American Women

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Lithograph, "Swan dive," Mabel W. Jack, 1939.
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Designed as a gateway for researchers working in the field of American women's history, this site provides easy access to an online version of the Library of Congress' 2001 publication American Women: A Library of Congress Guide for the Study of Women's History and Culture in the United States. The structure of the 456-page guide is maintained and enhanced through hyperlinks and full-text searching. Most of the digital content featured in "American Women" was not digitized solely for the site; rather, it is either linked to or displayed elsewhere on one of the Library's many web pages. The expanded resource guide allows users to easily move across the Library's multiple interdisciplinary holdings and provides guidelines on searching for women's history resources in the Library's catalogs; advice on locating documents relating to women within the American Memory collections; and a valuable tutorial for discovering women's history sources in the Library's online exhibitions.

The research guide also contains five essays that explore several aspects of women's history. They include an introduction by historian Susan Ware and a short piece describing the 1780 broadside "The Sentiments of An American Woman." The newest addition to the site is an audiovisual Web broadcast lecture featuring Mary Lynn McCree Bryan, editor-in-chief of the Jane Adams Papers Project at Duke University, and Esther Katz, editor-in-chief of the Margaret Sanger Papers Project at New York University. This site is an important resource for any student or researcher studying American women's history.

African American Women

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Photo, Elizabeth Johnson Harris, African-American Women
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Writings of three African American women of the 19th century are offered in this site. Features scanned images and transcriptions of an 85-page memoir by Elizabeth Johnson Harris (1867-1923), a Georgia woman whose parents had been slaves, along with 13 attached pages of newspaper clippings containing short prose writings and poems by Harris; a 565-word letter written in 1857 by a North Carolinia slave named Vilet Lester; and four letters written between 1837 and 1838 by Hannah Valentine and Lethe Jackson, slaves on an Abingdon, VA, plantation.

The documents are accompanied by three background essays ranging in length from 300 to 800 words, six photographs, a bibliography of seven titles on American slave women, and eight links to additional resources. Though modest in size, this site contains documents of value for their insights into the lives of women living under slavery and during its aftermath in the South.

Across the Generations: Exploring U.S. History through Family Papers

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Photo, Edward Kellogg Dunham, Sr., with daughter Theodora, Wilhelm (?), 1897
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This collection from one of the nation's leading repositories for sources on women's history features photographs, letters, account books, diaries, legal documents, artwork, and memorabilia generated by four prominent northeastern families from the late 18th through the early 20th centuries. The four families—the Bodmans, Dunhams, Garrisons, and Hales—are white, middle-class families, and their experiences represent only a portion of American society in the 19th and early 20th centuries.

This site features 63 documents and images gathered from the families' papers ,and there are two ways to navigate them: by family or by one of four themes (Family Life, Social Awareness and Reform, Arts and Leisure, and Work). Each family or theme has its own page, with short (350–500 word) interpretive text combined with excerpts from the documents. Each excerpt is accompanied by links to the entire document—both a scanned image and a transcription.

The theme "family life" contains documents that reflect courtship patterns over the 19th century, childrearing practices, and 19th-century gender roles. "Social awareness and reform" features items related to the abolition of slavery and changing perceptions of race, and women's suffrage. Some of the materials within "arts and leisure" reflect increased opportunities for professional women artists in the late 19th and early 20th centuries. The "work" theme includes materials that demonstrate the barriers women faced within the workplace. This site, when supplemented with additional resources, can help show students how to use family papers to study U.S. history.

Spy in a Petticoat jbuescher Fri, 02/05/2010 - 15:04
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cream silk colonial-era petticoat
Question

The person I am researching is my great X 7 Grandmother: Harriet Prudence Patterson Hall. According to various unidentified websites she was a spy for the Americans in or near Charleston, South Carolina, during the Revolutionary War. I have trouble finding any reliable and therefore quotable sources for this information. Would you please help identify anything of value in this area?

