Mar 7-Apr 15. Georgia O'Keeffe, Helen Lundeberg, et al.
+
+Pleiades Gall to Montreal-conseil de peinture ... de Quebec, Arts Club, 1410 Guy St, Montreal, Canada, to Feb 26.
+
+TITLE: SCHEDULE OF EVENTS
+WRITER: unknown
+PAGE_NUMBERS: 6-7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: CALENDAR
+CONTENT:
+Mar 6 8pm READING-Jana Harris, Bette Howland, Jill Johnston. Manhattan Thr Club, 321 E 73. $3.50. Info: 472-0600.
+
+Mar 8 8pm READING-May Swenson. George Sand Books, 2076 Westwood Blvd, LA, CA. $1. Info: (213) 473-4685.
+
+Mar 9 8pm PERFORMANCE-'The Mexican Tapes,' Jacki Apple. 80 Langton St, SF, CA 94103; (415) 626-5416. $2; $1 mem.
+
+Mar 9 9pm PANEL-'Alt'ive Approaches to Representational Art,' Gary Eriksen, mod. ATOA, Landmark, 469 Broome. Info: Lori Antonacci, 868-3330.
+
+Mar 10 9am-5pm CONFERENCE-Women's Studies. Panel on women's aesthetics. May Stevens, artist-in-residence. Steinman Ctr, Franklin-Marshall Coll, Lancaster, PA 17604.
+
+Mar 10 7:30pm FILMS-'With Babies & Banners," 'With Cuban Women.' Wash. Irving HS, 16 St & Irving Pl. $3 don. Child care provided. Info: 255-0352.
+
+Mar 11 2pm PERFORMANCE-Contemp Amer Indian poetry, trad'l folk tales, chants. Queens Mus, Flushing, NY; 592-2405. Free.
+
+Mar 11 3pm LECTURE-Pictorial Art of the Six Dynasties,' Annette Juliano. LA County Mus of Art, 5905 Wilshire Blvd, LA, CA; (213) 937-4250. Free.
+
+Mar 13 8pm READING-Jane Cooper, Jean Valentine, et al. Manhattan Thr Club, 321 E 73. $3.50. Info: 472-0600.
+
+Mar 14 8pm LECTURE-Troubleshooting of painting-technical problems,' Russell Woody. 435 435 Broome. $1. WIA genl mtg: 7pm.
+
+Mar 15 8pm READING-Barbara Abercrombie, Norma Almquist, Jeanne Nichols. George Sand Books, 2076 Westwood Blvd, LA, CA. $1. Info: (213) 473-4685.
+
+Mar 16 8:30pm CONCERT-17th/18th-cent music for harpsichord & flute, Andrea Garrone, Eileen Hunt. Aldrich Mus, 258 Main St, Ridgefield, CT 06877. $2. Res: (203) 438-4519.
+
+Mar 16 9pm PANEL-'What Artists Expect from Critics & What Critics Expect from Artists, Part 2'; Solomon Ethe, mod. ATOA, Landmark, 469 Broome. Info: Lori Antonacci, 868-3330.
+
+Mar 18 1pm LECTURE-DEMO-'Navajo Spinning, Weaving, Dyeing, & Folklore.' Queens Mus, Flushing, NY; 592-2405. Free.
+
+Mar 18 8pm PERFORMANCE-'Glass'; visual & sound event. Claudia Chapline. I.D.E.A., 522 Santa Monica Blvd, Santa Monica, CA. $3. Info: (213) 395-0456.
+
+Mar 18-31 BRONX WOMEN'S ARTS FESTIVAL. Info: Lilian Whitaker, 920-7709.
+
+Mar 19 8pm READING-Cynthia MacDonald. Poetry Ctr, YM/YWHA, 92 St/Lex Ave. $3.
+
+Mar 20 8pm READING-Alexis Deveaux et al. Manhattan Thr Club, 321 E 73. $3.50. Info: 472-0600.
+
+Mar 20 4pm LECTURE-Technological Change & the Roles of Women'; Ester Boserup. Lehman Aud, Altschul Hall, Barnard Coll. Info: 280-2067.
+
+Mar 20 8pm LECTURE-Elyn Zimmerman on her work. MCAD, 133 E 25 St, Mpls, MN 55404; Auditorium 109.
+
+Mar 22 8pm LECTURE-'This is Black Music'; Ntozake Shange. Marvin Ctr, Rm 404, Geo Washington U, 800 21 St NW, Wash, DC. Info: WWAC, (202) 332-2121.
+
+Mar 23 & 30 9pm PANELS-ATOA, Landmark, 469 Broome. Info: Lori Antonacci, 868-3330.
+
+Mar 23-25 WOMEN'S JAZZ FESTIVAL-Info: Dianne Gregg, WJF, Box 22321, Kansas City, MO 64113.
+
+Mar 25 ART & ARCHITECTURE TOUR-LA County Mus of Art, 5905 Wilshire Blvd, LA, CA. Info: (213) 937-4250, ext 372.
+
+Mar 25 2:30pm CONCERT-Deborah Awner, pianist. N-Y Hist'l Soc, 77 St/CPW; (212) 873-3400. $1 for non-members; $.50 students/elderly.
+
+To Apr 15 Sat/Sun 2&4pm CHILDREN'S THEATRE-The Incredible Feeling Show,' by Elizabeth Swados; Meridee Stein, dir. First All Children's Thr, 37 W 65; (212) 873-6400.
+
+Mar-May Sats 11am THEATRE-New works-in-progress. Thr of the Open Eye, 316 E 88.
+
+TITLE: INFORMATION ROUNDUP
+WRITER: unknown
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+• Available: NYC Resource Sheet for Visual Artists, prepared by Gina Shamus. Send $.30 coins or stamps to Task Force on Discrimination, FCA, Rm 412, 280 Bway, NYC 10007.
+
+•1980 Sculpture Conference will be in Wash., DC (not Mexico City as announced). Info from Internat'l Sculpture Ctr, U of Kansas, Lawrence, KS 66045.
+
+• The Art Hazards Info Ctr has available a series of one- and two-page bulletins ($.25 ea), four articles ($.50 ea), and The Health Hazards Manual for Artists ($3.50 ppd). For info: 5 Beekman, NYC 10038; (212) 227-6220.
+
+First Nat'l Congress on Women in Music-plans for fall '79 mtg; focus on women in classical music, hist'l or contemp. Proposals being accepted for papers, panels, wkshps. Jeanie Poole, WIM, Box 436, Ansonia Sta, NYC 10023.
+
+• Greece Through New Eyes-tour, Aug 26-Sept 9. Theme is struggle of Greek women, past and present. Deadline Mar 30. Info: Women's Union of Greece, 34 Panepistimiou St, Athens 143, Greece.
+
+• Medieval World-Jan-June '79. Lectures, exhibits, etc.; some wkshps require pre-registn. Info: U of Wis, LaCrosse, WI 54601; (608) 785-8900.
+
+Barnard Coll Women's Ctr has published papers from 'The Scholar & the Feminist' conferences and the Reid Lectureship. $1-$2 ea. Info: BCWC, 606 W 120, NYC 10027; (212) 280-2067.
