‘The Big Sleep is a serious and significant mainstream novel that just happens to possess elements of mystery and crime. The story is well known both in celluloid and print so it is essential to come at it from a fresh angle. Try to design a new cover for a new generation of readers, avoiding the obvious clichés. Originality is key.’

Written by Hannah Yapp

Essay Question: Contrast different approaches to feminist artistic practice since the 1970′s and assess their strengths and weaknesses in the context of the women’s movement

This essay will critically evaluate the contrasting approaches within feminist artistic practice, considered against the contextual issues of the women’s movement succeeding the 1970′s. It will begin by offering a brief social commentary on the movement itself, before examining differing approaches between prolific artists of the era to possibly identify and explore recurring themes, evaluating their similarities in concept against the contrasts in their execution. Finally, the essay will consider and analyse both the personal view of the artist and the response of the public, to ascertain its impact within the context of the women’s movement.

Since the 1960’s the introduction of the concept of ‘sister hood’ had opened up a series of networks, for women worldwide to discuss and share their personal experiences within their communities. McQuiston (1997, p. 78) suggests that this “second wave of feminism was the most acute in its analysis of the masculine hold on power. Its fundamental aim was no less than the transformation of society.” These transformations would prompt a desire to unite and share experiences, bringing attention upon existing issues within society that needed to be challenged; sexism, female subordination, violence against women, stereotypes, exclusion, and general feelings of oppression. McQuiston (1997, p. 78) stresses the importance of the experiences of the individual, identifying that the “personal concerns are influenced or controlled by a broader political context.”

This increase in social consciousness would provoke a need to share, analyse and promote change through education, with Pugh (2000, p. 320) identifying that “most political movements feel the need to know their own history and benefit from the sense of purpose and ultimate triumph which that imparts.” This was reflected in an increase in women within academics, with Pugh (2000, p. 315) highlighting that “a higher proportion of qualified girls began to apply for university…in 1965 one in four students was female, by 1981 it was one in three.” It could therefore be argued that women within the 1970’s were granted greater freedoms to discover the contributions and achievements of previous feminist movements, in addition to identifying with shared issues.

This greater awareness helped create a new culture based on feminist values, ushering in a period of questioning that would slowly begin to deconstruct the social programming inherent in existing culture. Hannam (2012, p. 82) identifies that as a result of this from 1971 “a number of key texts helped to shape the ideas and characteristics of the early years of the women’s liberation movement,” identifying Germaine Greer’s The Female Eunuch, Kate Millett’s Sexual Politics and Women’s Estate by Juliet Mitchell as being particularly relevant. These books would explore a range of topics; suggesting women had been conditioned to accept a sense of inferiority affected by the state and patriarchy, as well as the differences between genders through the insights offered by psychoanalytic theory. Raising these questions and theories would prompt new insights into how the female role had been moulded through generations of society itself, and with sales reaching into the millions, through the use of education and media it could be suggested women had finally found a voice.

These publications would go on to influence governmental policy, with Pugh (2000, p. 319) describing that “national conferences met annually from 1970 onwards and laid down four immediate goals of the movement; equal pay…opportunities and education…contraception and abortion on demand…[and] free childcare.” Over the years these original ideas would expand to become seven, encompassing the portrayal of women within the media, female health, violence against women and freedom of sexuality. The culmination from the experiences of the individual to the aims of the feminist movement is demonstrated by Scholz (2010, p. 75), who states that “in fact, it was not until the late 1970’s that sexual harassment was formally recognised as such.”

One of the first practitioners who could be considered to embody the ideals of feminism within her work would be Carolee Schneemann. Originating from a background based within art history, Schneemann personified the members of the women’s movement in the fact she was a well-educated woman. Creatively talented in many disciplines as a painter, sculptor, writer and film maker, Schneeman has also used herself as the main focus within her work. Grosenick (2001, p. 482) describes that “the provocative use of her own body and her abrupt changes of medium in particular have triggered harsh criticism…but also admiration on the part of younger video and performance artists.” Schneemann’s work involves a lot of nudity and revolves around female sexual expression and liberation rather than victimisation, reflecting the aims of the national conferences of the women’s movement.

One of Schneemann’s most significant pieces in this regard is ‘Interior Scroll’ from 1975 (Appendix 1). The performance consisted of the artist entering the performance space wrapped in a white sheet and carrying a bucket of mud, before undressing and ritualistically painting her body. Schneemann then went on to extract a scroll from her vagina and read from the text, with the resulting piece combining a film of the event accompanied with thirteen still photographs. The text itself consisted of a self-analytical speech considering the interpretation of the female genitalia. Grosenick (2001, p.487) identifies that Schneemann’s motivation was to provoke the concept of “whether a naked woman could obtain intellectual authority.” This type of analysis and theoretical prose could be suggested as having a strong basis within the key concepts of the women’s movement, in regards to the stereotypes surrounding a woman’s place within society.

