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.

Woman Suffrage and the 19th Amendment

Teaser

Relive the dream of the women's vote through roleplay or interfacing with primary documents.

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Description

Access primary sources and activities for a unit on the suffrage movement, from the Seneca Falls Convention to the passage of the 19th Amendment.

Article Body

This lesson is anchored by nine primary source documents related to the women's suffrage movement, from 1868 to 1920. Students and teachers alike will appreciate that the site includes images of the original documents—not simply transcriptions.

It also has six teaching activities that range from document analysis, to role-play, to student research. Activity three, which asks students to use textbooks, library resources, and documents to make a timeline, can be an effective way of helping younger students understand historical chronology. For older students, activity six, which asks students to write and stage a one-act play, presents an opportunity to interpret and synthesize primary sources. The script for a one-act play commissioned by the National Archives, "Failure Is Impossible," is available as a model.

This lesson also includes links to related websites, including those from the Library of Congress, the National Park Service, the National Register of Historic Places, and the National Women’s History Project.

Topic
Women's suffrage
Time Estimate
Varies
flexibility_scale
2
Rubric_Content_Accurate_Scholarship

Yes

Rubric_Content_Historical_Background

Minimal
Includes a one-act play based on archival sources.

Rubric_Content_Read_Write

Yes
Students are asked to read multiple documents, and there are opportunities for original student writing based on document analysis.

Rubric_Analytical_Construct_Interpretations

Yes
Activities two and six ask students to assess suffragist strategies and write an evidence-based play, respectively.

Rubric_Analytical_Close_Reading_Sourcing

Yes
Activity one focuses on these skills, and can be paired with a downloadable Document Analysis Worksheet.

Rubric_Scaffolding_Appropriate

Unclear
Audience is unstated.

Rubric_Scaffolding_Supports_Historical_Thinking

No
Teachers may need to supplement the provided materials.

Rubric_Structure_Assessment

No

Rubric_Structure_Realistic

Yes
The lesson is designed for easy adaptation by teachers.

Rubric_Structure_Learning_Goals

Yes

Religious Orders of Women in New France

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Question

What services did women of religious orders provide in New France?

Answer

Women of religious orders were active in New France mainly in founding schools and hospitals. Three religious orders were present almost from the time of the earliest French settlements. Jesuit Relations reports, first published in 1611, inspired many founders of these religious communities to travel to New France. Reports narrated the adventures and trials of the earliest Jesuit missionaries who accompanied French explorers and trappers. The religious orders of women that soon followed established the first schools and hospitals in the colony and were among the first women to arrive in New France. The most important of these communities were:

Ursulines

The Ursulines were the first nuns to arrive in New France, in 1639, led by Marie de l'Incarnation. She and the other Ursulines who accompanied her established a convent in Quebec, where they started the first school for girls in North America. The pupils were both Native and French girls. Ursuline communities and schools spread throughout New France, eventually reaching as far south as New Orleans, where a community was established early in the 18th century. As their communities spread west, they founded schools to educate Native American girls.

Hospitalières de Saint-Joseph

These Augustinian religious women also came to Quebec in 1639 and founded a hospital, the Hôtel-Dieu in Quebec (the first in North America north of Mexico). They staffed another, the Hôtel-Dieu, in Montreal in 1645. The Hospitalières also founded schools for girls, including nursing schools, as well as other institutions to care for the poor and the sick.

Congrégation de Notre-Dame

St. Marguerite Bourgeoys began this noncloistered religious order and, in 1658, established a girls' school in Montreal. This was the first of many boarding schools and day schools run by the order throughout New France. The first bishop of Canada, François de Montmorency Laval, highly encouraged and supported these communities of religious women.

For more information

The Virtual Museum of Canada, Seasons of New France.
Quebec City's Chapelle et Musée de Ursulines.

Ursulines of Canada.

Some from Marie de l'Incarnation to her brother.

Montreal's Musée des Hospitalières de l'Hôtel-Dieu.
Montreal's Marguerite-Bourgeoys Museum, Notre-Dame-de-Bon-Secour Chapel.

