Tag Archives: #YesAllWomen

#PERVSCHOOL #HASHTAGFEMINISM #VALIANTWOMEN

1.#PERVSCHOOL

What we are learning from the series of exposures of sexual assault and harassment by figures from Weinstein and other Hollywood directors I have never even heard of and now Knight Landesman at Artforum constitutes a veritable textbook of psychopathological deviance and perverse behavior put to the specific use of abusing and harassing women in the workplace.

I used to wonder if New York landlords all took the same course where they learned such typical techniques as how to go from cajoling a tenant with too good to be true promises to two seconds later seconds threatening your life if you didn’t accept their offer. Recurring patterns of the MO of the sexual predators we have had to spend time with this past month makes you wonder if they all go to such a school to learn these techniques and behaviors. Well yes, they do, the school is one with the biggest student body on the planet, one we all attend, that is, patriarchy. Women attend too, since birth. Though born to and brought up by women, such men don’t seem to have attended matriarchy school or the we are all human beings school.

For those of us who don’t practice this kind of abusive behavior or who are fortunate to have never encountered it to such a blatant degree as revealed in these cases, this news has itself been a school in all kinds of violent and psychologically humiliating methods. Further as a recent article about the newest class of abusers, Leon Wieseltier and Mark Halperin, points out, one is asked to believe that there is no relation between the political views held by these male gatekeepers of public opinion and their personal derogation of women:

What does it mean that these men — and so many others liked them — held the power to literally shape America’s political narrative? What does it mean, as New York magazine’s Rebecca Traister noted on Twitter, that the story of, say, Hillary Clinton’s public career was told by these sorts of men?

One does not need to dig very deep into Halperin and Wieseltier’s work to find echoes of their private behavior in their public comments. “For Leon, women fell on a spectrum ranging from Humorless Prig to Game Girl, based on how much of his sexual banter, innuendo, and advances she would put up with,” writes Cottle. It’s an observation that sheds considerable light on Wieseltier’s oft-expressed contempt for Clinton. In 2007, Wieseltier told the New York Times that she was “like some hellish housewife who has seen something that she really, really wants and won’t stop nagging you about it until finally you say, fine, take it, be the damn president, just leave me alone.”

Art historian Anna Chave, among others, has made a related point about the women gatekeepers of art history, for example in her essay “Minimalism and Biography,” collected in the excellent anthology edited by feminist art historians Norma Broude and Mary D. Garrard, Reclaiming Female Agency: Feminist Art History After Postmodernism. Chave critiques the rhetoric of objectivity of minimalism by examining the personal relationships between the male heroes of the movement and their critical proponents: “In the radicalized 1960s, neo-Marxists, including partisans of Louis Althusser, elevated the categories of the material and the social over those of the individual or the subjective. For Marxists generally—as indeed for capitalism also—personal and expressive values have historically been derogated as secondary and tacitly, or otherwise, feminine, sine women have ordinarily been acculturated to assume their arenas as their proper domains…But in actuality, the leading Minimalists have been hardly less heroicized than prior members of the elite of art-historical canons. …Most of the critics who built their own reputations by building the reputations of artist in Minimalism’s inner and outer circles were friends and, at times, lovers or spouses or the same artists, a fact that is a matter of record on a piecemeal basis at best and thus is widely unknown outside the circles in question.” Same point in reverse.

The evening of October 10, 1991, I watched Anita Hill’s testimony against Clarence Thomas before the Senate Judiciary committee confirmation hearings. Chronology of events on Wikipedia places her testimony on the 11th but my diary from the period indicates that on the evening of the 10th as I ate dinner watching the hearings I shoveled food into my mouth without thinking and got a fish bone stuck in my throat–I was so transfixed by what I hearing I forgot to chew my food. The next day Friday October 11, the diary reads “watched Anita Hill but realized mid-day I had to go to hospital, went to Eye & Nose etc (sic) hospital 14th street got fish bone out.

A lot more pubic hairs have been added to that coke can since.

Of all the disgusting and arcanely perverse things I have read in the past few weeks these will stand out:

Once they left, Sivan says Weinstein leaned in and tried to kiss her. Sivan rejected that attempt and told him she had a long-term boyfriend. Weinstein then said to Sivan, “Well, can you just stand there and shut up.”