When analysing this piece it is essential to acknowledge the social background surrounding the production of ‘Internal Scroll,’ which would have been interpreted as revolutionary upon its release. Schneemann challenged the culturally-determined perception of the female body, drawing attention to the taboos surrounding the female libido. Previously female nudity within art would have been created to be aesthetically pleasing from a masculine perspective, for example within a seductive setting. Schneemann’s work defied the existing stereotypes surrounding female eroticism, suggesting an attempt at reclaiming the female form. It could be interpreted that the removal of the scroll from her body in this way is metaphorical, symbolising the female form fighting its own battle against sexism. McQuiston (1997, p. 85) supports this theory, identifying that “the way that women used their bodies to create symbols and metaphors was only one aspect of a broader move to reclaim their bodies for themselves and for their own expressiveness.”

Continuing this approach, Schneemann was also renowned for her open expression of sexual freedoms, conveyed visually through her work as well as her own personal ethos. Despite often shocking the audience of the time, this suggests female empowerment with a strong basis within feminist concepts. Schneemann again challenged the accepted boundaries within existing society by highlighting the taboos surrounding the human form. Previously women were made to feel embarrassed and ashamed of their bodies, or ostracised as promiscuous by being openly experimental sexually. Grosenick (2001, p. 487) acknowledges this controversy, but argues that one of the greatest strengths of “Schneemann’s artistic practice has [been its] conflict with cultural institutions and social conventions.”

Newman (2002, online) distinguishes that whilst Schneemann’s pieces “were once dismissively labelled narcissistic…lately they are being recognized as pioneering.” Whilst some would interpret the negative public response of the time as a weakness in her work, its influence within film production exists to this day and its importance cannot be overlooked. Grosenik (2001, p. 482) asserts that “her contribution to American Body Art is now considered a major one.” Despite its graphical nature her work played a pivotal role in expanding social prejudices towards women, with a strong approach within the concepts of feminism.

Another prolific artist whose work reflected a feministic approach would be that of Cindy Sherman. Between 1977 to 1980, Sherman challenged the roles and representation of women within society through her collection of work ‘Untitled Film Stills’. Similarly to Carolee Schneemann, she approached the subject matter by using herself as a model in a series of photographs, suggesting a recurring theme within these two artists. However, unlike Schneemann, these images are not autobiographical; each photograph depicts a female stereotype drawn from film and the media. By placing herself within the role of these stereotypes, it is the intention of the artist that the audience will explore a deeper interpretation of the scenario, in contrast than one pre-offered by society’s view of women.

The essay will be focusing on Cindy Sherman’s ‘Untitled Film Still no.3,’ (Appendix 2) created in 1977. The image itself could at first be interpreted as conveying an aura of innocence, capturing a stereotypical housewife at the kitchen sink. Women and Art (2010, online) distinguishes that at first glance this scene “is clearly making a statement on a woman’s place in the house. [However] a few questions can be asked: why is that look on her face? Is her husband out of frame berating her? Why is she clutching her stomach? Is she pregnant? Is she hungry? These are the kinds of questions one has to keep in mind when looking at not only feminist artwork, but any artwork.” With this subtle style of approach the piece is therefore easily relatable to a large audience, with little to no offence in comparison to the visually graphic work of Carolee Schneemann. Cindy Sherman (n. d, online) described her personal approach to the piece’s conception, suggesting “I didn’t want to make ‘high’ art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art.” It can’t be denied that Cindy Sherman’s successes were huge within the artistic industry and incredibly influential. With the ‘untitled film stills’ series she got international attention and shot to fame. A role model for women everywhere, this itself was having a huge, positive impact on the women’s movement, for awareness and change with the acceptance of women creating great art.