Canada's First Hospital, Hôtel-Dieu of Quebec City.

The Augustinian Sisters and Quebec City's Hôtel-Dieu.

Also very useful for understanding the role of nuns and sisters in New France:
Robert Choquette, "French Catholicism Comes to the Americas," 131- 242, in Charles H. Lippy et al. Christianity Comes to the Americas 1492-1776. New York: Paragon House, 1992.
W. J. Eccles. "The Role of the Church in New France," 26-37 in Eccles, Essays on New France. Toronto: Oxford University Press, 1987.
W. J. Eccles. The Canadian Frontier 1534-1760. Albuquerque: University of New Mexico Press, 1983.
Thérèse Germain. Autrefois, les Ursulines de Trois-Rivières: une école, un hôpital, un cloître. Sillery, Quebec: A. Sigier, 1997.
Colleen Gray. The Congrégation de Notre-Dame, Superiors, and the Paradox of Power, 1693-1796. Montreal: McGill-Queen's University Press, 2007.
Dom Claude Martin. La Vie de la Vénérable Mère Marie de l'Incarnation, première supérieure des Ursulines de la Nouvelle France. Paris: L. Billaine, 1677.
Peter N. Moogk. La Nouvelle France: The Making of French Canada: A Cultural History. Lansing: Michigan State University Press, 2000.
Marcel Trudel. Les Écolières des Ursulines de Québec, 1639-1686: Amérindiennes et Canadiennes. Montreal: Hurtubise-HMH, 1999.

Bibliography

Library of Congress, France in America, collection of textual sources.
This includes links to the full text of the following:
Pierre Francois Xavier de Charlevoix. History and General Description of New France, 6 vols. New York: Francis P. Harper, 1900.
Chrestien Le Clercq. First Establishment of the Faith in New France, 2 vols. New York: John G. Shea, 1881.
John Gilmary Shea. Discovery and Exploration of the Mississippi Valley. Clinton Hall, NY: Redfield, 1852. Vol. 4 of Benjamin Franklin French, ed., Historical Collections of Louisiana.

The Library and Archives of Canada, full text of the 40 volumes of the Jesuit Relations.

An anthology of selections from the Relations:
Allan Greer. The Jesuit Relations: Natives and Missionaries in Seventeenth-Century North America. New York: Bedford/St. Martin's, 2000. Bedford Series in History and Culture.

Images:
Detail of illustration of Marie de l'Incarnation, from Claude Martin, Marie de l'Incarnation, Ursuline de Tours: Fondatrice des Ursulines de la Nouvelle-France.

Marguerite Bourgeoys, Musée Virtuel Canada, "Des saisons en Nouvelle-France."

Cherokee Law of Blood

Bibliography
Image Credits

Video Two

  • Photo, "Reconstructed Cherokee Council House," May 2004, J. Stephen Conn, Flickr.

Video Three

  • Library of Congress
  • North Carolina Museum of History
  • Tennessee History for Kids
  • Tennessee State Library and Archives
  • Western History/Genealogy Department, Denver Public Library
Video Overview

Historian Malinda Lowery analyzes an 1833 record from the Cherokee Nation's Supreme Court to untangle a complicated story of identity, legal authority, slavery, and the Cherokee Law of Blood. Lowery models several historical thinking skills, including:

  • (1) close reading of the court document to piece together the story from the names and individuals mentioned;
  • (2) drawing on prior knowledge of life in the early 19th-century, cultural contact, and the Cherokee Nation; and
  • (3) placing the court case within a larger context of racial identity, slavery, and relations between American Indians and the U.S. government.
Video Clip Name
Malinda1.mov
Malinda2.mov
Malinda3.mov
Video Clip Title
Reading the Document
Understanding the Document
Teaching Strategies
Video Clip Duration
4:25
4:07
3:12
Transcript Text

The source comes from the Cherokee Nation's Supreme Court Records. In 1833, a lady named Molly Hightower claimed that a woman named Chickaua, who is the primary person mentioned in the document, that Chickaua and her sons belonged to Molly Hightower. And this claim was based on a transaction between another man named Sam Dent, to Molly Hightower's father. Sam Dent had been married to a Cherokee wife some time prior to the Revolutionary War, and he actually beat and killed his Cherokee wife. According to the Cherokee Law of Blood, the Deer clan sought revenge on Sam Dent for the death of their family member, because his wife had been a Deer clan member. And instead of subjecting himself to Deer clan punishment, he purchased a slave named Molly, who then became Chickaua, our main character in this document, to replace his dead wife. So, he gifted the Deer clan with the slave that he had purchased as a way of meeting his obligation for killing his wife.