+
+• Printnews-new bimonthly int'l digest for printmakers. Only avail to mems of World Print Council, Fort Mason Ctr, Bldg 310, Laguna & Marina Blvd, SF, CA 94126; (415) 391-5016.
+
+The Feminist Ctr-nonsexist, feminist therapy, counseling for women, men, couples, families. Free walk-in counseling & referrals, Sat 1-4pm; Women's Career Support Group, Tues 12n-2pm ($5); wkshps & courses on various topics. Shelburne Hotel, main flr, 303 Lexington Ave, NYC 10016; (212) 686-0869/683-6192.
+
+• Harlem Cult'l Council-membership incl newsletter, discount tkts for various activities, free tkts to Linc Ctr & Bway thr events, special events info, acctg/bookkeeping svcs avail for member cult'l orgs. Info: 1 W 125, No. 206, NYC 10027; (212) 860-8640.
+
+•WNET/13's TV Lab-9 video artists-in-residence (incl Kit Fitzgerald, Gunilla Mallory Jones, Steina Vasulka) at work on experimental pieces for 1979 pgm on grants from $3-16,000. Info: Harold Holzer, WNET, 356 W 58, NYC 10019; (212) 560-3004.
+
+• Visual Arts Referral Service Files-slides of 2500 artists avail for viewing at Creative Artists Public Svc Pgm, free. Info: Nancy Kaufman, CAPS, 250 W 57, NYC 10019; (212) 247-6303.
+
+• Women-Identified Erotica-written & graphic material needed for book; anonymity OK. Send to Pamir Productions, Box 40218, SF, CA 94140.
+
+TITLE: COURSES & WORKSHOPS
+WRITER: unknown
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+• 2 Ceramics Seminars-'Oxidation Firing & Glaze Chemistry,' Monona Rossol, Mar 9-11; $40. 'Glaze Palette,' Marylyn Dintenfass, Mar 24-25, Apr 7-8; $70. The Moving Image-looks at diff modes of film & video. 8 mtgs beg Mar 6; Tues & Thurs 6-8 pm. The Visual Arts-Pat Saab, intra-media artist. 8 mtgs beg Mar 1; Wed & Thurs 3:30-5:30pm. Info: Women's Interart Center, 549 W 52, NYC 10019; (212) 246-1050.
+
+• Interior Design & Appraisal Studies Courses-CW Post College, LI Univ, Greenvale, NY 11548; (516) 299-2451.
+
+Script Writing-for film & video, Ed Bowes, Mar 26-30; $30. Poetry Workshop-Heather McHugh; write/call for dates & fee: CEPA, attn: workshops, 30 Essex St, Buffalo, NY 14213; (716) 883-0582.
+
+• Weekend Photog Wkshops-Mar 9-11, George Tice; Mar 23-25, Jack Mitchell. The Silver Eye, 631 Gettysburg St, Pittsburgh, PA 15206; (412) 687-7122.
+
+•Health Hazards in the Arts IV-Mar 22; $20 (incl lunch, mat'ls). School of the Art Institute, Columbus Dr. & Jackson, Chicago. Info: Ms. Scholl, (312) 243-2000, ext. 69.
+
+•Performance Wkshop-Joan Jonas, Mar 26-28. Info: 80 Langton St, SF, CA 94103; (415) 626-5416.
+
+• Feminist Visions of the Future-Mar 24. Registration $35. Info: Gayle Kimball, Ethnic & Women's Studies, Calif State U, Chico, CA 95929.
+
+TITLE: Gala Benefit for the New York Feminist Art Institute
+WRITER: unknown
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+Gala Benefit for the New York Feminist Art Institute, to open fall 1979.
+Louise Nevelson, guest of honor
+Friday, March 30, 6-9 pm, 1 World Trade Ctr
+$25 contrib. payable at door, or in advance; mail to: Nancy Azara, 46 Great Jones St., New York, NY 10012.
+Info: (212) 982-2058/ OR 5-5343.
+
+TITLE: OPPORTUNITIES
+WRITER: unknown
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+Performers, Artists, Musicians Wanted-for 1st Bronx Women's Arts Festival, Mar 18-31. For info re: exhibiting, selling, teaching, performing, contact Lilian Whitaker, North Central Bx Hospital, 3424 Kossuth Ave, Bx NOW, Rm 15B-18, Bronx, NY 10467; (212) 920-7709.
+
+• Job-distribute "For Art's Sake" to 50 points monthly; 5 hrs in last 3 days of month. Pay: $35 plus mileage (own transpn nec). Info: Sandra Wagenfeld, SICA, c/o Pouch Terminal, 1 Edgewater St, Staten Island, NY 10305.
+
+$3500 Artists Fellowships-avail to MA artists (over 18 yrs, non-student) in ptg, printmkg, sculpt, photog, poetry, fiction, playwriting. Deadline Mar 15. Info: Artists Fellowship Pgm, Artists Fdn, 100 Boylston St, Boston, MA 02116; (617) 482-8100.
+
+TITLE: Consult an expert
+WRITER: unknown
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+Consult an expert in artists' tax problems
+Call on a professional to prepare your federal, state, and city income-tax returns
+Claim all possible expenses and deductions
+•Understand the rules on use of your home for work
+File for an early return
+• Set up a tax-free pension plan
+Establish a simple record-keeping system
+Ruth Tabak • Tax Consultant
+East Village location
+Phone (212) 777-0573 for an appointment
+
+TITLE: Duncan Replies
+WRITER: Carol Duncan
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: LETTER
+CONTENT:
+In "When is a Panel Not a Panel?" (Jan. WAN) Donna Marxer reported on the Nov. 18 panel on communication between artists and writers on art. Carol Duncan: "Criticism is... the invisible power that converts potential art into the real thing... channels art into a thin trickle, which works pretty well." Marxer: "No one groaned... when [Duncan] said flatly that there is no conspiracy in the art world." Here, Duncan elaborates on her intended meaning.
+
+Marxer quoted correctly from the paper I read but didn't quite get my meaning. I did say that there is no "conspiracy" in the art market. As I then tried to explain, I meant that few people in the art world will admit to being party to any art market conspiracy. Even "important" trend-setting dealers and critics can claim that they are exercising their individual free choice and basing their decisions on judgments of "quality." They really believe that and do not experience themselves as acting in some kind of conspiracy. My point is, the "conspiracy" is usually not conscious. It has its roots in the social relations of our society and in the seemingly innocent values we internalize and act upon. The conditions that so many artists find oppressive are reinforced by the aspirations and beliefs of the artists themselves. It is useless to get angry at critics, who are not as powerful as artists imagine. We must understand how our own values and beliefs about art contribute to our own oppression.
+
+TITLE: LETTER TO EDITOR
+WRITER: Judith Stein
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: LETTER
+CONTENT:
+In the Nov. WAN... a CETA artist wrote to correct an error of fact in your Summer 1978 article "CETA Artists at Work." She was not on welfare, as had been stated, but on unemployment insurance "the latter [as opposed to welfare] having been earned." Contained within her correction and statement are some hidden value judgments, which should be addressed.
