Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
Lucy R. Lippard is an art critic
and a member of the collective that
publishes Heresies, afeminist
periodical on politics and the arts.
By now most people-not just feminist
people-will acknowledgethatfeminism
has made a contributionto the avant-
gardeand/ormodernistartsof the 1970s.1
Whatexactlythatcontributionis and how
important it has been is not so easily
established.This is a difficultsubjectfor
a feminist to tackle because it seems
unavoidablyentangledin the art world's
whichradicalfem-
linear I-did-it-firstism,
inists have rejected (not to mentionour
own, necessarily biased inside view). If
one says-and one can-that around
1970 women artists introducedan ele-
ment of real emotionand autobiographi-
cal content to performance, body art,
video, and artists' books; or that they
have broughtover into high artthe use of
"low" traditionalart forms such as em-
broidery,sewing, and china painting;or
thattheyhavechangedthe face of central
imageryand patternpainting,of layering,
fragmentation, and collage-someone
will inevitably and perhaps justifiably
holler the names of variousmale artists.
But these are simplysurface phenomena.
Feminism'smajorcontributionhas been
too complex, subversive,and fundamen-
tallypolitical to lend itself to such inter-
necine, hand-to-handstylisticcombat. I
am, therefore,notgoingto mentionnames,
but shall try instead to make my claims
sweepingenoughto clearthe decks.
Feminism'sgreatestcontributionto the
futureof art has probablybeen precisely
its lack of contributionto modernism.
Feminist methods and theories have in-
stead offered a socially concerned alter-
native to the increasingly mechanical
"evolution"of art about art. The 1970s
might not have been "pluralist"at all if
women artists had not emerged during
362 ArtJournal
thatdecadeto introduce themulticolorednor all feministsagreeon this.) There-
threadsof femaleexperienceinto the fore,feministart is, of necessity,already
malefabricof modernart.Or,to collage a hybrid.It is farfromfullyrealized,but
my metaphors-the feministinsistence we envisionfor it the sameintensitythat
thatthepersonal(andtherebyartitself) characterizes the women'smovement at
is politicalhas,likea seriousflood,inter- its best. Here, for example,are some
ruptedthe mainstream's flow,sendingit descriptions of feministart:"Feminist art
offintohundredsof tributaries. raises consciousness,invitesdialogue,
Itis uselesstotrytopindowna specific and transformsculture."4"If one is a
formalcontributionmadeby feminism feminist,then one must be a feminist
becausefeministand/orwomen'sartis artist-that is, one mustmakeart that
neithera stylenora movement, muchas reflectsa politicalconsciousness of what
thismaydistressthosewhowouldliketo it meansto be a womanin partriarchal
see it safelyensconcedin the categories culture.Thevisualformthisconscious-
andchronology of thepast.Itconsistsof ness takes variesfrom artistto artist.
manystylesand individualexpressionsThus art and feminismare not totally
and for the most partsucceedsin by- separate,norare theythe samething."5
passingthe starsystem.Atits mostpro- "Theproblemis notwithpeople'staste
vocativeandconstructive, feminism ques- (oftencalled'kitsch'bysuperiorminds)
tionsallthepreceptsof artasweknowit. butwithdefiningartasonethingonly.Art
(It is no accidentthat"revisionist" art is thatwhichfunctions as aesthetic
experi-
also
history emerged around 1970, with ence for you. If a certainartworksthat
feministssharingits frontline.) In this wayfor enoughpeople,thereis consen-
sense,then,focusingon feminism's con- sus; that becomes art.... Thatwhichwe
tributionto 1970s art is a red herring. feel is worthdevotingone's life to and
The goal of feminismis to changethe whose value cannotbe proven,thatis
characterof art. "Whathas preventedart."6Feminist art"isa politicalposition,
womenfrombeingreallygreatartistsis a set of ideas aboutthe futureof the
the fact that we have been unableto world,whichincludesinformation about
transformour circumstances into our the historyof womenandour struggles
subject matter.... to use them to reveal andrecognition of womenas a class.Itis
thewholenatureof thehumancondition."2 also developingnew formsand a new
Thus,if ouronlycontribution is to be the senseof audience."7
incorporation on a broaderscaleofwom- The conventional artworldresponse
en's traditionsof crafts,autobiography,to these statementswill be what new
narrative,overallcollage,or anyother forms?Andto hell with the rest of it.