Answer

Prudence Patterson was born in 1743 (either in Wales or in County Antrim, Ireland) and emigrated to America with her parents. In 1763, she married another immigrant, John Hall, in York, South Carolina. They had eight or nine children. Their children's names were James, John, Prudence, Jennet, Margaret, William Henry, Alexander Brown, Josiah, and Major Temple.

John Hall appears on the U.S. Revolutionary War Rolls as a private in the 2nd South Carolina Regiment. He died in 1784. Prudence appears as the head of family in York in the 1790 Federal Census, residing there with her children and a slave.

Crossing a Picket Line

Carol Berkin, a historian at Baruch College, mentions Prudence Patterson in her 2005 book, Revolutionary Mothers: Women in the Struggle for America's Independence:

"Far to the south, as the British besieged the South Carolina capital of Charleston in early 1776, Harriet Prudence Patterson Hall and three of her friends made their way past enemy soldiers surrounding the city. When the sentries topped them, Hall explained that they were on their way to purchase medicine from a Charleston apothecary. What the redcoats saw gave them little reason to be suspicious: standing before them were four well-dressed matrons, on an errand that took them into the city. The British soldiers stepped aside, giving the women permission to pass. With that, Harriet Hall walked into Charleston, an important message for the American commander safely hidden inside her petticoat."

For this information, Berkin' cites the Year Book, 2003-2004, of the Harriet Prudence Patterson Hall Chapter of the National Society of the Daughters of the American Revolution of North Little Rock, Arkansas. You might contact the Prudence Hall Chapter through their website and ask them about the source of their information. According to their website, Harriet Hetley West, a descendant of Prudence and John Hall, emigrated to Arkansas in the 1850s, and it was through her and her descendants that the North Little Rock Chapter of the DAR was formed in 1963.

Another source for more information would be the Southern Revolutionary War Institute, at the McCelvey Center in York, South Carolina, at the Museum of York County. A description on their website of their holdings of family histories related to York County, says they have a copy of The Hall Family, by Claudia Hall O'Driscoll, which may never have been published, since it doesn't show up in online library catalogs. I would guess that your ancestor appears in it, perhaps with some documentation.

A Family Letter

It is from this book, presumably, that O'Driscoll family researchers have copied a letter from Prudence Hall's descendant Annie Farris Lumpkin to Daisy West Watkins, dated April 23, 1933, Rock Hill, South Carolina, and posted it on the Ancestry.com website:

Our notable ancestress, Harried [sic] Prudence Patterson, born in the year 1743, was of Welsh and English descent. On the maternal side she was Welsh, on the paternal, English. The Patterson family emigrated to America when Prudence was a child. The family first settled in Maryland, and later moved to Pennsylvania. She was 15 years of age when the family moved from Maryland to Pennsylvania. She rode horseback all the way and drove the cows behind the covered wagons. Later they moved to South Carolina and settled near Charles Town where she grew to young womanhood and met and married John Hall, also of an English family. John Hall was six years his wife's senior, having been born in 1737. Patterson was 20 years of age and John Hall 26 when their marriage took place in 1763.

Sometime prior to the American Revolution they left Charles Town and moved to upper South Carolina and settled in York District. Here they bought land on Little Allison Creek and built their home among a large grove of fine old trees, near a big spring of cool sparkling water, an ideal place for a residence and, strange as it may seem, this very place was destined to play an important part in the history of the American Revolution. Here a big brick store was erected, which not only served the people for miles around as a trading point, but also became the distribution point for salt. Salt was a scarce article in those days. During the Revolution, women rode horseback from as far as Camden to this place to purchase a supply of salt, which was limited to a certain amount for each family. The salt was hauled in wagons from Virginia by slaves. Here Prudence became a heroine of her day. She saved the life of a man whom the Indians had scalped and left to die. She had a number of milk cows ranging at large. One of the cows failed to come home at milking time. She mounted her horse and rode out through the dense woods to find her. She heard a moaning and groaning of someone in great distress. Being a pioneer woman of a fearless and intrepid character, she rode on till she found the man laying in water. She rode quickly back and spread the news. The man was rescued and nursed back to life. His name was John Forbess. He lived to a ripe old age and is buried in Ebenezer Cemetery.