+
+Since public assistance, or welfare, is paid out of monies collected in federal and state taxes, we have all earned our right to receive it when it is necessary. People requiring this assistance, be it in the form of Aid to Families with Dependent Children, Supplemental Security Income for the Disabled, Blind, and the Elderly, or Home Relief, have "earned" it just as much as the citizen who receives various forms of subsidies, tax credits, and tax deductions.
+
+"The worthy poor" vs. the "unworthy poor" is a distinction we must transcend. The CETA program accepts job-seeking artists, be they on unemployment insurance or other forms of public assistance.
+
+TITLE: Skowhegan Summer
+WRITER: unknown
+PAGE_NUMBERS: 7
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+The directors of Skowhegan summer school of the arts tell us that this year their painting faculty will be largely women-a point of special interest because faculty are "elected" by students.
+
+Frances Barth, Agnes Denes, Lois Dodd, and Susan Shatter are listed as painting resident faculty. Chuck Close, Elaine de Kooning, and Nancy Graves will be painting visiting artists. Other faculty include Louise Bourgeois in sculpture and Lucy Lippard as Willard W. Cummings Lecturer.
+
+The nine-week session on 160 acres in central Maine offers painting, sculpture, drawing, and fresco. Tuition and board cost $1,950. More info from Skowhegan, 329 East 68 St., NYC 10021; 861-9270.
+
+TITLE: Marxist Caucus at CAA
+WRITER: Leslie Satin
+PAGE_NUMBERS: 8
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+'Marxist Approaches to Art History'
+Panel, Caucus for Marxism & Art, Feb. 1
+Eunice Lipton, Carol Duncan, moderators; David Kunzle, Ken Lawrence, Gary Tartakov, Josephine Gear, Adrian Rifkin, speakers.
+
+It's no news that art history is generally taught in a context apart from, or above, history-as though artists, by the nature of their work, have no social responsibility. At this year's CAA convention, the Caucus for Marxism and Art presented an alternative to this general situation and to the convention itself with the panel "Marxist Approaches to Art History."
+
+Eunice Lipton, opening the session, noted the presence of three British speakers out of the five panelists. The first three papers dealt with the connection of art to imperialism; the other two were specific subjects seen from a Marxist perspective.
+
+David Kunzle discussed the role of art in Chile during the Allende regime and under the current military dictatorship, seeing art as a part of, not a response to, social change. At first, he said, murals and posters avoided confrontation with the enemy, later grew less passive. Since the coup in '73 and the concurrent attempts at destruction of popular, political art, new forms of underground art have appeared. For example, arpilleras, fabric wall hangings made by Chilean women. Like the quilts of early American women, they involve individual origin and collective production. Many of the arpilleras contain explicitly political messages; some are less overt and some are simply beautiful. (Both slides and actual examples were shown.) Women are able to earn money through the sale of this work, frequently supporting families splintered by the junta. Pinochet's government finds this and other art with a similar perspective threatening, and has tried, unsuccessfully, to co-opt the arpillera movement.
+
+Ken Lawrence provided a refreshing break from the recent deluge of Tut-dom. Showing how the African-ness, the Egyptian-ness of the Boy King has been distorted, the conflicts of that period of history de-emphasized, Lawrence discussed the way art is used by imperialism because it's "not political."
+
+Gary Tartakov defined exotica as what is "incomprehensible and irrational to us." The title of his talk was "Exoticism and the Imperialist Vision of 19th-Century European Photography of India." Showing some of these photographs in slides, he demonstrated the way that subjects viewed out of context can give an entirely false view of a country and its people. For example, the familiar image of a man lying on a bed of nails conjures up visions of asceticism, pain, and strangeness. Actually, this is a painless, safe religious act done for money by the very poor-at the bottom of the photo, generally cropped, is the receptacle into which to throw coins.
+
+Josephine Gear's topic was "The Cult of the Baby in 19th-Century Art." Using extraordinary slides of British art, all containing two figures (mother and child), she spoke about baby worship and its relationship to the conditions of the time. The creation of nuclear families brought about upheavals in male-female relationships amounting to "the husband producing labor, the wife producing love." Along with this came an idealization of motherhood and, as a result, of babies. The repressed sexuality of the time was also expressed in the strong eroticism of some of the work (this relationship apparently having been the only acceptable place for women's sexuality). Other paintings reflected moods ranging from adulation to fun. In this context, the discussion of women's rights in England became especially meaningful.
+
+Adrian Rifkin, speaking about the cultural context of the Paris Commune, showed another collection of beautiful slides. Most of these were of cartoons demonstrating the formation of class alliances within the political struggle. The degree of physical violence depicted in these cartoons-on both sides-was high. The women's movement was seen as the most socialist of the left at that time.
+
+In the question-and-answer period, there was some discussion about the Caucus and its work within the CAA. In a brief exchange, Carol Duncan politely refused to agree with CAA representative Beatrice Farwell that the CAA is a democratic organization. Gary Tartakov characterized the difference in objectives as "kings and queens, not Queens and Bronx."
+
+'Artists and Community in the Context of Social Change'
+Panel, Caucus for Marxism & Art, Feb. 2
+Martha Rosler, Alan Sekula, moderators; Mel Rosenthal, Suzanne Lacey, Fred Lonidier, speakers.
+
+The second meeting of the Caucus for Marxism and Art at the CAA convention was a step out of art history and into making art today-specifically, making art that effects social change. Because the Caucus had been granted a very brief time slot, only three artists were scheduled to speak, each to discuss her/his work in the context of social change.
+
+Martha Rosler, in her introduction, noted that each artist was dealing with violence: physical violence or social violence. Later, she tied this to the responsibility of political artists to gain control of language, to move away from the media definition of "violence."
+
+Photographer Mel Rosenthal described his discomfort with audiences that skim over the political content of his photographs, responding only to the form of the work. In his photographs of the South Bronx, Rosenthal has insisted not only on the political meaning of the subject, but on the relationship between the art and the subject-the people of the area. His original idea was to make portraits of everyone living on the street where he works at a health center. It became apparent that many of these people had never seen accurate photos of themselves; in the course of a year, Rosenthal became very involved with them through his work. The photographs show the subjects as very real people-in very real poverty-not just another burned-out-South-Bronx photo in the media.
+
+Suzanne Lacey presented much of the material she'd covered in a previous panel on performance and environmental art from a somewhat different perspective. She and Leslie Labowitz co-founded Ariadne to work against violence against women. Discussing several projects on rape, murder, and violence in the record industry, Lacey explained her use of the media. This entails not only getting the personal cooperation of local government officials and journalists, but actually setting up performances and exhibits to accommodate the media. Underlying this is Ariadne's analysis of the role played by media in preventing or allowing political change.
+
+Fred Lonidier spoke about reaching a labor-union audience. Believing that the whole structure of the workplace must be changed to affect occupational health problems in a major way, Lonidier created a photo exhibit. He took photographs of the results of work-caused diseases and added a text about the historical context of these diseases and injuries within the work situation. The exhibit did attract many union members. At the panel, he spoke of the difficulties of reaching such "non-art" audiences.
