Welcome to the National Art Education Association Women’s Caucus Voices Blog! We invite you to participate in our ongoing dialogue about the issues of gender equality and social justice in the context of art classroom and beyond. This page features our feminist postcard projects from 2011-2012. You can view ideas that grew out of the NAEA’13 Lobby Session dialogue and the 2013 postcard project “Half the Sky” by clicking on the tabs above.
Building on conversation started at the 2012 NAEA convention and continuing with the tradition started by our previous Outreach Coordinators, NAEA Women’s Caucus members were once again invited to create a piece of postcard art based on the idea of Feminist Remix.
Feminist Remixing involves alteration, recombination, and dislocation of socio-cultural ideas and representations of girls and women to provoke a new dialogue about feminism and gender justice. It also draws upon influential exchange and collaboration between girls/women of different generations, experiences, and affiliations.
Visualize! What is the pedagogy of Feminist Remixing? What does it look like? Sound like? Feel like?
#1. Untitled. By Judith Fowler.
#2. Untitled. By Gretchen N. Ebersol.
#3. Untitled. By Amy Bloom.
#4. Generations of Faculty & Students Remixed. By Kit Grauer and her students.
#5. A still image from the digital movie, “Threads by Hand,” based on feminist sewing techniques, traditional painting, and computer-generated moving images. By Christine Gorbach.
#6. Untitled. By Olga Ivashkevich.
#7. Untitled. By Peter Scurr.
#8. Untitled. By Anonymous Artist.
#9. Untitled. By Joanne Rees.
#10. Untitled. By Laurie Gatlin.
#11. Untitled. A collaboration between Juliet Araujo, age 50 (artist, researcher, teacher) and a 16-year-old female art student who comes every Saturday to Juliet’s studio.
#12. A Cross-Generational Feminist Remix. By Zoe Moos and Barbara Bickel. Two images juxtaposed and overlapped, bring together two self-portraits of two friends, one a 15-year-old artist and the other a 49 year-old artist. Both created at times of life threshold crossing and both expressing the sensuous, embodied experience of a woman learning to live fully in her own body without restraint in the world.
#13. Untitled. By Amy Brook Snider.
#14. Untitled. By Jerry Hausman.
#15. Warp Another Loom. By Jackie Thomas. Sketch for paper composition.
#16. Untitled. By Dianna Huxhold.
#17. Untitled. By Nan Waterstreet.
#18. Untitled. By Yvonne Pepin-Wakefield.
#19. Untitled. By Christy Ortiz.
#20. Untitled. By Stephanie Wirt.
#21. Untitled. By Cindy Maguire.
#22. Untitled. By Jean Langan.
#23. Untitled. By Enid Zimmerman.
#24. Untitled. By Linda Neely.
#25. Untitled. By Laurie Gatlin. Dazzle camouflage was used during WWII on ships. Its purpose is not to conceal, but to make it difficult to estimate range, speed, and heading.
#26. Untitled. By Debbie Smith-Shank.
Judy Chicago’s teaching methodology, similar to the way she approaches artmaking, begins with self-presentation, which leads to content-searches as arts-based research to situate individual experience within a larger context. Her methodology guides how to transform personal experience into a tangible content-based visual expression that is accessible to and engaging for a larger community.
When you look at the artworks produced within Judy Chicago’s 11 different teaching projects, they stimulate discussion. The images are incredibly powerful. The teaching materials from the Feminist Art Program, founded in 1970 by Judy Chicago in Fresno, California, along with Chicago’s other teaching projects between 1970 and 2005 are historically significant in the development of feminist art pedagogy as processes that can contribute to socially responsible participatory democracy.
See http://judychicago.arted.psu.edu/ for information about the Judy Chicago Art Education Collection and to see digitized materials from the Collection.
A time when you felt powerless or not in control.
“I felt empowered when I defend or help the ones I love, family, students, friends, people I visit in the hospital. I am the white knight. I tilt at windmills. My own troubles become smaller when I can help some one else.”
-Written by the artist.
“A time when I felt powerless or not in control.”-Written by the artist
Prompt #5. When you or another you know felt/was violated/threatened.
“This design relates to issues #2 and #3. We wear varied masks each day in order to relate and cope with our environment. In some groups I am totally transparent to them and have no voice whatsoever. In other groups, I am a valuable colleague or friend. Our minds are always working, but no one really cares!” -Written by the artist.
Leaving the NAEA Convention in 2010, one of the goals the Outreach Coordinators had was to extend the dialogue and connection of Women’s Caucus members beyond convention and throughout the year. The Postcard Project is one avenue for creating a dialogue among members and importantly, speaking in our medium: Visual Art.
WC members were mailed Postcard Project packets on January 3rd, 2011. Inside you found a greeting letter, consent form, and blank stamped postcard addressed to Outreach Coordinator, Caryl Church. Using the prompts below as a jumping off point, members are asked to reflect and visually create a statement. Place the postcard in the mail. Once postcards have been received, Caryl will post them to this blog. From there we can, as a membership, create a thoughtful, inspired dialogue about feminism, feminist pedagogy, social justice, and art education.
1. A time that you experienced feminist pedagogy as teacher or student.
2. A time when you felt stereotyped or discriminated against because of your gender, race, sexuality, age, abilities, appearance, or creed.
3. A time when you felt powerless or not in control.
4. A time when you felt empowered.
5. A time when you or another you know felt/was violated/threatened.
An article in Cleveland’s Plain Dealer newspaper highlighted the blog of seventeen year old feminist Julie Zeilinger. About 356,000 visitors have read her website, thefbomb. Zeilinger considers herself an editor, but contributes to the articles on the blog. A blog from 4/30/2010 questions “How are we supposed to identify as feminists when most of us don’t even know what a feminist looks like?” This young woman is adding her voice to the larger discourse and bringing other teenagers with her. Kudos to her!
No doubt this blog is a insightful read for all of us trying to conceptualize the idea of a feminist and feminist art educator. You can read the Plain Dealer article here.