Prudence would often walk the ten miles to attend services at Bethel Presbyterian Church, where she is now buried in Clover, South Carolina.

Prudence and two other women rode horseback to Charlestown [that is, Charleston] during the war under the guise of purchasing medicine. They were held up by the British as spies, but their story of being out to purchase medicine they were allowed to pass the British ranks. They got their medicine and returned, but not until Prudence had delivered an important message to the American Army, which she had carried sewn up in her petticoat. She had outwitted the British, and oh how they hated her. I wish I could remember the little doggerel rhyme the British made about these three woman, but I can only remember the line "Prudence Hall, Peggy Strain and Beckie McCall."

After John Hall died, Prudence moved to Union County to a place called "Sylvan Springs," a sort of summer resort. There she married a man by the name of [Robert] Harris, but soon separated from him. She ran a boarding house.

The unsourced material about Prudence Hall you see on the web is almost certainly derived from this letter.

Possibility of More Evidence from Other Sources?

Corroborating Prudence's wartime adventures may be difficult. A researcher from the Patterson family, however, in a comment on the Genealogy Forum website, raises two issues:

There is no record showing Prudence Hall with a first name Harriet. That appears to come from researchers of the [Hall] family, but no records (John Hall's will & estate papers nor Prudence Hall Harris' own will & estate records) indicate such a first name. … One of my Farris cousins (Annie Farris Lumpkin) was interested in family history and was a Hall descendant through Harriet Hetley West. She told a story about a Prudence Hall saving a wounded militiaman named John Forbes (my ancestor) during the Revolutionary War. But from the description of "Prudie Hall" it was a young woman (John & Prudence's daughter Prudence?), not Prudence Patterson Hall herself.

Berkin's brief account in Revolutionary Mothers places Prudence Hall's ride to Charleston during the first British siege of that city in 1776. That siege was repulsed at the Battle of Sullivan's Island on June 29th. The American forces were under the command of Major General Charles Lee, who was not at Sullivan's Island itself, but across the harbor in Charleston, exchanging dispatches with Colonel William Moultrie, who was commanding the garrison on the harbor side of Sullivan's Island.

Annie Lumpkins' letter, however, does not say when the letter-in-the-petticoat incident occurred. Nor does the letter say that the message that Prudence delivered found its way to an American "General," as do some of the unsourced sites on the web. Perhaps the Hall family history at the Southern Revolutionary War Institute or information held by the Prudence Hall Chapter of the DAR gives more detail.

At any rate, the British conducted another siege of Charleston, from April through May of 1780, which was successful. Among the more than 5,000 colonial soldiers under Major General Benjamin Lincoln who surrendered to the British on May 12th was the 2nd South Carolina Regiment, which was John Hall's unit. For more on this siege (although there is no mention of John and Prudence Hall), see Carl P. Borick's A Gallant Defense: The Siege of Charleston, 1780 (Columbia, SC: University of South Carolina Press, 2003) and Walter J. Fraser's Patriots, Pistols, and Petticoats: "Poor Sinful Charles Town" During the Revolutionary War Era (Columbia, SD: University of South Carolina Press, 2003).

The British commander of both sieges of Charleston was Sir Henry Clinton. His collected papers eventually found their way to the Clements Library at the University of Michigan. From Clinton's papers, the library has created a fascinating web exhibit, Spy Letters of the American Revolution. The exhibit has no documentation on Prudence Hall, but it draws on only a very small number of items in the collection.

For more information

A cemetery listing of graves at Bethel Presbyterian Church in Clover, South Carolina, includes the inscriptions on the gravestones for Prudence Hall, who died at 96 years of age, on August 13, 1839, and for John Hall, who died at 47 years of age, in March, 1784.