+
+When our time in the Lincoln Room ran out (we were reminded of this by another CAA rep), we were left hanging in mid-discussion. Then it was discovered that another spot was, unofficially, available. Perhaps 40 of us sat in a circle there and continued to talk and talk about the role the media play for the political artist, about the difference between (performance) art and political activism (is Phyllis Schlafly a performance artist?), about political art as a process of self-identification (for example, the exhibit of shopping-bag ladies' art at the Met, organized by Anne Marie Rousseau), about definitions of "cultural worker."
+
+TITLE: Guide to Women's Art Organizations
+WRITER: unknown
+PAGE_NUMBERS: 8
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ADVERTISEMENT
+CONTENT:
+Just out...
+Guide to Women's Art Organizations:
+Groups, Activities, Networks, Publications
+only reference work of its kind
+painting/sculpture/drawing/photography
+architecture/design
+film/video/dance/music/theatre/writing
+
+Order your copy now!
+is enclosed for copies of the Guide, at $4.50 each, postpaid (institutions: $5)
+Special rates available for bookstores: ask!
+
+name
+address
+city/state/ZIP
+
+Mail check or m.o. (payable to WAN) to:
+Women Artists News, for Midmarch Assocs.,
+Box 3304, Grand Central Sta., NYC 10017
+
+TITLE: An Evening with Paula Modersohn-Becker
+WRITER: Jennifer Arndt
+PAGE_NUMBERS: 9
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+AIR Monday Night Programs since 1973 have ranged from male critics discussing women's art to a Heresies open meeting. The biggest audience of the year-more than 50 people-turned up November 20 to hear art historian Diane Radycki read from her recently completed Letters of Paula Modersohn-Becker. The volume includes translations from the German of selected letters and journal entries by Becker, plus chapter introductions and annotations supplying the artistic and feminist contexts of the period.
+
+To date Paula Becker (1876-1907), a painter long acclaimed in Europe, has been virtually unknown in this country. But there has recently been an awakening of interest about her life, work, and times.
+
+Becker, like her husband, Otto Modersohn, was a member of the Worpswede artists' colony, near Bremen, Germany. A 15-minute color film opening the reading gave an idea of the village and the surrounding moors as they were at the turn of the century, as well as a survey of Becker's art. (The movie was rented for the evening by AIR; artist Cathey Billian provided the projector.)
+
+During October and November, Becker's work was being shown at La Boetie Gallery, in an exhibition entitled "Three German Artists' Colonies: 1890-1914: Worpswede, Moritzburg, Murnau." Had she lived longer, Becker might not be remembered as a Worpswede artist, for from the start her work differed radically from that of the colony's other artists.
+
+The new interest in Becker, it seems, is in her person and experience as well as her art. Adrienne Rich's recent book, The Dream of a Common Language, contains a poem, "Letter from Paula Becker to Clara Westhoff" (Becker's closest friend, a sculptor and wife of Rainer Maria Rilke). This "letter" from one woman artist to another explores issues and feelings, gathered from Becker's writings, that are stunningly moving and contemporary.
+
+In 1906, Becker left Worpswede and her husband and stepdaughter to paint in Paris; Radycki's reading focused on this year in France.
+
+"I couldn't stand it any longer and I'll probably never be able to stand it again, either. It was all too confining for me and not what-and always less of what-I needed."
+
+Radycki writes: "It was marriage and the provincialism of Worpswede; . . . it was not being taken seriously by anyone but a dear man whose art took no risks; . . . it was outgrowing heavy skies and artistic moralism; it was turning 30; it was frustration and it was ambition."
+
+Among the all-too-familiar, recurrent themes-financial problems, familial pressure-there emerges a picture of this young artist, her conflicts, her defiance of guilt, and her passion: "I'm getting there. I'm working tremendously...I am going to be something-I'm living the most intensely happy period of my life. Pray for me. Send me 60 francs for models' fees. Thanks. Never lose faith in me."
+
+But as the year went on, the pressure from husband, family, and friends mounted, until in November 1906, Becker allowed her husband to visit her in Paris.
+
+"By March she was pregnant, by May they were back in Worpswede, in November she was dead."
+
+Radycki ended her. reading with "Letter from Paula Becker to Clara Westhoff," Rich herself being unable to attend. During a question-and-answer period, Helen Serger from La Boetie Gallery spoke from the floor about Becker's surviving family. Interest was high and discussion continued informally.
+
+The impact of the evening on many could be summed up in the words of sculptor Erica Rothenberg:
+
+"I had never heard of this artist. I walked into the reading one woman and I'm walking out another. To hear elucidated so vividly and passionately so much of her identity, so many of her struggles... gave me a sense of history and tradition, the knowledge that the things I face today, someone faced 70 years ago. These were the struggles of an artist of genius."
+
+TITLE: Plain and Fancy: (American Women and Their Needlework, 1700-1850)
+WRITER: Harriet Alonso
+PAGE_NUMBERS: 9
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: REVIEW
+CONTENT:
+Plain and Fancy: (American Women and Their Needlework, 1700-1850). Susan Burrows Swan. New York: Holt, Rinehart and Winston, 1977. 42 color photos, 123 b&w photos. $14.95 (cloth).
+
+Plain and Fancy is a very important book. It's an intelligent and informative piece of needlework history as well as a source of women's history, weaving the threads of needlework with the course of history. We have all read about Elizabeth (Betsy) Ross and Martha Washington and their needlework; we've also seen a lot about costume and fashion history. But Swan is concerned with wider events. She traces the development of needlework from 1700 to 1850, as well as the lifestyles and social and economic and political pressures on women during these times. The reader realizes that needleworkers have never created in isolation, but have always been formed by the outside world.
+
+The book begins with a description of the difficult lives of our foremothers, their lack of materials, their confined lifestyles. We see the indenture form filed for Sarah Wade in 1826, a contract that forced her to work for a family in exchange for certain "education" and a hope chest of sorts. While the woman was assigned to the home, to spinning, darning, marking linens, cleaning, cooking, and raising children, the men ventured out to pursue business affairs. Women in isolated areas created their own art forms from this isolation, such as the Deerfield embroideries.
+
+During the 18th century, samplers were very popular. In the many boarding schools opened to accommodate young girls, little was taught about "intellectual subjects," but needlework, music, and art were emphasized. In this, Swan points out, the girls were taught to be docile and demure. They were being prepared not to be independent and self-supporting, but to be charming and dainty. At the same time, they were prepared for the poor health and widespread diseases of the times. Most sampler verses are very depressing. In time, schools changed (thanks to some independent-minded women) and eventually needlework disappeared from the curriculum.
+
+In Chapter 3, "The Golden Years of Needlework," Swan paints a wonderful portrait of life in the home. It becomes clear why furniture was so important, why women worked so hard to embroider chair covers and bed curtains. The home was the center of all entertaining. A discussion of the early feminist movement includes the first women's rights convention in 1848 at Seneca Falls, and stories of Mary Wollstonecraft and other women who fought for the right to be independent after their husbands died. (At the time, Swan explains, married women were permitted by law to own virtually nothing.) The reader sees the effects of the Industrial Revolution on needleworkers, the effects of new leisure time and of better education for women.