At this point, Weinstein and Sivan were in a vestibule between the kitchen and bathrooms. The only way for Sivan to get away from Weinstein required her to get past him and go through the kitchen. Sivan says she was trapped by Weinstein’s body and was intimidated.

Weinstein then proceeded to expose himself to Sivan and began to masturbate. Sivan said she was deeply shocked by Weinstein’s behavior and was frozen and didn’t know what to do or say. The incident in the vestibule didn’t last long. Sivan says Weinstein ejaculated quickly into a potted plant that was in the vestibule and then proceeded to zip up his pants and they walked back into the kitchen.(Huffington Post)

She went for the door. He told her he couldn’t let her go unless he had sexual release. All she needed to do was pinch his nipples and look into his eyes and he would press himself against her and come in his pants. She felt she had no choice. And while it was happening, she tried to look away, but he grabbed her head and made her stare into his eyes.(LA Times)

“In one alleged instance, Landesman learned that Elisabeth McAvoy, who was in her 20s and an Artforum employee, was living with her sister and was told, according to the complaint, “that she should move out so that her sister could ‘come herself to sleep.’ ” (ARTnews)

“Do you want a walnut? Let me feed you walnuts.” (Artnet)

In its editorial today, “Will Harvey Weinstein’s Fall Finally Reform Men?” the Editorial Board of The New York Times declares that, “This may turn out to be the year when the tide finally turns on sexual harassment.” They point to all the positive statistics of women in the labor force that might suggest that. They don’t point to the recent election of a pussy-grabber and to the regressive views about women held by the Christian fascist who may replace him if necessary.

Here are some of my experiences with recent moments of awakening and public attention to sexual harassment.

  1. #HASHTAGFEMINISM

Just about one year ago, right after the release of grab em by the pussy tape, author Kelly Oxford started a Twitter wave “Women: tweet me your first assaults.” If you’re on Twitter take a look back. Thousands of tweets an hour at one point. Add these to the #METOO wave which started about ten days ago. #METOO though compared to so many women I’ve just dealt with fairly minor gross and inappropriate behavior + insidiously subtle & annoying forms of sexual harassment—the greater toll has come from all the professional situations where the anger at my feminist views and critical writings or representations in my work would suddenly be revealed and I’d realize how that anger affected my career in ways I was usually oblivious to believe it or not.

In the midst of the wave of #MeToo posts on Facebook and Twitter in the past few days, “#MeToo was all over Twitter, Facebook and Instagram — over 500,000 times on Twitter and 12 million times on Facebook in the first 24 hours alone according to an Op Ed piece in the New York Times, I realized that I had kept a screen shot taken during a previous similar hashtag wave, #YesAllWomen. Does anyone even remember that? I didn’t even remember what caused that episode of sharing (Rebecca Solnit had to remind me that it was in the reaction to the Isla Vista shooting, the kid who set out to kill the prettiest sorority girls because no one wanted to have sex with him).

Did that hashtag make a difference? Will #MeToo make a difference? Did the revelations of how pervasive sexual harassment and abuse are stay in public consciousness or change anything? Asked and answered.

I chose a particular screen shot of #YesAllWomen because of the tweet at the top, “#YesAllWomen because how often does a man text his friend to say that he got home safe?” Many women are sharing stories of outright rape, gross abuse, repeated dangerous and humiliating encounters, as well as pervasive experience with the kind of slights that seems minor, that one brushes off, diminishing many of those experiences in one’s own mind to the point of drawing a blank, I think as a defense mechanism so that one can continue.

That one sentence about women calling their friends and their mothers and sisters to say that they got home safe is the closest to the experience shared by all women, and it is enough to indicate a societal and global issue. From the minute a girl is allowed to go from one place to another by herself, she is instilled with fear by caring fearful adults. That alone is sexual abuse. That alone is something that must be dealt with and negotiated with within oneself. That alone is a limitation on women’s ability to fully inhabit a public and even a private life. Not all women live with the same degree of fear, most women continue to trust, and that trust has been made clear as a mechanism in several of the stories about Landesman’s abusive behavior as a publisher of Artforum, but still, I think the fear is very deeply instilled at an early age. I think back to one aspect of my childhood in New York City: my mother would insist that I take a taxi home from my best friend’s house across the park, but then I would sit in the back seat with my hand practically on the door handle thinking about how to jump out of the car if the driver looked like he was going to veer from his course. Now that cars have locks controlled by the driver I have my phone at the ready. So not only was it ingrained in me from an early age that there were dangers, all children do have to learn that but girls in a special way, but even that what was supposed to keep me safe could also be a source of danger. That is the basic plot line of many horror movies with young women protagonists: the killer is in the house, call the police, the police is the killer.