Bethel Presbyterian's webpage about its cemetery, including notes on the Revolutionary War soldiers buried there.

General Charles Lee's letters and dispatches during the 1776 siege of Charleston are collected in The Lee Papers, Vol. II, 1776-1778. Collections of the New York Historical Society, 1872.

Map of the disposition of British forces around Charleston during the 1780 siege.

Various other maps of the Charleston area during the Revolutionary War.

Bibliography

Images:
Detail from a map of the June 1776 British siege of Charleston, published by R. Phillips, Bridge Street, Blackfriars, London, 1806.

Petticoat, quilted cream silk, 1750-1775. Colonial Williamsburg Foundation, Williamsburg, Va.

Martha Ballard

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Spurwink Marsh, Maine, Library of Congress
Question

How would I find more information on Martha Ballard’s religion and other personal information to help me write a better primary source analysis?

Answer

To learn about 18th-century Maine midwife Martha Ballard, first, read Laurel Thatcher Ulrich’s A Midwife’s Tale: The Life of Martha Ballard, Based on Her Diary, 1785-1812 (New York: Vintage, 1991). You could also watch the 1998 PBS video A Midwife’s Tale which comes with a teacher’s guide.

Second, look at the resources collected for the “case study” on Martha Ballard on the Do History website. The website has an archive of some primary sources, including extensive selections from her diary, giving some background and context for Ballard’s religion.

Third, a “Martha Ballard Study Pack,” a study guide for students of A Midwife’s Tale, and a lesson plan for teachers is available from BookRags.

A good website for teachers on the history of Maine with plenty of primary resources is the Maine Historical Society’s Maine Memory Network. Included on that site is Religion on Maine’s Frontier, an online essay with selected images.

If you wish to begin digging into the history of the everyday life of the people of Maine, you should also take a look at the available sources on Maine history and genealogy at Cyndi’s List.

For more information

Valentine Seaman, M.D. The Midwives Monitor, and Mothers Mirror: being three concluding lectures of a course of instruction on Midwifery. New York: Isaac Collins, 1800.

Oxford, Maine, historical information

On Gendering the Constitution

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John A Bingham, photo by Mathew Brady, Library of Congress
Question

Do you have any primary source documents from John Bingham that show why he chose to include only males in the 14th Amendment, any copies of speeches he made on the topic, etc.? Also do you have any source documents from Susan B. Anthony that take the opposite view of why women should be included? My daughter is completing a National History Day project and these two are critical to her performance.

Answer

I’m not sure how to answer this. I wouldn’t want to take anything away from your daughter’s project by doing her research for her. But the subject is complicated and I think I can say a few things that might help with her research.

The issues around the passage of the 14th Amendment, as they appeared to women’s rights activists, are well covered, with transcripts of Congressional debates, and details of the petitions and organizing activities of Susan B. Anthony, Elizabeth Cady Stanton, and others, in the History of Woman Suffrage, Volume 2, Chapter 17, pages 90-151, which your daughter can read at the link. In addition, if your public library, or a nearby academic library, has online access to the ProQuest historical newspapers collection, she might find it useful to take a look at The New York Times reporting on the announcement of—and speeches given at—the 11th National Woman’s Rights Convention, held in New York City, as detailed in the articles, “Woman’s Rights. The Eleventh National Woman’s Rights Convention” (April 2, 1866) and “The May Anniversaries” (May 11, 1866).

The Purpose of the 14th Amendment

In order to supplement these sources and to more fully understand the Congressional debates over the language of the 14th Amendment, I think it is important to note that the essential purpose of the amendment was not to define the principle on which the right of suffrage was based, but rather to craft a means by which the country could be “reconstructed,” which is to say that the joint House and Senate “Committee of Fifteen” (which included Representative John A. Bingham of Ohio) that put together the language of the amendment and brought it to the Congress as a whole for a vote was recommending a way for the southern states that had seceded to be re-admitted to the Union, a very urgent issue at the time.