+
+I loved every minute of Plain and Fancy. I recommend it to needleworkers, feminists, and the male chauvinist who lives down the block.
+
+TITLE: Neel & Stein at WCA-NY
+WRITER: Sylvia Moore
+PAGE_NUMBERS: 9
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+Alice Neel and Judith Stein spoke at the January 21 meeting of the New York chapter of the Women's Caucus for Art, an evening in the chapter's ongoing program series. More than 50 members came to Wendy Meng's studio for the discussion, which focused on Philadelphia's Moore College of Art, the first women's art school in the United States.
+
+Art historian Stein's research into the history of the college, established in 1848 as the Philadelphia School of Design for Women, brought to light 19th-century attitudes toward art and the female sex. Since women, considered especially well suited for painstaking work, could practice the arts at home, their work as designers would neither conflict with domestic tasks nor bring them into open competition with men. Neither would it expose them (heaven forbid) to sexual temptations through contact with males on the job. In fairness, Stein pointed out, the founders genuinely desired to provide needy women with professional training, and also believed that exposure to art would improve character.
+
+It was the energetic, compassionate Sarah Peter who initiated the effort to found a school of industrial art. Early students practiced drawing, textile design, lithography. wood engraving, and other practical subjects. By 1921, when Alice Neel enrolled as an illustration student, the school's name had been changed and fine arts added to the curriculum. Neel, the school's most famous alumna. confessed that she chose a woman's college in part to be able to concentrate on her work without male distraction. Her lively and witty reminiscences were interspersed with serious advice to young artists ("Train your memory!").
+
+The problem was, scarcely any art students were present at the meeting. A discussion of the discrimination that many women students still encounter would have given perspective to the historical background of women's art education. For example, consider the devastating account by Patt Likos (Feminist Art Journal, Fall 1975) of the pressures she experienced as a student at Moore College.
+
+We need to research women's history in art, to honor and learn from venerable women artists. But we must encourage today's students to speak out and we must heed their testimony if art education is to contribute to equality of opportunity for all artists.
+
+WCA-NY invites the participation of art students. Information from Kathy Schnapper, 242-1941.
+
+TITLE: Texas Letters-Part Two
+WRITER: Jeanette Feldman
+PAGE_NUMBERS: 10
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+Another letter from Jeanette Feldman continues the story begun in last month's WAN She writes here about recognition, choosing between art and crafts, moving on in her work, coming to terms with Texas...
+
+July 18, 1978
+
+I'm glad you liked the material. I was afraid you might be expecting something heavier, about WOMEN struggling together against the art establishment, issuing manifestos right and left-instead of our very simple, selfish reasons for organizing....
+
+In answer to your question, the "Chisos" piece is one of 12 fiber works based on a three-day trip we took several years ago. We began at Big Bend Park in the Chihuahuan Desert of southwest Texas; the Chisos mountains and Basin are in this unique, wild, eroded area. Then we traveled from Presidio (the asshole of Texas and always the hottest spot in this terribly hot state) to Mexico. The train started at 4 p.m. and went through the desert as the sun was setting. I was mesmerized by the shadows in the buttes and the purplish, grey and brown landscape. The next morning we took a train through the Sierras (shades of John Huston and Humphrey Bogart) across Mexico to Los Mochis; then a train home. The object of the trip was the trip. Indian culture, Spanish culture, and the power of nature just exploded in my head. I began working with shapes from the desert and Indian and Mayan-Aztec forms infiltrated...
+
+The flag variations are patchwork with machine and hand stitchery and applique, all in regular home sewing fabrics, nothing fancy or unique. "Hope" has stars and letters in silver stretch dress fabric. I can't afford fancy fabrics and I like the challenge of modifying materials to suit my needs. For instance, I used semi-sheer fabric with dark machine stitching over a different color cloth to get just the exact red I needed-a fiber "glaze" like glazing in oils. Some of the flags are in Regina Bartley's book on machine stitchery.
+
+... I showed the flags in October '76 at Mind's Eye, a gallery in the Montrose area here, which shows craft media as well as "fine" arts. But I've always minded the craft category for myself. The search for mastery of technique and material is all very well and important, but I missed the involvement with currents of contemporary art-making. Finally I withdrew from local craft groups and the American Crafts Council, and resumed painting and drawing along with the fiber work-a felicitous decision.
+
+I had started in fibers ten years ago, beginning with traditional crewel stitches. Gradually I got into all aspects of fiber (except weaving-warping the loom was my Waterloo) and every possible technique-stitching over dye-painted areas, beading, applique (my favorite), patchwork, working in fabric with beads, sequins, and wonderful threads was a sensuous delight. I made all kinds of feelies with fur and feathers, suede and lace. Then I felt I'd mastered the medium-fiber became another technique, not the only one. I added drawing and painting again, and a kind of funky wood sculpture and surrealism...
+
+Your last question is the hardest-about my life today. I'm 48 years old and as an artist always just beginning, starting again. Every new piece seems to be the first-a new learning process. I had assumed these would be my harvest years, instead of always seeding the ground...
+
+I'm still married to Norm, 23 years, and still like him. Ann, 15, and Henry, almost 19, are growing... I wanted it all: art, husband, home, children. I wasn't going to "give up" anything when I married and I have not. I haven't singlemindedly pursued recognition, but I have kept painting...
+
+As for living in Houston, and the somewhat traumatic removal from the northeast-I like Houston, a lot! It's different: the trees are different, shrimp plant grows out-of-doors, the sky is fantastic. When I walk down the street and see date palms and agave and cactus, I get a terrific zing. I find the whole crazy, fierce Texas society exuberant and expansive. A lot of people here have Indian grandparents-I like the Mexican and Indian and cowboy flavor. . . (We'd been living in rural New Jersey, near exit 5 of the Turnpike, and believe me, when you talk about nothing, you are talking about South Jersey.) Houston is not New York, but there's great potential and economic opportunity for my kids, too.
+
+As for art, though, it's a hard go here. There aren't many galleries and two recently closed. The most successful ones show established New York and California artists and well-known Texans. The Museum of Fine Arts is a good institution, but does not involve itself in local art. The Contemporary Arts Museum tries, but has had all kinds of mad, incredible management problems. Local artists seem timid about alternative spaces. (New York artists are much more aggressive, right?) Many of them feel almost invisible if they aren't affiliated with a gallery, but from what I hear, when they do get into a gallery, their troubles may just be starting.
+
+I entered the Milliken Rug Competition in January '78 (found it in WAN) and just got a certificate of merit from them, a gorgeous big thing with a gold seal and all kinds of calligraphy... I've been in a good many juried local, regional, and national shows and have some work in books about fiber art...
+
+So I continue just working. I figure things will develop for me and for the arts in general in Houston ...
+
+I really enjoyed writing this letter.