The point is that all women since childhood have to deal with at the very least, that fear and the necessity for heightened awareness, limitations on one’s movements, and shame as the weight of the abuse falls on the women. I think back to a conference held at Hunter College in the wake of the Clarence Thomas/Anita Hill public hearings, one of the speakers, I think Amber Hollibaugh, said, every time she — Anita Hill, any woman—speaks her story of abuse, she IS sexuality, she IS the crime that was perpetrated on her…those weren’t the exact words, it’s a long time ago, but it rings true through to today, that when women do speak up, they get revictimized, even just by the act of speech, they embody the crime rather than the crime being embodied in the abuser—and yet if they don’t speak up no one thinks about it and the perpetrators go on and on without punishment.

And that is what is most disturbing and significant: for each woman who has had an encounter that ranges from violent crime to daily annoyment, there was a man who did it. Since I think that basically #YesAllWomen, that makes for a lot of men. So now we have #NOTALLMEN. But if it is 100% #Yes AllWomen then #whatpercentageofmen? So the problem seems to be in how masculinity is defined or more to the point, how over centuries patriarchy has defined woman as lesser.

I used as an epigraph to my first published writing, “Appropriated Sexuality,“ a few lines from a poem by Muriel Ruckeyser,

Whoever despises the clitoris despises the penis
Whoever despises the penis despises the cunt
Whoever despises the cunt despises the life of the child.

Because she is the source of life, she embodies the knowledge of death, and thus must be punished.

I first became radicalized and empowered by feminism when I was about nineteen. And here we are, with the hundreds of thousands of revelations of #YesAllWomen forgotten and not having brought about any change and #MeToo with us today. After all these revelations, and all these waves of feminism, and all these backlashes, a young woman still feels she has to say, oh OK feed me the damn walnut so I can get on with my work and keep my job.

There is no happy ending or solution to this rambling post just more hashtags because there are more abominations by the day.

For example last week (or was it last year, the current regime has made time a torment), General John Kelly waxed nostalgic about a past when “Women were sacred.” #Whenwerewomensacred? #Womenarenotsacredtheyarehuman #Ifwomenare“sacred”theyhavethegodlyrighttomakedecisionsabouttheirownbodies.Otherwisetheyareonly “sacred”as#broodmares #apologizeorresign

If the belief that women are not equal human beings is so deeply engrained in human civilization since the development of property rights, agriculture, and urban settlement, the battle to maintain and gain rights, parity and humanity is #endlessbattleforrights.

3. The women targets

The Consciousness raising sessions that were an intrinsic part of the Women’s Liberation Movement in the 1970s took place within living memory (mine at least), a movie like 9 to 5 came out in 1980, representing both a flowering of Women’s Lib and marking the end of that social movement and the beginning of the backlash against it. But in the intervening years there was still a lot of popular culture and popular rhetoric about the empowerment of young women. The Anita Hill episode was seen as a turning point in terms of reawakening feminist activism particularly at the legal level. Institutions have guidelines, don’t they? And the understanding I’ve been given—by several mini-generations of “post-feminists” and feminists, as a “70s feminist with all the stereotypical negative associations of that historical era, is that several new generations of young women since the 70s didn’t take shit from anyone.

But alas, they do, and I am not sensing that they feel the presence of a sisterhood that would back them up publicly as opposed to privately. As all women do, they at the very least told women friends but the story most often stayed there. Instead of feeling empowered to say, fuck off you perv, their first reaction has been the time-honored one: they tried to be polite, politic, and manage the situation if manageable—the situation of Weinstein and Toback also involve physical intimidation and violence. In the case of dealing with someone like Landesman or Leon Weiseltier, some eventually spoke up to the powerful man, which took enormous courage. But those conversations remained private as well so the behavior would continue.

By the way I am not writing here about the situation of women working for minimum wage who feel powerless and terrorized. The news in recent weeks is about abuse taking place at the top of professions with many of the participants well-educated women.

