Feminist Art

MARY BETH EDELSON

Throughout history individuals have created and maintained a society in which gender roles continue to dominate the ways in which we live our lives. Women have continuously fought for the same seemingly “god given” rights that men posses, and in many cases these women have won. They did not win in the sense that they were suddenly viewed as better or even equal, but instead because they were finally able to have their voices heard. In 1933 Mary Beth Edelson was born in East Chicago, IN, during the worlds most severe economic depression. Edelson was born into a family of activists who possessed the fortitude and courage that was necessary to enact change (“Mary Beth Edelson Timeline” http://www.marybethedelson.com). The importance of community and strength was instilled in Edelson at a young age and is something she undoubtedly continues to carry with her. Edelson has stated that “No matter what the situation is you are always better off being a part of a group”(Hershman), illustrating the courage and power that can come from a community, as opposed to a single individual.

There never appeared to be a time in Edelson’s life where she was not focused on art. Whether it was designing sets for her high school plays, taking classes at the Art Institute of Chicago, or working in her studio (“Mary Beth Edelson Timeline” http://www.marybethedelson.com) Edelson was constantly immersed in the art world. Edelson continued to pursue her passion for art and activism, placing herself at the epicenter of Feminist Art Movement in the 1970’s. In 1972 Edelson, among others, organized the first National Conference for Women in the Visual Arts in Washington, DC (“Mary Beth Edelson”). Edelson “sustained a radical engagement with transforming the parameters and purpose of art” (Cottingham http://www.marybethedelson.com) in an era that was defined by activism and lead by a desire for social change. Edelson became a renowned leader of the 1970s feminist art movement, however her work did not end there. She continues to lead by example through her thought provoking, notoriously controversial, innovative artwork.

Controversial Piece: Some Living American Women Artists/Last Supper,
1972

http://www.marybethedelson.com/posters.html

Mary Beth Edelson creates artwork with the sole purpose of challenging the rules and customs that define traditional artwork. Mary Beth Edelson worked closely with her contemporaries of the Women’s Liberation Movement of the 1970’s to create art that commented on the patriarchal system of society. Edelson used several themes within her work that generally provoked a negative response from those opposed to feminist art. Edelson frequently used mythological archetypes of women, portraying them as “goddesses, tricksters, and warriors” (“About Mary Beth Edelson”). Beginning in the 1970’s Mary Beth Edelson began creating collage prints that integrated images of Baubo, the proclaimed ancient Greek trickster, Sheela-na-gig, the Irish female trickster and present day tricksters portrayed by Hollywood’s “Femme Fatal’s” (“Drawing and Prints” http://www.marybethedelson.com).

Still permitted to laugh series: Permitted to Laugh, 1996 http://www.marybethedelson.com/drawings.html

More Surprises for the Groom, 1974

 http://www.marybethedelson.com/drawings.html

Through these works of art Edelson is able to make a larger comment on how women are represented in society. The content depicted in these art works is undoubtedly important however, the humorous response it evokes is perhaps even more important. In the image above trickster Sheela lifts her dress in order to reveal her male anatomy. There is no one defining reason why Edelson chose to depict the archetype Sheela as both male and female. Author Alissa Rame Friedman offers insight in her essay Humor and Masquerade: The Transformative art of Mary Beth Edelson, stating that by “By dramatizing both femininity and masculinity as equally untenable, caricatured, a type of masquerade, Edelson reveals the indeterminacy of the signs of gender as a cultural, rather than a biological construct.” Edelson uses archetypes and trickery to aid the viewer in seeing the “trickery” of societal gender norms. We have been disillusioned into believing that all women should appear one way and all men should appear another. Edelson uses this work to show that this idea has been created and is not a biological truth.

Woman Rising, 1974 http://www.brooklynmuseum.org/community/blogosphere/2007/11/08/the-art-of-mary-beth-edelson/

Goddess Head, 1975

http://www.marybethedelson.com/photos.html

Mary Beth Edelson creates work that portrays women as strong stoic individuals, in stark contrast to the weak and passive depiction of women in society. In Mary Beth Edelson’s Goddess Head (1975) Edelson used collage to create her work. In this collage a nude Edelson has placed a large seashell over her head and lifts her arms in order to display her “Goddess” qualities. Edelson states that the goddess is “an internalized, sacred metaphor for an expanded and generous understanding of wisdom, power and the eternal universe” (Patin & McLerran 61). By portraying Goddesses in her work, Edelson is reclaiming her female identity and portraying it as a powerful and sacred force.

Moon Mouth, 1973

http://www.marybethedelson.com/photos.html

In society when women are shown nude it is generally meant to provoke a “sexual response,” however this is not the case in Edelson’s work. The nudity depicted in Edelson’s art is meant to be a way for women to reclaim their bodies and own their nudity. It is not sexualized instead it is a powerful statement of a woman’s free, natural and powerful identity. In both images shown above, Edelson superimposes objects and images over her face to draw more attention to the female body and pose. The nudity in this picture is not being used to tantalize the viewer but to almost warn the viewer of her innate strength and female power.

Questions:

1. Edelson states “Feminism has always been alive and well. It has never died. People are always forecasting that feminism is over. It is just wishful thinking on some people’s parts that it died.” Do you believe that Feminism is still alive and well? If yes, what leads you to believe this?
2. Mary Beth Edelson’s work is designed to provoke a response. What was your immediate response to “More Surprises for the Groom,” 1974?
3. Why do you suppose Mary Beth Edelson gave Sheela male genitalia in “More Surprises for the Groom,” 1974?
4. Why is Mary Beth Edelson referred to as a “Feminist Artist?”
5.  We have all had the opportunity to read Linda S. Aleci’s In a Pig’s Eye, which refers to Mary Beth Edelson’s Some Living American Women Artists/Last Supper. What is your reaction to this piece?

References:

“About Mary Beth Edelson.” Stanford University Digital Collections, n.p., n.d. Web. 16

Feb. 2013.

< http://lib.stanford.edu/women-art-revolution/bio-mary-beth-edelson&gt;.

Cottingham, Laura. “Shifting Signs: On the Art of Mary Beth Edelson.” Mary Beth

              Edelson, n.p., 2002. Web. 17 Feb. 2013.

< http://www.marybethedelson.com/essays.html&gt;.

Friedman, Alissa. “Humor and Masquerade: The Transformative art of Mary Beth

Edelson.” Mary Beth Edelson, n.p., 2002. Web. 17 Feb. 2013.

<http://www.marybethedelson.com/essay_humor.html>.

Hershman, Linda. “Transcript of Interview with Mary Beth Edelson.” Stanford

              University Digital Collections, n.p., 2007. Web. 16 Feb. 2013.

<http://lib.stanford.edu/women-art-revolution/transcript-interview-mary-beth-          edelson>.

“Mary Beth Edelson.” Clara. National Museum of Women in the Arts, 2012. Web. 14

Feb. 2013. <http://clara.nmwa.org/index.php?g=entity_detail&entity_id=1321>.

“Mary Beth Edelson Timeline.” Mary Beth Edelson. n.p.,  2009. Web. 13 Feb. 2013.

<http://www.marybethedelson.com/essay_timeline.html>.

Patin, Thomas and Jennifer McLerran. Artwords: A Glossary of Contemporary Art

              Theory. Westport: Greenwood Press, 1997. Print.