+Regards,
+Jeanette
+
+Post Script: A recent note from Jeanette says she's "doing a wild and crazy series of drawings based on the Statue of LIBerty-and dinosaurs. When my son was eight, he thought there were dinosaurs in Texas... Now, older and wiser (both of us), I'm doing drawings of dinosaurs in Texas. And still getting to know the city-the people and the sub-currents-fascinating."
+
+TITLE: Playing the Art Machine
+WRITER: Judy Seigel
+PAGE_NUMBERS: 10-11
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: REVIEW
+CONTENT:
+Copy Art. Patrick Firpo, Lester Alexander, and Claudia Katayanagi; opening text by Steve Ditlea. NY: Richard Marek, 1978. $7.95, paper.
+
+What possessed the makers of this marvelous book to wrap it in the world's tackiest cover beats me. Maybe it was the publisher's bright idea to be "commercial." The blurb. says, "Turn your local copier into a personal arts and crafts center," and "Here at last is an introduction to today's hottest new art medium." There are three grammatical errors in the preface, and the first section opens with these unctuous, inane lines: "Welcome to the age of Copy Art. Now anyone has the potential to be an artist or designer at the push of a button."
+
+So what you do is go directly to page eight, there to cast your eyes on "Glove Mudra" by Les Levine and his penetrating statement:
+
+In order to use copying machines to make art, three things are absolutely necessary. The first is crazy wisdom. The second is fearless compassion and the third is a magic dagger which should be plunged into the brain one second before the button on the copying machine is pressed. If all these three rules are adhered to, a perfect work of art will result.
+
+It seems that the authors of Copy Art disagreed among themselves about how to describe the background and contribution of each, so they left that part out-there is no biography or crumb of information about Patrick Firpo, Lester Alexander, Claudia Katayanagi, or Steve Ditlea; we don't even learn what city, or for that matter, country. they live in. One feels the lack. Still, the book belongs in the library of anyone interested in copying, printing, photography, animation, limited editions, crafts-indeed, of anyone interested in the art of the 20th century. It is the smashing catalog for a show we haven't quite had yet-but maybe some heads-up curator will get the idea.
+
+After the salvo from Levine, the opening sections give a rundown on the state of the art and its history and practitioners, beginning with Sonia Landy Sheridan, who initiated the first copier course at the School of the Art Institute of Chicago in 1970. (Today the Generative Systems Department at the Art Institute offers a master's degree.)
+
+Sheridan says, "We live in an era when art and science are coming together after having been split since the Renaissance. Da Vinci would have had no problem with using a copier for art."
+
+We read that the 3M Color-In-Color machine (developed in part with Sheridan as artist-in-residence) was "truly interactive, allowing its operator to alter color relationships, values, and density at will." It was driven off the market in 1975 by Xerox Model 6500, which gives color "muddy by comparison," but at one third less cost.
+
+There's human drama, too. It took Chester F. Carlson three years to create the dry-copy process, then nine more to make a penny on it. In the interval it cost him "his marriage, his health, and just, about every spare cent he earned at his job as a patent attorney." (Not to worry; he did eventually become a multi-millionaire.)
+
+Then a "Quick Guide to Copy Processes" explains the salient features of electrostatic transfer and electrostatic direct processes, plus thermographic and photo-chemical non-silver processes, with diagrams.
+
+But the heart and joy of the book is the "Copy Art Art Section" with reproductions of work by some 50 artists, a few words on how each was made, and a statement from the artist. You may not fully grasp Thomas Norton's use of a 3-M color copier in a system designed by Dr. Robert D. Solomon of Solotest Corp., in which a black-and-white video camera picks up an image on a TV screen and introduces it to a copier, which transfers it to paper, adding colors in a process that takes up to 10 minutes; but the next image is Peter Thompson's "Phases," a plant "simply laid on the copier template." (The image after that, though, is Thompson's "Print #13.9 from Unit 13," about which I could understand only that it is made on a 3-M Remote Facsimile Telecopier.)
+
+Johanna Vanderbeek, Kasoundra, Sari Dienes, Sonia Landy Sheridan, Kris Krohn, William Gray Harris, Larry Rivers-famous or unknown, the artists have seduced, coaxed, or bullied their machines into dazzling performances, from five-cents-plain (but elegant) black and white to melting color, collaged, matrixed, mounted, or alone.
+
+The statements, except for the inevitable pompous or lackluster remark, are another education. Harris informs us that "When printed with care and regard to the sensitive technicalities... a 3M color copy has all the qualities of a Fine Art Print." Margot Lovejoy says, "Since the color dyes of the machine are covered with polymer and are permanent, if the work is printed on rag support paper, the resulting print is of archival quality." From Charlton Burch: "I believe that the copying machine is perhaps the greatest reproduction and image-making tool of the 20th century." Patricia Abbot says wryly, "The copy machine may have created a new breed of gambler-the color copier junkie, unable to stop 'playing it' until it spits out that perfect print." (I must add here that the book has no index or list of the artists, which is outrageous and unforgivable. Even as a casual "cookbook" kind of affair it should have had an index.)
+
+The last section of the book, "Copy Crafts," gives a page or so to each of 30 processes, from heat transfers (yes, tee-shirts) and mail art (like postcards) to animation, masks, and "The Home Press." Under "Tiles" we find Charlotte Brown's drawings or parts of paintings that have been run through a 3M machine onto heat transfer material, then ironed onto a standard unglazed H&R Johnson Company tile. And for those with access to one, the Telecopier (3M Remote Facsimile Machine) boggles the mind with its possibilities.
+
+Imagine: "If you transmit an image at four minutes and receive it in six minutes, the image will be compressed... Several people have experimented with using synthesizers to modulate Telecopier sounds and therefore image patterns."
+
+Imagine.
+
+TITLE: Quote...End Quote
+WRITER: unknown
+PAGE_NUMBERS: 11
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: ARTICLE
+CONTENT:
+Ann Sutherland Harris said, "These are artists we admire... Awards are not carrots, but represent the values of our society. . . Thank goodness women live a long time and we won't run out of women to give awards to... No woman gets sufficient recognition... It's still difficult to find good books and good reproductions of the work of even these famous women."
+
+Eleanor Tufts said: "If I were a painter, I'd paint like Isabel Bishop."
+
+Isabel Bishop told a story about Jose De Creeft, who, awarded a medal, said "Thank you" and sat down. Pressed to say more, he smiled brilliantly at the audience and said, "Work! Work!"
+
+Selma Burke said, "Thank God for this day." She also thanked the WCA: "The day would never have come without them." And again, "Work is the answer..
+
+Ann Sutherland Harris, introducing Alice Neel, said that in 50 years of painting, Neel has "created a visual record of New York and its people." Her portraits are "profoundly democratic." Alice Neel said her father told her, "I don't know what you'll do-you're only a woman."
+
+Louise Nevelson said the day was important, "not only for American women, but for women all over the world... We've had gods long enough." Also, "I did build an empire, and I think it fits me like a glove."
+
+Ruth Weisberg read a telegram of thanks from Georgia O'Keeffe and said, "She speaks with the flower, bone, and rock... our shared inspiration."