When they were re-admitted, these states’ representatives would have to be seated in Congress. But there was a problem with doing that: According to the Constitution, the number of slaves in the southern states had figured into the counting of the states’ population for the purpose of deciding the number of Congressional representatives from those states (the “three-fifths clause”). But with the end of the war and the passage of the 13th Amendment outlawing slavery, there were no longer any slaves to count.

it would have seemed that the South had actually been rewarded as a result of the war.

If, then, the sheer number of persons living in the southern states were now to be used to determine the number of representatives these states could send to Congress, these states would gain a very considerable advantage over what they had before the war because the ex-slaves would then be counted as “full” persons, even though, in these states, they were not allowed to vote. The result would be an actual increase in the legislative power of these states, whose strengthened congressional delegations would still be drawn from the same class of white landowners whose “retrograde” views had played a decisive role in the events leading to the war. This would have been plainly unacceptable, as it would have seemed that the South had actually been rewarded as a result of the war.

To solve this problem, the Committee of Fifteen created a condition for these states re-admittance to the Union, which is described in section 2 of the constitutional amendment it proposed:

Representatives shall be apportioned among the several States according to their respective numbers, counting the whole number of persons in each State, excluding Indians not taxed. But when the right to vote at any election for the choice of electors for President and Vice-President of the United States, Representatives in Congress, the Executive and Judicial officers of a State, or the members of the Legislature thereof, is denied to any of the male inhabitants of such State, being twenty-one years of age and citizens of the United States, or in any way abridged, except for participation in rebellion, or other crime, the basis of representation therein shall be reduced in the proportion which the number of such male citizens shall bear to the whole number of male citizens twenty-one years of age in such State.

In other words, the committee was saying, “Okay, maybe we can’t force you southern states to give Blacks the vote, but if you don’t, we’ll just deduct the Black population from your total population when counting how many congressional representatives you get, so you don’t get any advantage over us; in fact, you’ll be disadvantaged, because now you won’t be able to count your Black population at all whereas before you could count three-fifths of it (more or less) in figuring out how many congressional representatives you could have.” This seemed like a fair, if somewhat convoluted, compromise to the committee. The committee thought it would stand a good chance of being passed.

This seemed like a fair, if somewhat convoluted, compromise to the committee.

In fact, essentially the same sort of scheme had already passed Congress as part of a civil rights law, but Congressman Bingham, who was both a lawyer and a judge, was convinced that that law would be found by the courts to be unconstitutional for a number of reasons (including the fact that it infringed on the rights of states to determine which of its citizens could vote), so he had actually opposed its passage in Congress and argued that it needed to be passed as a constitutional amendment instead. That is why it was deliberated on by the Committee of Fifteen—actually called the Committee on Reconstruction—of which he was an influential member, and was proposed by it. It was part of the committee’s plan for how the southern states could be brought back into the fold: If these states’ legislatures reaffirmed their allegiance to the United States and voted to accept the conditions in the proposed amendment, then they would be re-admitted.

I cannot find a source that gives Bingham himself the responsibility for inserting the word “male” in the language of the amendment. Perhaps you have found such a source. The material in the History of Woman Suffrage appear to me to suggest otherwise, that it was simply the result of the committee’s long hours in trying to craft precise language that would do no more than what the committee intended the amendment to do, without inadvertently opening the door to a storm of objections surrounding the much larger principles of suffrage, whether it was a universal “human right” or not, that would most probably have derailed the amendment’s chance of passage.

For more information

Garrett Epps, Democracy Reborn: The Fourteenth Amendment and the Fight for Equal Rights in Post-Civil War America. New York: Macmillan, 2007.

William E. Nelson, The Fourteenth Amendment: From Political Principle to Judicial Doctrine. Cambridge: Harvard University Press, 1988.

Bibliography

Elizabeth Cady Stanton, Susan B. Anthony, and Matilda Joslyn Gage, eds. History of Woman Suffrage. Volume 2, 1861-1876. Rochester: Susan B. Anthony, 1881.