The Deer clan adopted the slave named Molly, gave her the name Chickaua and, as the document says, she has by herself and descendants, been ever since recognized by said Nation, the Cherokee Nation or clan, the Deer clan, as a Cherokee. That's what allowed her sons to then also be members of the Deer clan and full-fledged members of the Cherokee Nation.

So, then later on, in 1833, Molly Hightower comes into the picture and says that Sam Dent sold Chickaua to her father, and that she actually owns Chickaua and Chickaua's descendants, Chickaua's sons. As the document says, "Her father was also an Indian trader who lived many years near the descendants of Chickaua and who never advanced or set up any claim to Chickaua and her son, Cunestuta," who is also called Isaac Tucker in the document. And this document is interesting, because it has a number of different names. You have English names, you have Cherokee names, you have a variety of different identities that are represented in the one document, in addition to this interesting transaction over slave property.

The Deer clan objected to Molly Hightower's claim, and decided to petition the Cherokee Supreme Court to prevent the return of Chickaua and her son, Cunestuta, to slavery. The Deer clan petitions them to, "Resist this oppression and illegal wrong attempted to be practiced on our brother and sister by the Hightower, Molly Hightower, in carrying into slavery two of whom have ever been and considered Native Cherokee." So, what that particular statement represents is an affirmation by the Deer clan that Molly is their kin, that Chickaua, Molly-slash-Chickaua, is their kin and belongs to them. It's really an affirmation of the adoption process and how seriously the Cherokees took their Law of Blood to bring in someone who had been an outsider to their community, and adopting them, making them full-fledged family members and not wanting them to return to the condition of slavery.

Ultimately, the document indicates that the Supreme Court sided with the Deer clan, saying that since Chickaua's adoption she has, quote, "continued in the Nation and enjoyed the liberty of freedom and that her two sons, Edward and Isaac Tucker, were born at the beloved town called Echota on the Tennessee River"—that was one of the main towns of the Cherokee Nation, what they call their beloved town—"and has ever been free and resided in the Nation."

Well, it's a very rich document on a number of levels. The primary thing that strikes me about it is the confusion over names. When you read it the first time, you're not sure who's who and who's talking about who. There's two Mollys. There's sort of what I think of as the first Molly, who was bought by Sam Dent, the trader, and then given to the Cherokee Deer clan. Her name then becomes Chickaua, and that's how she's referred to throughout the rest of the document. The next Molly is Molly Hightower, she who claims that her father actually owns Chickaua and Chickaua's descendants.

But there's—the fact that Chickaua obtains her name after her adoption into the Cherokee Nation, also means that her personal name is a marker of affiliation with a state, with a nation and a state, the Cherokee state. So, it's a great example of how names can mean many different layers of identity.

Another thing that we see in the document is how racial identity is shifting. We think of slaves as being of African descent, and we don't know, of course, that Molly, who became Chickaua, was not of African descent. In fact, we presume that she was. So, her identity shifts from being a black slave to an Indian free person, although obviously she herself does not change. It reminds us of how racial identity is constructed, how it has a history by itself that's worth examination.

Clan membership in Cherokee society, in many southeastern Native societies, was matrilineal, so you were only affiliated with the group through your mother's line. It's that matrilineal line that affirms everything about Cherokee identity and also Cherokee law.

This Law of Blood was based on the idea that clan members could avenge the deaths or other incidents happening to their kin, and women often made the decisions about how those deaths were to be avenged. And it was a way of making sure that people in Cherokee society lived in harmony with one another, because it was very clear what the consequences would be if you committed such a violent act.