+
+Mary Ann Tighe said WCA is "one of the best examples of work by women." During five years of asking, "Where are the women artists?" it became a catalyst in national affairs. Tighe said also that the political activism of women was a factor in her own appointment to the position she holds at NEA.
+
+Now the NEA is setting up a "sex-blind application review" system, using applicants first initials instead of first names. Although there is bound to be "some recognition" of well-known surnames, she said, "90 percent of applications are from people whose names are not known."
+
+WAN is sponsored in part by a grant from the National Endowment for the Arts in Washington, DC, a federal agency, and by the New York State Council on the Arts
+
+TITLE: Folk Art & Neo-Folk Art
+WRITER: Barbara Aubin
+PAGE_NUMBERS: 12
+VOLUME: 4
+ISSUE: 9
+SEASON_YEAR: March 1979
+TYPE: PANEL
+CONTENT:
+WCA Panel, Jan. 30, Washington, DC
+Judith Stein, Univ. of Pa., mod.; Betty MacDowell, Mich. State Univ. ("The Legacy of the Lady Limners: Folk Portraiture by American Women"), Rachel Maines, Center for the History of American Needlework, Pittsburgh ("The Designer and Artisan: The Ancient Contract"), Pat Ferraro, San Francisco State Univ. ("Quilts in our Lives"), Miriam Schapiro, Amherst College, and Melissa Meyer, NYC ("Femmage," Heresies).
+
+The first WCA panel program, "Folk Art and Neo-Folk Art," was both exhilarating and illuminating. Panelists touched on important points of original research, while much of the territory explored was new. Well-chosen slides introduced the work of unknown women past and present and relevant pieces by well-known contemporaries. A cloud of doubt may still linger as to where and when folk art and naivete give way to professionalism, however. MacDowell and Maines asserted that training is the key, but Ferraro, Schapiro, and Meyer freely interspersed untrained artists' work with that of others, without identification. One was left to make one's own deductions.
+
+In her introduction, moderator Stein said that Folk Art as a subject was "discovered" in the 1920s and that the topic was a first for both CAA and WCA. She suggested that this might be because art historians have trouble dealing with Folk Art as art. Now feminism makes us aware that women have long studied, collected, and documented (primarily for themselves and their families) artifacts and objects of folk art by other women. In a sense, then, art history has been a means of social control. Then again, much of this art is made with relatively cheap materials and/or discards, and it is possible that art historians really had difficulty understanding and appraising it. Now there appears to be a growing revolution in taste allowing us to begin, at last, to evaluate and document.
+
+Betty MacDowell, author of a new book, Artists and Aprons, pointed out that 18th-and 19th-century women's folk art was shaped by American culture. Rigid roles in marriage and parenthood meant that women's lives were filled with domestic responsibility. Their education stressed needlework, penmanship, and watercolor along with the "social graces." Fine arts as a field was discouraged, for women were not to study the live nude male model! Women channeled their creativity into the domestic scene; portraiture was a natural exploration-familiar and available faces of family and friends could be done quickly in pastels or watercolors, between chores. Women took the scissors of domesticity to cut paper profiles, also. MacDowell said repeatedly that the art had to fit around the accepted patterns of a woman's life; it rarely even approached a full-time activity.
+
+By the mid-1800s, demand for portraits by self-taught artists lessened, due to the advent of the camera. People preferred the likeness of photography to record friends and family. The disappearance of the naive artist began.
+
+Rachel Maines traced the professional relationship between designer and artisan. While the individual artist has been important since the Renaissance, little has been written about the division of labor between the creator of an idea and the maker-constructor, a division that may in Europe and America be made according to class and sex. The designer has always reigned over the technician. Mechanization of textiles reduced the artisan's role to mere machine-tender (and began the producer-consumer division). The designer-artisan contract was originally intended to resolve technical problems encountered in the initial design stage.
+
+In early history, embroiderers tended to be at a higher level socially. The designer was part of the staff in wealthy households, and full-time employment included not only designing the intricate details of clothing, but also devising patterns for linens, curtains, rugs, and furniture. Folk embroidery, however, was produced from designs without direct contact between artist and designer. Folk artisans borrowed motifs freely from many diverse traditions and sources and tended to combine them. Samplers were the work of students learning stitchery and thus held even more incongruities.
+
+The earliest commercial needlework used charts for needlepoint and was done in quadrants. At first the designs were hand-painted; later they were printed. Thread and yarn manufacturers discovered the advantage of professional designs, hiring women to draft patterns derived from popular magazines and pamphlets. After 1870, charts were available for beadwork, filet lace and crochet, and counted cross-stitch.
+
+In the late 1960s, a change began. Now needleworkers and textile artisans often want concept and design wed together, although some do still favor the designer-artisan division.
+
+Pat Ferrero traced the life transitions of women folk artists through their quilts. Baby quilts could be utilitarian or elaborate or both at the same time. Quilting skills were passed from generation to generation, older women teaching young children. The engagement party was often the occasion for quilting, while the "masterpiece" was usually the wedding quilt-carefully conceived and painstakingly rendered during the engagement.
+
+The widow's quilt drew on a rich store of memories. Ferrero showed a quilt made from a Victorian mourning coat, which had been opened up to become a ground for both quilting and embroidery. A coffin in the center was surrounded by vignettes of the quilter's life.
+
+Grace Earl, a transplanted Chicagoan now working in San Francisco, was seen in several slides with an incredible array of patterned fabrics of every description, which, sitting in her crowded one-room apartment, she pieces into intricate coverlets of exquisite skill and conception. (Ferrero has also made a film on Earl.)
+
+Mimi Schapiro and Melissa Meyer developed their thesis of "femmage," and also had a document on the subject, which they handed out to the audience. This included their definitions of collage, assemblage, decoupage, and photomontage as background for their jointly coined phrase, "femmage." The basic premise here is that "leftovers" are essential to a woman's experience. Schapiro pointed out that most of the classic written works on collage refer to male artists. Therefore, she and Meyer developed "femmage" to mean the same form made solely by women.
+
+Meyer and Schapiro listed several criteria for "femmage," but were careful to state that not every one need appear in each object. But for the work to be "appreciated" as "femmage" at least half of the criteria must be met. These include: being made by a woman, recycling of scraps, saving and collecting, themes relating to the life context, covert imagery, diaristic nature, celebration of private or public events, expectation of an intimate audience, drawing or handwriting "sewn" in, silhouetted images fixed on other material, inclusion of photographs or printed matter, recognizable images in narrative sequence, abstract pattern elements, and the possibility of a functional as well as an aesthetic life for the work.
\ No newline at end of file
diff --git a/genai/Newsletter_OCR_LLM_Project/prompts.txt b/genai/Newsletter_OCR_LLM_Project/prompts.txt
new file mode 100644
index 0000000..91a9342
--- /dev/null
+++ b/genai/Newsletter_OCR_LLM_Project/prompts.txt
@@ -0,0 +1,170 @@
+PROMPT FOR CREATING PARSABLE VERSIONS OF THE OCR
+
+PROMPT = """ 
+You are an archivist re-structuring OCR text from historical newsletters.