Can we crowd source a guidebook of techniques to deal with these creeps, from physical self-defense training—which is not relevant to every one of the millions of situations women encounter daily around the world–I think of a friend’s inspired response once when working for an abusive editor at a major (non art publication)–it wasn’t exactly sexual abuse as I recall though it clearly had a gendered substructure, he would yell at her and put her down viciously. Versed in feminist performance art, one day leaving his office where she had been yet again been verbally berated, she spontaneously got down on her hands and knees to crawl back to her desk through the open office space occupied by co-workers. By overtly enacting the position he was putting her in, she apparently shocked him into at least a moderate change in his behavior.

Most women have endured a lot of abuse without bringing complaints or legal action, although I would think that most companies and institutions would have strict rules about sexual harassment, if only to prevent lawsuits. My institution regularly insists that everyone take an online training course on discrimination and sexual violence. But the women who got huge settlements from FOX seem to be the glaring exceptions from what must be a huge pool of women who have been similarly degraded and controlled, among whom some waited and went along with their tormentors for years before taking action.

This becomes particularly problematic when there are women in the power structure.

4. The Women of the Institution #politesse

This past week, I was interested first by the case of Artforum Michelle Kuo, who resigned after the public statement by the publishers of Artforum. I do not know her and know very little about her influence in changing the publication or of her as a boss—indeed whether being editor in chief was considered a directorial position. But I was struck by the fact that some women in the art world commended/defended her while I had been wondering how she could not have known what was going on, since the kind of behavior Landesman “allegedly” engaged in included a lot of stuff that cannot be hidden. Saying intrusive uncomfortable , sexually inappropriate things is not the kind of thing that such men hide, though they may hide some of the creepier more pervy and intimidating stuff from their colleagues, guys who say stuff are the sine qua non of a woman’s life. In fact I think a round of applause is due for all work situations where this kind of stuff just doesn’t happen because the people are just decent. So how in a company with a relatively small staff and office footprint from what I know, could she not know? Did she not have some responsibility for the hostile work environment? Was she herself a victim? Or was she too a victim of the larger situation, like so many highly educated professional women in the art world, who have a deeply engrained sense of politesse and perfection of which one premise is that you do not question the hierarchy?

5.The other women of the Institution #ValiantWomen

Yesterday after reading the statement from Artforum employees “Artforum staff Condemns Magazine’s Management of Allegations,” I scrutinized the masthead of both Artforum and Bookforum, highlighting the names of those who had signed this declaration, so that I could also distinguish who had not signed. I thought about what the role might be or what one might reasonably expect from some for the most prestigious writers who are published in Artforum, such as the Contributors Editors: among these are such noted art historians and critics Jan Avgikos, Daniel Birnbaum, Yve-Alain Bois, Germano Celant, Thomas Crow, Hans Ulrich Obrist, James Meyer, and Katie Siegel.*

These masthead notables do not work at the offices of Artforum and they are not to my knowledge actual employees of Artforum. I could be wrong about that, but I doubt if they have contracts or receive a regular salary for occasionally contributing a text and being listed as a contributing editor. Thus they could legitimately say that they didn’t have anything to do with that aspect of the institution. But, still, I wondered, do they have anything to say, do they play a role, might not their views or support be of interest.

I have published writing in Artforum. Nowhere near the masthead but still, fewer than six degrees of separation. My first encounters with Artforum in the role of an art writer go back to a moment of significance in feminism, at the end of the highly contentious and polemic 1980s, the era of the backlash, of Jesse Helms, of ACT-UP, The Guerrilla Girls. In 1989 I was approached by Jan Heller Levi, then an Associate Editor, to publish a review of Janet Kaplan’s wonderful book on a wonderful artist, Remedios Varo: Unexpected Journeys. I knew Heller Levi through my work and circle of friends as the co-editor of M/E/A/N/I/N/G. After that, over a short span of two years, I published a number of significant features including a feature about the Guerrilla Girls and a cover article on Ida Applebroog. When Levi left, I worked with Deborah Drier on a more general essay “You Can’t Leave Home Without It” about the concept of home. Heller Levi and Drier were both knowledgeable and sympathetic editors and for all these pieces I had memorable editorial sessions with Ida Panicelli, then the editor who commissioned the Applebroog and Guerrilla Girls pieces. I call that feminism from the top. Incidentally Landesman was already an Executive Publisher, but I had no contact with him whatsoever, and was oblivious to any hostile work environment issues during my few but intense editorial conferences where I learned about arguing for “if” and “they” and other fine points of writing.