Just because Chickaua escaped re-enslavement here doesn't mean that she was forever secure, because 1833 was a very critical time in the history of Indians in the southeast and well, indeed the whole nation. What we now know of as the old South, the sort of cotton culture of the antebellum South, would not have been possible without Indian removal, and the race relations, the intensity of black/white relations that developed prior to the Civil War, would have been very different had Indians remained in the southeast. This case is coming at a critical time, not just for the Cherokee Nation, but for questions of racial formation in the United States.

You don't understand very much about Cherokee removal from this particular source, but when you look at the date that Molly Hightower makes this claim in 1833 (October 18, 1833, is when the Supreme Court ruled on it), that date by itself triggers for the historian, a whole set of associations around the tensions of Cherokee removal, and the kinds of decisions that Congress was making, that President Andrew Jackson was making, that the Cherokee principal Chief John Ross, and the Cherokee General Council were making, around these issues of removal.

Because it is a fairly complex document, I introduced it to the students simply by asking them to identify the different names and to do a little genealogy of who the players are and how they're related to one another. So, on the one side they have Molly Hightower, they have Molly Hightower's father. On the other side, they have Sam Dent. They have his Cherokee wife. They have his purchase of Molly, the slave. Molly the slave then becomes a Cherokee.

The idea of tribes and nations that we operate with today when we talk about Native Americans, didn't always exist in its current form. What we see in this document is a world in which family, clan membership, kinship affiliation, was kind of the dominant logic of the society, and to understand that dominant logic you have to understand the names, and you have to understand the relationships. So, it's sort of a window into not only the time period, but also a method of doing history that speaks to the power of history itself, how it helps us understand another society that's different from our own.

I think students, they ask, they assume that because Sam Dent was a white man that he would have felt no responsibility to the Deer clan, that he would have felt no sense of loyalty or allegiance to the Cherokee Nation. But, I think what they need to understand is that the reality at this time was very different. Sam Dent made his living off of trading with Cherokee people, and under—most English traders understood that in order to trade with an Indian Nation, you had to have a kinship affiliation with that Nation. So, that's probably why Sam Dent married a Cherokee, was that his marriage to that woman enabled him, in fact, to make a living.

And one of the things that we feel we understand about American society is that whether right or wrong, European Americans have held the balance of power firmly in their hands over time, and this document is an example of a time period in which European Americans were not holding the balance of power. In fact, Cherokees at this time and place, certainly the time and place in which Sam Dent made these decisions, were holding the balance of power. This document reminds us how the Cherokee Supreme Court was alive and well. It was doing its job and acting on behalf of the Cherokee Nation, without regard to the United States and to the property laws of the United States that might have legitimized Sam Dent's sale to Molly Hightower's father.

Famous American Trials: Salem Witchcraft Trials

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Part of a larger "Famous Trials" website created by Douglas Linder of the University of Missouri, Kansas City, Law School, this site provides primary documents and other information on the Salem Witch Trials of 1692-93. Linder authored a roughly 1000-word essay on the events in Salem that includes links to biographies of key figures in the trial. The site also offers 18 primary documents concerning the witch trials, including the Reverend Cotton Mather's Memorable Providences, a pamphlet that details an episode of supposed witchcraft by a woman named Goody Glover; an arrest warrent from 1692; seven transcripts of examinations and trial records for accused witches and a sample death warrent. The site also includes approximately 500-word biographies of 17 key figures in the trials, such as accused witches, judges, accusers, and clergy. In addition, there are 14 images of the town of Salem and key figures in the trials. The site offers links to eight related websites and a bibliography of 22 scholarly books and articles and two videos on witchcraft. This site has no index, but is small enough to navigate easily. It is ideal for researching basic information on the Salem Witch trials.