Women's History Month: Historians in the News

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Some historians are women who sometimes make history themselves. Drew Gilpin Faust, historian, author, and president of Harvard University, discusses her career, the history profession, and her new book, This Republic of Suffering: Death and the American Civil War in The Washington Post of February 7, 2008.

Laura Thatcher Ulrich, president-elect of the American Historical Association, reads from her recent book, Well-Behaved Women Seldom Make History on the Making History Podcast Blog, a venue fostering discussion about the writing process. In Part Two of the podcast, Ulrich offers advice to aspiring historians and discusses the challenges of research.

Sewall-Belmont House Museum Collections

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The Sewall-Belmont House is a National Woman's Party-run museum on women's equality movements in the U.S. A portion of their collections are now searchable online.

Using the site's search engine, you can easily find printing blocks for the newspaper the Suffragist, as well as cartoons by Nina Allender. Other items may be a bit more difficult to find, but the collection includes keys, voting cards, a jail door pin (worn by suffragists jailed for their activism), and more.

If you aren't sure what to look for, try either Click and Search or a selection of Random Images. Each time you access the images, a different set will be pulled from the collection. As for "click and search," you can choose a letter for any of an object's data fields (object type, creator, subject, etc.), and browse through corresponding drop-down lists. Select anything that catches your eye, and the site will bring you to that particular artifact's page.

Among these three ways of accessing the site content, you should be able to uncover a treasure trove of women's rights sources to share with your classroom.

Laura Jernegan: Girl on a Whaleship

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In 1868, Laura Jernegan, six-year-old daughter of a whaling captain, put to sea with her parents and younger brother. This website, created by the Martha's Vineyard Museum, explores her family's four-year whaling expedition, focusing on Laura's own diary.

Two narratives ground the exhibit: "The Story of Whaling" and "Laura's Story." Each narrative is divided up into three sections—"Before the Voyage," "The Voyage" and "After the Voyage"—and consists of 14—15 individual "chapters," each a short essay of approximately 300—1600 words. "The Story of Whaling" describes the rise and fall of the whaling industry and the nature of a whaling voyage, including preparation and hiring crew.

"Laura's Story" narrates the voyage of the Roman, the ship on which Laura and her family set sail. The voyage included a stay in Hawaii, mutiny, and the Roman's sinking in the Arctic (everyone survived). "Laura's Story" also looks at the lives of Laura and her family before and after the voyage, as young children and as adults. Each essay include links to images, descriptions, and other sections of the website that clarify and enrich the text.

For Laura's own description of her time at sea, "Explore Laura's Journal" lets visitors browse her 43-page journal. Written in a child's bold handwriting, the journal is short and easy to read, and can be viewed in the original scans, as a text transcript, or with a magic lens feature that translates the writing into print as the mouse runs over a page.

Further background information supports the two narratives and Laura's journal, including:

  • "About Whales," a mini-exhibit answering basic questions about six whale species;
  • an interactive timeline reaching from 1774 to 1955, including both general world history events and whaling events;
  • "Explore the Ship," a diagram of a whaling ship that visitors can click for information on crew positions and parts of the ship; and
  • a "Map of Whaling."

This interactive world map lets visitors display features from six sets of information, turning each set on or off and overlaying them. The sets include the four routes of the Roman's journey, three typical whaling routes, posts and sites important to whaling, 1878 whaling grounds for four species, major ocean currents, and whale migration patterns for three species.

Finally, visitors can view zoomable photographs of 175 different whaling-related objects in "Artifacts," read the descriptions of 15 crew positions in "Meet the Crew," and browse 16 pieces of logbook art, 36 photos, and 53 whaling-related images in the "Picture Gallery." An A-to-Z glossary offers definitions for 180 historical and whaling terms. Visitors can also explore the biographies of five people, including all of the members of the Jernegan family and, in "More About," can read 10 more 1,000-3,000-word essays on subjects like race and whaling, women and whaling, and 19th-century children's literature.