+
+You will receive the full OCR text (from Google Cloud Vision) for an issue of the *Women Artists Newsletter*.
+The OCR text is accurate but unformatted. Your job is to **reconstruct the structure without changing, summarizing, or omitting any content.**
+
+---
+
+### GOAL
+Produce a single, plain-text file that:
+- contains **every word** of the OCR text, exactly as recognized;
+- merges “continued on page …” segments into one continuous article;
+- organizes all sections by category (masthead, articles, calendar, advertisements);
+- formats each section using a clear, simple, line-based structure.
+
+---
+
+### RULES
+
+1. **Do not summarize, paraphrase, or skip content.**
+   Include every line and paragraph from the OCR text verbatim.Please make sure you finish the articles. Do not summarise. I need the ocr versions to be reformatted for readbale use. 
+
+2. **Correct structure only.**
+   - If a byline (e.g., “--Judy Seigel” or “Written by …”) appears misplaced, attach it to the correct article.
+   - Merge multi-page articles that were split across OCR pages.
+   - Preserve bullet lists, calendars, and exhibition entries exactly.
+   - The final look should be smooth paragraphs, they should not look like a column, but properly formatted to look. 
+
+3. **Categorize each section** as one of the following types:
+   - MASTHEAD  
+   - ARTICLE  
+   - CALENDAR  
+   - ADVERTISEMENT  
+   - EDITORIAL
+   - REVIEW
+   - PANEL
+   - LETTER
+   - SUBSCRIPTION
+
+4. **Output order:**
+   1. Masthead / Index (if present)  
+   2. Articles  
+   3. Calendar / Exhibitions  
+   4. Advertisements / Subscriptions  
+
+5. **Output format:**
+   Each section should be separated by one blank line and follow this simple labeled structure:
+
+    TITLE: <exact title as printed>
+    WRITER: <writer(s) if visible, otherwise "unknown">
+    PAGE_NUMBERS: <newsletter page numbers>
+    VOLUME: <volume number>
+    ISSUE: <issue number>
+    SEASON_YEAR: <season and year, e.g., April 1975>
+    TYPE: <<article | editorial | review | letter | calendar | advertisement | masthead | subscription | panel>
+    CONTENT:
+    <verbatim OCR text of this section, with full paragraphs and lists preserved>
+
+
+6. **Formatting details:**
+- Do not include extra symbols, brackets, or markers.
+- Keep one blank line between sections.
+- Preserve all paragraph breaks and spacing from the OCR text.
+- Output should be plain text, not JSON or Markdown.
+
+---
+
+### EXAMPLE OUTPUT
+
+TITLE: ARTISTS, DEALERS AND ECONOMICS AT A.I.R. APRIL 7TH  
+WRITER: Judy Seigel  
+PAGE_NUMBERS: 1–2  
+VOLUME: 1  
+ISSUE: 1  
+SEASON_YEAR: April 1975  
+TYPE: ARTICLE  
+CONTENT:  
+Art Dealers Rosa Esman, Betty Parsons and Virginia Zabriskie, artists Rosemarie Castoro and Laurace James, 
+and moderator Maude Boltz opened the Third year of A.I.R.’s Monday evening programs.  
+They offered a candid and engaging discussion of the economics of art and the realities of sustaining creative work...  
+
+TITLE: CALENDAR–EXHIBITIONS  
+WRITER: unknown  
+PAGE_NUMBERS: 3–4  
+VOLUME: 1  
+ISSUE: 1  
+SEASON_YEAR: April 1975  
+TYPE: CALENDAR  
+CONTENT:  
+CECILE ABISH – “Shifting Concern,” Douglass College Campus, New Brunswick, NJ, through May 31.  
+PATRICIA ADAMS – Paintings on unstretched canvases, Central Hall Gallery, Port Washington, NY, through April 27.  
+ROSEMARIE BECK – Poindexter Gallery, 24 E. 84 St., New York, April 22–May 10.  
+(…full list continues)
+
+"""
+
+
+--------------------------
+
+PROMPTS TO CREATE AN INDEX 
+
+#Indexing Prompt
+index_prompt_text = """
+You are an archivist assistant working with OCR-extracted content from historical feminist newsletters.
+
+Your task is to create a structured, article-wise index from the provided OCR JSON data of a newsletter issue.
+
+---
+
+Your output must contain these sections, in order:
+
+### 1. CONTRIBUTORS:
+List all contributors (people who wrote or signed articles, letters, editorials, reviews, or are explicitly listed in mastheads).  
+Format:
+- <Name> (role or contribution, e.g., "publisher and editor," "review author of Ellen Banks," "contributing editor")  
+
+Include contributors found in:
+- Mastheads, staff boxes, editorial credits
+- Signed articles, reviews, or letters  
+Do **not** include people who are only mentioned in passing.  
+
+---
+
+### 2. PEOPLE SUBSTANTIALLY COVERED:
+List individuals who are the primary focus of an article, review, or extended discussion (e.g., a featured artist, critic, or theorist).  
+Format:
+- <Name> (short note on how they are covered, e.g., "subject of review," "artist featured in exhibition"), in "<Article Title>"  
+
+This section highlights people who are written about in depth.  
+Do **not** include individuals who are only briefly cited or quoted.
+
+---
+
+### 3. ARTICLE INDEX:
+List every article in the issue in order of appearance.  
+For each article, provide:
+- Article Title (as printed)  
+- Author(s)  
+- Primary subjects (artists, exhibitions, or movements discussed)  
+
+Do not summarize the article — just capture title, author, and subjects.
+
+---
+
+### 4. CALENDAR EXHIBITIONS:
+List all artists, galleries, or exhibition spaces that appear under calendar- or listing-type sections (e.g., “Calendar,” “Exhibitions,” “Events, Conferences & Symposia,” “Listings”).  
+Format:
+- <Artist or Entity Name> (<exact section heading>)
+
+Do not duplicate these entries in the Article Index.
+
+---
+
+### 5. ADVERTISEMENTS:
+List all persons, groups, or businesses mentioned on pages flagged as advertisements.  
+Format:
+- adv(<name or entity>)
+
+---
+
+### GENERAL INSTRUCTIONS:
+- Do not organize by page number—organize by **article and section**.  
+- Use the newsletter’s stated volume, issue, and season/year where needed (do not infer).  
+- Alphabetize entries within each section except the Article Index (which should follow the order of appearance).  
+- For names, always include a short, research-useful note on their role or coverage — avoid vague filler.  
+- Output must be plain, human-readable, and copy-paste friendly.  
+- End the index with "the index ends here".
+"""
diff --git a/genai/Newsletter_OCR_LLM_Project/requirements.txt b/genai/Newsletter_OCR_LLM_Project/requirements.txt
new file mode 100644
index 0000000..039ed04
--- /dev/null
+++ b/genai/Newsletter_OCR_LLM_Project/requirements.txt
@@ -0,0 +1,5 @@
+pandas
+PyMuPDF
+google-cloud-vision
+boto3
+portkey-ai