Salem Witchcraft Hysteria: A National Geographic Interactive Site

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Part of the National Geographic Society website, this is an interactive exercise in which the visitor follows a narrative compiled from several Salem witchcraft trial accounts. These trials took place in Salem, Massachusetts, in 1692. The site places visitors in the shoes of one of Salem's accused witches, describing conditions in the jail, the ordeal of the trial, and the accused's eventual confession to performing acts of witchcraft. The site also provides links to brief, 100-word biographies of 11 persons involved in the trials, such as young accusers Ann Putnam and Abigail Williams, slave and accused witch Tituba, and Tituba's master, Reverend Samuel Parris. The narrative leads to a positive outcome--the accused is eventually released from prison--but it offers an optional link to discover what may have happened to a prisoner who refused to confess his or her guilt. The site also contains links to a discussion forum and to an "Ask the Expert" page which allows visitors to pose questions to Richard Trask, Danvers, Massachusetts, archivist and curator of the Rebecca Nurse Homestead. There is also a four-item bibliography of recent works on the Salem trials. This site contains no primary documents, yet it is useful for conveying to younger secondary school students the sense of the panic that surrounded the trials.

U.S. Women's History Workshop

Annotation

This site is designed to provide high school and college teachers with primary source material for teaching women's history. The site provides 13 assignments based on more than 50 documents, primarily illustrations from 19th-century magazines. Two profiles of early women's rights activists include biographies (100-650 words) and 13 articles written by the two about women's rights. Other documents on the site include humorous poetry, advertisements, letters to editors, and excerpts from 19th-century essays about women's rights. A scholarly article (3,000 words), illustrated with 13 prints and cartoons, discusses dress and perceptions of dress in the 1850s and 1860s. Another essay (1,100 words), illustrated with six cartoons, addresses gender and politics in mid-19th century America. The site is somewhat disorganized, but will be a useful resource for teaching women's history.

Women Artists of the American West

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This online archive features images of photographs taken by women that represent the holdings of the Women in Photography Archives located in Arcata, CA. Most of the photographs in the collection are the work of women photographers who were active between 1850 and 1997 and had some connection with the American West, particularly California.

The archive contains 17 separate collections, arranged according to four main themes: Community, Identity, Spirituality, and Locality. Each of these categories features relevant essays composed by art historians, curators, and artists. As a whole, the site offers the works and biographies of approximately 180 artists and photographers.

For educators, the site also offers a comprehensive eight-week syllabus that covers the website's four main themes.

Although navigating the website can take some getting used to, it is worth the effort. The site is a valuable resource for often lesser-know perspectives on the American West.

Camping With the Sioux—Fieldwork Diary of Alice Cunningham Fletcher

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This site presents two fieldwork journals written by anthropologist Alice Cunningham Fletcher during her six-week stay with a group of Dakota Sioux women in 1881. The journals are indexed by date and can be searched or read as a narrative.

Visitors will find a 1,000-word biographical essay about Fletcher and a bibliography of sources, including three books, three Smithsonian collections of related materials, five collections of papers, and six links to sites about Sioux Indians and 19th-century anthropology of the Sioux. A gallery of 36 photographs contains pictures of Fletcher, her two travelling companions, scenes of Sioux life, and portraits of Sioux Indians, including Sitting Bull.

In her journals, Fletcher transcribed 14 folk tales related by her Sioux hosts. These tales are indexed by title and presented separately as well as in the journals. The site offers unique sources particularly useful for students of Native American history, women's history, and the history of anthropology and ethnography.

The Barbara McClintock Papers

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Presents more than 200 items—including 51 articles, 28 lectures, 84 letters, and 35 photographs—by and about the Nobel-winning geneticist Barbara McClintock (1902–1992). Through experiments with maize in the 1920s and 1930s, McClintock discovered that genetic changes occur when chromosomes break and recombine, a process called "crossing over." In the 1950s, upon finding that genes "jump" around, she investigated the effects of transposable genetic elements.

The site includes an exhibit divided into seven chronological sections with a 4,000-word essay presenting McClintock's career highlights, accompanied by links to relevant documents and visuals. Materials in the collection can be retrieved through searches—basic and also geared to scientists—and in chronological and alphabetical listings. Valuable for serious students of genetics as well as those studying the history of American science and professional women.