Twenty-two years passed before a few interesting new writing assignments came my way, not about directly feminist themes, but with a sense that I was asked in part because of my reputation as a feminist artist and writer. In this second phase, by the way, no office visits, everything is done by email, everyone very professional. In many of my interactions with this particularly institution, I feel that I have benefited from the support of women–editors, artforum.com editors and writers, reviewers, whose support I appreciated and who are among the employees who did sign the letter yesterday.

Women can and do mediate the careers of other women, writers, artists, only inasmuch as they have an allegiance, a solidarity, an intellectual and emotional identification with a feminist politics but also only inasmuch as they themselves have power within the institution and they only have power in the institution to the degree that they are able to negotiate the power structure or buy into the patriarchal hierarchy without forgetting their “feminist ideals,” the curious term used in Artforum’s first public statement about the charges against Landesman (cf.Hyperallergic wrap up “A Week of Chaos at Artforum Magazine Following Sexual Harassment Allegations” for the update on this rapidly developing story). Thus they have to manage their own support of women. This is particularly true of institutions where the top positions are held by men, so that constant politesse and negotiation must be engaged in at all times, in order to focus on the work by women as much as the situation will allow, with the top billing going to men by patriarchal default.

Micol Hebron’s analysis of Artforum’s covers is useful, with only 18% percent of covers since the inception of the magazine representing work by women artists. Hebron updated her survey this week but the percentage had not changed since she first assembled the research in 2015.

Many women artists owe a tremendous amount to the dedication of these valiant women in the institution. I think research would prove that they are responsible for a majority of lines on many a woman artist’s CV, all the smaller shows in university museums, the essays in feminist and small publications, and the always carefully strategized opportunities in more significant institutions. These valiant women of the institution do as much as they can to be inclusive of women. As Jennifer Higgie always says in her Instagram project on women artists history, “#bowdown.” Institutions might change if these women in the arts were raised to a bigger level of responsibility, so that what they think is important, what they are aware of, what they bother to respect, might be given room at the top of the institution. I think this might help change the culture of these work places.

*
I highly recommend an anthology that was published a year after the Anita Hill testimony, Race-ing Justice, En-gendering Power: Essays on Anita Hill, Clarence Thomas, and the Construction of Social Reality, edited and with an introduction by Toni Morrison.

It includes powerful essays in a range of modes from the legal to the poetic by authors including Homi K. Bhabha, Nell Irvin Painter, Andrew Ross, Manning Marable, Cornell West, and Patricia J. Williams. I’ll end this piece about a system of basic social inequity that, according to historian Gerda Lerner in The Creation of Patriarchy goes back to the earliest development of human civilization, with the end of Patricia Williams’s text, “A Rare Case Study of Muleheadness and Men or How to Try an Unruly Black Witch, with Excerpts from the Heretical Testimony of Four Women, Known to be Hysterics, Speaking in Their Own Voices, as Translated for this Publication by Brothers Hatch, Simpson, DeConcini, and Specter.”

So perhaps it is truth that any woman who is not a witch shall simply refuse to burn when tied to the stake. And perhaps it is truth, after all is said and done, that masturbation really does make men go blind.

 

 

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#YesAllWomen‬ and #NotAllMen‬

In the past two days, since the latest mass murder at Isla Vista, California, the Twitter hashtag #NotAllMen has generated a responding hashtag #YesAllWomen which has gone viral, with over a million tweets within 48 hours. This evening I counted about one tweet per second. That is, via #NotAllMen men have made the generally reasonable but also defensive assertion that not all men are homicidal misogynists, or maybe that at least not all misogynists are homicidal maniacs. There are also many Tweets by women at #NotAllMen responding to the more defensive aspects of the comments by men. Definitely the subject matter for someone’s dissertation! #YesAllWomen has responded with the widely shared experiences of women that not only do many–some statistics say one in three, some say one in four–women experience sexual or gendered abuse in their lifetime, but all women live with fear  of violence based specifically and simply on their being female as well as with other forms of discrimination. The tweets including many images have contained damning statistics, and also deployed humor very effectively. I read the text in the image below out loud to a friend over the phone, as the script of a skit. Try it.