However, one criticism within Cindy Sherman’s work is that although her pieces cover feminist issues, vocally Sherman had little to no part in the movement. This raises the question of whether she is a non-feminist, simply creating feminist art? Holding no opinions on the subject itself, Sherman expressed (n. d, online) ‘The work is what it is and hopefully its seen as feminist work, or feminist-advised work, but I’m not going to go around espousing theoretical bullshit about feminist stuff.’ This quote suggests a contradicting opinion on the women’s movement. On the one hand she hopes the work will influence the social prejudices surrounding female stereotypes, but on the other dismisses the theories and concepts the women’s movement fought so hard for. Using her fame and success Sherman could have continued to promote the women’s liberation outside of the studio, playing a major political role and support in the push for change

Similar to the two previous artists, Catherine Elwes also uses herself as a subject to portray her work, again reinforcing this approach as a recurring theme within feminist artwork. Similar to Schneemann in the sense that she uses herself in film, she differs in approach by concentrating on the natural female form, opposed to sexual freedom. In the piece ‘Menstrual Cycle Two,’ (Appendix 3) Elwes enclosed herself in a white box, dressed in white clothes, in one of the studios of the Slade. The front of the box was glass so she could be observed writing answers to questions and bleeding. Catherine created this piece, as menstruation had no cultural existence and believed women had been made to feel ashamed of a natural female function. When speaking of her approach to her work, Elwes (2000) stated herself “Like many women artists of the time, I drew on autobiographical material and I followed the feminist principle of consciousness-raising in which women exchanged accounts of their lives and applied a wider political analysis to their personal experiences.”

A huge strength with Catherine Elwes, compared to Cindy Sherman and Carloee Schneemann, was that she was open about her own personal views and personal experiences with feminism, and had a strong presence in the political support of women’s liberation. This abiding concern is purposefully evident in her work. Battista (2001) expresses Elwe’s involvement in numerous exhibits to support this including the “Women Artists’ Collective and Women’s Arts Alliance…[plus] two landmark feminist exhibitions: Women’s Images of Men and About Time, both at the ICA in London in 1980.” This is evidence that she vocally and politically supported the women’s liberation movement, as well as artistically.

A weakness would be that her main audience were like-minded sympathetic women and didn’t apply necessarily to anyone outside of this. But for those it did apply to, the connection and impact would have been important, portraying a sense of compassion and understanding similar to the ideals of ‘sister hood.’

When it comes to concluding upon the strengths and weaknesses within the approaches of each artist and their benefits to the women’s movement, the process is not a simple one. Cindy Sherman would be an obvious contender, as her work applies to the largest audience with the most positive reception. It’s interesting how her audience are put in the situation to question the images role or character, this process was hugely beneficial in the 1970’s when women began to question their own lifestyles. Her successes were huge, it could be argued that out of the three she is the most famous and well known. Though in context to the women’s movement she played no part in personally representing the cause, suggesting she left the decision making and opinions to the public. It could be argued that by using her own recognition and success there was a possibility to become a strong candidate and voice for political change.

Carolee Shcneemann statistically would come out the weakest, due to the number of negatives out weighing the positives. The majority of her audience were disgusted and confused about the nature of her work. Though taking into consideration the period of which this piece was created, it is understandable that this reaction followed. Though through the outrage spreads immediate awareness. Her lifestyle and personal ethos in regards to freedom of expression, before the rights were established, holds tremendous courage. Truly inspirational for the women’s movement, she operated beyond society’s constraints of the time, even living beyond the restraints of feminism.

Catherine Elwes artistically created work for the purpose of highlighting the oppression of women, sharing personal experiences for people to find comfort, support and courage. Similar to Carolee Shcneemann in the sense that her work appealed to a select audience the negative response created, again impacted on the publics conscious-awareness, turning a weakness into strength. Out of the three artists included in this essay Catherine Elwes vocally and physically was the strongest supporter of the women’s liberation movement, a spokesperson like this is incredibly important and influential in the women’s liberation.

Despite their successes or failings, the women’s liberation movement’s fundamental aim was no less than the transformation of society. McQuiston (1997) states that when regarding the use of the female form within feminist artistic practice, “their bodies were the crux of so many stigmas and arguments…they used them in a variety of ways to make political statements.” Suggesting that artistically and visually all three artists fought for the aims, ideals and issues of the women’s movement equally. Though it could be argued that, it was Catherine Elwes who was more influential due to the fact she took more of a political role as a voice for change as well as her artistic influences.

Appendix 1

Schneemann C. (1975) ‘Interior Scroll’

Appendix 2

Sherman. C (1977) ‘Untitled Film Still No.3′

Appendix 3

Elwes. C (1979) ‘Menstruation 2′

This year I’ve taken part in curating our ‘Make do and mend’ end of year show. The building chosen, is an old cafe which is now a bus shelter waiting room and soon to be knocked down. We had full control and freedom over the project, pasting images on the floor, painting the walls with chalkboard paint, hand made bunting created to display further work and more. Its been amazing! Heres the poster illustated by Amy Wiseman and created by David Dixon… Updates will follow!