In the "For Teachers" section, educators can download two units on whaling: a four-lesson unit for grades 1–3, or a six-lesson unit for 4–5. "For Further Study" features a bibliography of 75 books for children and adults and eight annotated links.

A thorough website centered around a very unique primary source—use it to invite young children into history through the voice of a peer!

Feminist Art

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Question

What kind of visual art was there during the time of the feminist movement?

Answer

I will suppose that by "the time of the feminist movement," you mean essentially during the 1960s–1980s, even though feminism of one kind or another has made itself felt in the arts for at least a century–in the choreographic innovations of dancer Isadora Duncan, for example–and continues through today. Feminist art was the subject of WACK! Art and the Feminist Revolution, an exhibit that originated at the Museum of Contemporary Art in Los Angeles in 2007 and traveled around the country, including to the National Museum of Women in the Arts (NMWA) in Washington, DC. The exhibit featured 300 works of painting, sculpture, photography, film, video, and performance art from 1965–1980 created by 118 well-known artists, including Judy Chicago, Yoko Ono, Carolee Schneemann, and Cindy Sherman. Feminist art was a "philosophy of art informed by gender," according to Susan Fisher Sterling, the curator of the exhibit at the NMWA. The artists "were throwing off many of the sanitized conceptions of women and expressing overt independence and sexuality in a way that had never been acceptable before." As a gesture toward that, the exhibit curators placed warnings in some portions of the exhibition, advising museum visitors of "potentially disturbing subject matter."

Feminist art was a "philosophy of art informed by gender..."

Curators described the exhibit as, "An edgy account filled with history, passion and scandal, Wack! … addressed such issues as male biases, body image, sexuality and media interpretation of feminism from the perspective of many traditional and controversial artists over several decades." One prominent axiom of feminist art was the notion that the body—especially the female body—was a kind of blank stage or canvas upon which "narratives" or images of various selves were arbitrarily "mapped" or described, often through violence. Like most Modern (and then Postmodern) art of the period, feminist art was immersed in political revolution, in gender, race, and class. The political and cultural agenda of feminist artists was to take control of their destinies and redefine their social roles by a combined assault on—or inversion of—the "patriarchal structures" of culture and politics.

Like most Modern (and then Postmodern) art of the period, feminist art was immersed in political revolution...

Also like most art of the period, feminist art tended to be explicitly self-referential, making the artists the subjects of the works they created, "declarations of self," as performance artist Cheri Gaulke put it. Photographer Cindy Sherman's self-portraits in different personae are examples of this, as are the performance art film events created by Carolee Schneemann, such as her Autobiographical Trilogy, which featured sexually explicit films of herself, or, as evidence that themes of feminist art have continued, Eve Ensler's 1996 play, The Vagina Monologues, or Yale art student Aliza Shvarts' 2008 "creative fiction" about self-inseminations and abortions. Typical of feminist art was a related emphasis on a supposed "woman’s way" of working—meaning, in particular, the forming of collectives or cells of women artists who sought to produce art jointly, and as part of a process of "consciousness raising" among the members of the collectives.

Yet another way to "rescue" women was to honor typically feminine arts and crafts...

Another goal of feminist art was to "rescue" women of a previous day—notably, women artists who had not garnered the critical acclaim they had deserved because they were women, or because the subjects of their art were derived from the domestic realm, such as child-rearing or food preparation, or because the works evinced a particularly "feminine" sensibility. Yet another way to "rescue" women was to honor typically feminine arts and crafts, including, particularly, sewing, weaving, costuming, embroidery, and quilting, and place these in the forefront of the artistic endeavor, rather than in the "lesser" margins, as they had been traditionally. Judy Chicago's 1974 installation piece, The Dinner Party, was influential in stimulating many of these issues within feminist art.

For more information

Cornelia H. Butler and Lisa Gabrielle Mark, WACK! Art and the Feminist Revolution. Cambridge, Mass.: MIT Press, 2007.