There are so many dimensions to the most recent, Isla Vista/University of California at Santa Barbara massacre, and discussions and reactions have focused on mental illness, gun control, racism, misogyny. It is important that the rage that women feel at the misogynist component of this latest of so many similar tragedies/atrocities afflicting this country in particular must be accompanied by a feminist, gendered analysis of events and of power so that outrage can lead to all types of  political activism, whether it is  in the form of marches and actions that raise awareness, like the #YesAllWomen phenomenon has, or in the form of involvement in politics in a more conventional form, helping defeat the legions of Tea Party assholes making idiotic claims about female anatomy and restricting women’s access to health care, abortion, birth control, equal pay for equal work, justice in the military etc…

So, I posted the following today on Facebook:

Re #‎NotAllMen‬ and ‪#‎YesAllWomen‬, here’s a less sexualized point: all women have to study the creative work of men, if they go to school, if they want to succeed in professions, but in my experience as a feminist artist and educator practically no men ever feel that the incredibly rich body of artwork, literature and discussion by women specifically in the period of second wave feminism of the past fifty or sixty years (as well as in the hundreds of years before) is necessary for them to study and learn from. I’ve been to countless panels over the years where really important art and ideas were discussed but since they had to do with women artists and feminism, there were maybe 5% men in the room. It’s something people joke about it is so pervasive. Male artists have certainly benefited from the permissions both formal and thematic coming from feminism but they don’t see the need to participate or even witness the discourse. Perhaps they feel excluded or that they wouldn’t be welcome, but women don’t get to make that kind of decision about taking courses or attending lectures and symposia on world literature, philosophy, art etc etc etc if they want to survive in the world. …so much more to say and many different ways of saying it.

The entire post and comments thread is public, here are some heartfelt, eloquent and thoughtful selections from the conversation that followed:

Joni Spigler: Totally on or off topic, last night I decided to download Sense and Sensibility from the Pirate Bay and because I guess mostly guys use torrents all the comments were in the form of “hey this is a great film if you want to impress your lady”. There was no other reason for that film to be on the site or for anyone to download it….Whereas any action movie gets comments about image quality and screen ratio, sound etc.

Tracy Ann Essoglou: Yes, thank you again Mira. This is what I call “The disproportionate work of being human.” We study not just ‘them’ but always and only ‘through’ them: be it creative, philosophical, medical… The white European male is still the standard in all disciplines, evaluations, social terms… expecting access and dominion. Th rest of us are still mostly just scurrying about for the crumbs.

Ken Vallario: there are many men who agree, but such men are also victims of dominant males, and similarly alienated from an art world that is not ideology-neutral. feminism is for me, as a man, husband, father of a daughter, one of my primary philosophical commitments…i think the art world is too corrupt to be fixed, and so i have begun the philosophical process of trying to create new categories for intellectual engagement that is holistic, sustainable and egalitarian. and the fact that such a thing can be strongly female, seems to me to be a plus. i think the art world, as is, is a bubble that will eventually implode, and there will be a great hunger for alternatives when that happens…consider me an ally. We live in a world with many evolved women and men have not fully realized that they too can rise up against male dominance, as the sensitive ones feel conflicted about confrontation…

Michelle Rogers: We also need to consider how we women continue to support these structures. Look at the amount of women that you see visiting any museum or attending art galleries. We show up, we keep applauding and supporting these guys and institutions that are so prejudiced against us!

Mira Schor: we show up because we are interested and want to be informed.

Amy Ruth Buchanan: Perfectly put, thank you. It starts in childhood. Generally speaking, girls will get more support and approval for “crossing over” into traditionally boy-identified games, pop culture, and interests than the reverse.

Lucy Meskill: When there is only one door to enter a power structure through, one must avail themselves of it, it is what one does once they are inside that makes a difference. I do not blame any woman for learning to play a man’s game, since it’s the only game in town, once enough of women are in power positions that in theory should make more portals of entry available. That is if we remember to be agents for change once inside.

