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

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					<persName>Haley Beardsley</persName>
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					<persName>Margaret Hunter</persName>
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					<persName>Diane Jakacki</persName>
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				<funder>Bucknell University Humanities Center</funder>
				<funder>Bucknell University Office of Undergraduate Research</funder>
				<funder>The Mellon Foundation</funder>
				<funder>National Endowment for the Humanities</funder>
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			<div>
				<head><title>Female Experience in Art“: The Impact of Women's Art in a Work
						Environment</title></head>
				<byline><persName><persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/"
							>Ruth E. Iskin</persName></persName></byline>
			</div>
			<div>
				 In early summer of 1975 1 was asked by the Women's Committee and the Office of
					Equal Opportunity of <orgName key="The Aerospace Corporation"
						ref="http://www.wikidata.org/entity/Q7712741">Aerospace
						Corporation</orgName> to curate an exhibition of women's art on the subject
					of female experience. This seemed to me to offer the potential of reaching a
					broad audience and avoiding the defensive reactions often attached to "feminist
					art“ or "female sensibility“ in the art world.<note type="scholarNote">The
						exhibition also provided a good starting point for sorting out my own views
						on the more complex issues of feminist content and female sensibility in
						art, though 1prefer the term "female form language“ to "female sensibility"
						or "female imagery" because the latter have come to be identified with one
						specific, biologically oriented theory.</note> This art has been at the
					heart of an ongoing, often heated controversy which has clouded the issues and
					obstructed direct perception of the work. 
				Female experience has been the starting point for the new art created by
					feminists since 1969. Consciousness raising and other forms of women's
					communication, sharing and group action, initiated as a result of the women's
					movement, made female experience a rich source of subject matter and sparked the
					fresh energy with which women are making art. For the show I selected the work
					of 15 L.A. artists<note type="scholarNote">Funding limitations did not permit
						the inclusion of works by artists who reside outside of the L.A.
						area.</note> to represent both a broad scope of women's experiences and a
					diversity of media, ranging from large environ¬ mental pieces to paintings,
					drawings, photography, prints, collage, assemblage, and artists" books. In an
					attempt to build a bridge between the art and the creators' intentions, I
					requested written statements from the artists, which, along with biographical
					information, were available in a folder in the exhibition area.
				The exhibition was on view from August 18th through September 5th in the
					Cafeteria Conference Dining Rooms of the Aerospace Corporation. It was the first
					exhibition of professional art on the company's grounds, preceded only by shows
					of art by employees. Although sponsored and funded by the corporation, the show
					was initiated by feminist employees who conceived it to offer "insight into the
					emotional aspects of contemporary women.“<note type="scholarNote"
							><title>Orbiter</title> Vol. 15, No. 20 (1975), p. 2, from a letter to
						the editor by the Women's Week Planning Committee.</note> They scheduled it
					to coincide with Women's Week, a program featuring prominent speakers and
					entertainers.
				The management of Aerospace Corporation ("a non-profit research and development
					corporation which provides technical direction of general systems of
					engineering, primarily for the Air Force“<note type="scholarNote">Glenda Madrid
						(of the Aerospace Office of Equal Opportunity and Women's Planning
						Committee) in conversation with the author.</note>) had been forced to
					develop new policies for hiring women in order to meet affirmative-action
					requirements for receiving government funds. Women are in the minority,
					constituting only 25% of the roughly 3,200 Aerospace employees. Most of them
					(80%- 85%) are in lower-echelon clerical and secretarial positions; only a few
					rank among the engineers, scientists, or chief administrators. The company was,
					no doubt, hoping that the art exhibition and the activities of Women's Week
					would go on record as testimony to their newfound good will toward women. Much
					to my surprise, and to the dismay of the sponsors, the exhibition became the
					focal point of hot debate. Violent emotional reactions, protest and support
					quickly assumed the dimensions of a local scandal and echoed for months in
					letters to the editor in <title>The Orbiter</title>, the company's
					newspaper.
				The art in the exhibition offered a feminist point of view on subject matter
					usually treated from a male perspective. Though one might assume that the
					controversial responses arose out of an alienation from contemporary art forms,
					it seems that the conflict stemmed primarily from feminist content.<note
						type="scholarNote">Though some of the non-feminist viewers more familiar
						with contemporary art forms did not share the protesters' offense, it is
						very unlikely that a "neutral“ exhibit of contemporary art would have caused
						similar negative reactions. In addition, none of the protesters mentioned
						any criticism of art forms; all their comments tended to focus on content,
						and most of them made reference to a general distaste for feminism.</note>
					None of the works included were blatantly political protest art, yet they all
					reflected, to varying degrees, a new feminist consciousness. It was this
					consciousness —judging from the reactions of many of the female viewers—that was
					unfamiliar and threatening.
				We are accustomed to think of political art as crude, illustrative, or plainly
					propagandistic, in contrast to "good/serious/modernist" art. It has of course
					been pointed out that no art is entirely disconnected from its historical,
					political, cultural, and geographical environment, and that therefore any art
					reflects these conditions. However, feminist art is often labeled political art
					because the consciousness it reflects is held by a minority, and it is at odds
					with the tacit beliefs of those in power. The label "political art“ is used to
					demean the work rather than to evaluate its artistic significance.
				In a recent interview with <persName key="Judy Chicago"
						ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName>, the
					artist articulated her thoughts and feelings about these issues:
				<quote>The issue of politics for me arises at the point where my work interfaces
					with culture; it does not arise at the point of origin in my studio. never think
					about politics when ! make my art; rather 1 think about being true to my own
					impulses, and for a woman to be true to her own impulses is, at this point in
					history, a political act.... What ! challenge is the idea that masculinity is
					inherently better than femininity; that hardness is better than softness, that
					defensiveness is better than vulnerability, and <pb
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					<pb
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					/> that violence is better than sharing. The assertion of womanhood is a
					challenge to all these values that allow war dehumanization, rape, and art that
					lacks relationship with reality to continue.<note type="scholarNote">All the
						quotations from artists are from recent interviews conducted for this
						article</note></quote>

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

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

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

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

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