Mira Schor: but the thing is, first of all, I don’t consider Goya, or Giotto or Dickens or Mondrian or Guston –fill in the blank–as a man’s game, those artists speak to me and give me language that is just as valuable to me as the language that Jane Austen, Charlotte Bronte, Virginia Woolf, Carolee Schneemann, Louise Bourgeois, Maria Lassnig, Ida Applebroog, and Ana Mendieta–fill in the blank– do, I feel they are my birthright as a human being, they enrich my life, and I am in conversation with them, but the reverse does not seem to hold true. But, second, there is a class of knowledge and art production that also gives me language but I feel it is masculinist and misogynistic, it still may be great but it is much more problematic to me but I still need to learn as much of it as I can, and what I don’t manage to learn or stir up enough interest in, I suffer from not knowing, and I mean suffer professionally as well as intellectually and perhaps politically in all senses: cf. in the 80s and 90s if you referenced Lacan you were on the right side of history, if you referenced Irigaray you were an essentialist and good luck to you. I’m not even bringing in the fact that in the post Lacan/Butler era many women refuse to identify with the word/concept Woman, don’t question their identification with masculinities in the name of gender freedom, and wouldn’t show up at the panels and symposia I’m talking about either. As I said, there is so much to say and so many ways of saying it. I also should say that I am to blame in that I have internalized the inequality: when I find myself in a really interesting discussion in a panel or symposium I kick myself for not having insisted that my students, male and female, should have attended because there is so much that is REAL that is being spoken about and deeply felt, as opposed to some other academic situations they may be exposed to, but I didn’t because I have internalized the meaning of that 5% attendance, that ghettoization of feminist concerns and practices.

Monika Weiss: This is such a vast and painful topic… and I am happy we are talking about it. Thank you Mira for taking this on. This is rather avoided from public debates, and by all means, omitted. It’s starts in schools, not in art schools but in regular primary schools, in fact it starts on the level of governments and education programs and what is required and what is not, to educate new generations. By the time I get my graduate MFA candidates, they went through all processes, have read “Lives of Great Artists” as children and grew up with covert (or not) misogynist stories with the assumption of normalcy. How to unravel this on the level of graduate study not to mention symposia and panels, which I also find disturbing in this way? It’s a cultural and political work, but also legal, policy-based and legislative. If for example a given enlightened/developed country might require that women writers and artists need to be part of the cultural histories taught in primary schools, as an actual enforced policy (literally, going down to numbers of women present in a given curriculum, like we did with gender based discrimination in a work place)—then perhaps after a few decades of forced and unnatural condition, we may arrive and “naturalness” of such approach. However this leads back to the government and the rather weak presence of women, even in more developed countries. This said – we also can help to some degree, perhaps by our teaching involvement (so many of us artists teach more or less throughout our lives) and by being vocal and present in public about it all [this is possibly funny coming from a rather shy person as I am]. But on a deeper level though, our main enemy – which is also the current system of inequality’s main friend — is the very idea of “difference” and of otherness, any otherness but in this case between men and women. Being in the position of inferiority (as perceived by the ‘master’ – the white, wealthy male) we cannot claim to possess exact sameness (just like black men/women or poor classes, immigrants etc) rather, we out to claim equality in difference, and I mean by it in any difference, not just the one that is genitalia-based… so while I will always support and identify with women around the world, I wonder how we can continue the philosophical (and therefore cultural and political) work of people such as for instance Judith Butler and her performativity of gender as well as her recent work against war, and Bracha Ettinger, and her brilliant work on matrixial space, for example. As artists, can we contribute to undermining this prevailing status-quo? A lot of progress has been made, especially within academia, where we have all kinds of Gender Studies or, from a different field, Holocaust Studies etc. but what has to be done with regards to the outside world, the world that reads the “Lives of Great Artists” and that believes that our senators’ knowledge of science is sufficient?

Andrew Falkowski: Is this statement pointed primarily towards major museums, collections, curation?

Mira Schor: no, my statement certainly includes these categories but I think it is pretty evident that it has to do with all aspects of cultural life, how is a woman educated, what is presented as important and essential to her being an educated person, how is a man educated, what is deemed important and essential for him to be an educated person.

Rachel Youdelman: Great discussion, Mira. At an event I attended when my daughter was in high school, the English teacher apologized to the parents of the boys in her class for teaching Jane Austen.

A previous conversation thread on Facebook yesterday was inspired by Rebecca Solnit‘s post of a section of her book Wanderlust: A History of Walking, about the fear of assault that women feel at all times and that controls their behavior whether they are actually in danger at any given moment or not. See her informative posts on recent events here (most are set to public)

It is a sad but telling coincidence that my previous two posts on A Year of Positive Thinking were about the murder of Ana Mendieta.

The conversation goes on.

 

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