technicalor stylisticinnovation-then we Descriptions liketheabovedo notsound
shallhavefailed. like definitionsof art preciselybecause
Feminismis an ideology,a valuesys- theyarenot,andbecausetheyexistin an
tem, a revolutionary strategy,a wayof atmosphereof outreachvirtuallyaban-
life.3 (Andfor me it is inseparable from donedbymodernism. Foryearsnow,we
socialism,althoughneitherall Marxists havebeentoldthatmalemodernist artis
superiorbecauseit is "self-critical." But sometimes thesmashing ofwindows. They to anotherset of values,wheretheymay
fromsucha viewself-criticism is in facta includecollaboration, dialogue,a con- be seen as less "original."It was sug-
narrow,highlymystified, andoftenego- stantquestioningof aestheticandsocial gestedseveralyearsagothatfeministart
tisticalmonologue.Theelementof dia- assumptions, anda newrespectforaudi- offereda new "vernacular" realityop-
logue can be entirelylacking (though ence.Feminism's contribution to theevo- posedto the "historical" realitythathas
ironically it isfeministartthatis accused lutionof art revealsitselfnot in shapes informedmodernartto date.8Givenits
of narcissism).Self-criticism thatdoes but in structures.Onlynew structures air of condescension,"vernacular" may
nottakeplacewithinor passon outto its bearthepossibility of changing thevehicle not be the rightword (andcertainlywe
audiencesimplyreinforcesourculture's itself,themeaningof artin society. don'twantto be "hiddenfromhistory"
viewof artas anabsolutely isolatedactivity. New?I hesitateto use thewordin this again),butit is therightidea.The1970s
Artists(like women)stayhome (in self context,sinceit toohasbeenso distorted have,I hope,seenthelastof the"move-
andstudio)andpayforthis"freedom" by in the nameof modernism: newreality, ments"thathavetraipsed,likeelephants
havingtheir productsmanipulated and new realism,newabstraction, andsimi- trunk-to-tail, throughthelastcentury.
undervalued by those who control the out- larly,all the rigidposts:post-modernism, The notion thatart neatlyprogresses
sideworld. post-Minimalism, andpost-beyond-post-has beenunderattackfromall sidesfor
A basicand painfulconflictis set up ness.Feminism is newonlyinthesensethat yearsnow;its absurdity becameincreas-
whenan artistwantsto makeartandat it isn'tpost-anything. Its formalprecepts inglyobviouswithpost-modernism inthe
the sametimewantsto participate more are notnewat all.Theyaresimplydistri- early 1960s. By 1975, a not-always-de-
broadlyin the culture,even wantsto buteddifferently fromthoseentrenched lightfulchaosof conceptual art,perform-
integrateaestheticand social activities. sincearound1950.Muchorevenmostof ance,photo-realism, "newimages,"and
Artistswho workwithgroups,as do so thebestartbywomenhasturneditsback what-have-you prevailed. The1970splu-
many feminists,always seem to be looking on the "new," preferring to go deeper. ralism,decried for differentreasonsby
wistfullyovertheirshouldersat the stu- into visualformsthathavebeen "done bothleftandright,hasatleastproduced
dio. "I'vegot to get back to my own before"(mostlyby men).WhenI began a kindof compostheapwhereartistscan
work"is a familiarrefrain,because,as it to writeextensively aboutwomen'sart,I sortoutwhatis fertileandwhatis sterile.
standsnow,artandlifealwaysseemtobe was accusedby friendsand enemiesof Bag ladies pickingaroundin this heap
in competition. Andthissituation produces becominga "retrograde" critic.Andso findforms,colors,shapes,andmaterials
an unusually schizophrenic artist.Oneof longas I remainedattachedto thecondi- thathavebeendiscardedbythefolkson
the feministgoals is to reintegrate the tioningof myownarteducation, received thehill.Theytakethemhomeandrecycle
aestheticself and the socialself and to primarilyat the Museumof ModernArt them,thriftily findingnewusesforworn-
makeit possibleforbothto function with- andon 10thand 57thStreets,I too was out concepts,changingnotonlythebut-
outguiltor frustration. Intheprocess,we afraidof thatstigma.However, themore tonsandthetrimbutthefunctions aswell.
havebegunto see artas something subtly women'sworkI saw,themoremyrespect A literalexampleof thismetaphor is the
butsignificantly fromwhatitis in grewfor thoseartistswho, havingbeen Chileanarpillera,or patchwork
different picture.
thedominant culture. forciblycutofffromthemainstream, per- Madebyanonymous womenandsmuggled
Thisis notsaidin a self-congratulatoryseveredin exploringtheir own social out into the worldas imagesof political
tone.Itremainsto be seenwhetherdiffer- realities,even-or especially-whensuch protest,socialdeprivation, crushedideas
ent is indeedbetter.Successandfailure exploration didnotcoincidewiththecur- andhopes,thearpilleras aretheonlyvalid
in such unmappedenterprisesare often rentfashions. indigenousChilean art-now thatthemu-
blurred.Variousfeministshavealready Themoreilluminating dialoguesI had ralshavebeenpaintedover,thepoetsand
falleninto varioustrapsalongthe way, withinthewomen'smovement, theclearer singersmurdered andimprisoned.
among them: the adoptionof certain it becameto me thattheexpresstowards You will have noticedby now that
clichesin images(fruitandshell,mirror the "truenatureof art"hadwhiskedus feminism(andbyextensionfeministart)
and mound),materials(fabricsandpa- pastanynumberof fertilevalleys,paths is hugelyambitious.9 Adeveloped feminist
pers), approaches("non-elitist"),and to elsewhere,revelations,personaland consciousnessbringswithit an altered
emotions(non-transformative pain,rage, social confrontations thatmightforever conceptof realityand moralitythatis
andmother-love); a certainnaivete(also have been missedhad it not been for crucialto the artbeingmadeandto the
carryingwithit a certainstrength)that suchstubbornly "retrograde" artistswho liveslivedwiththatart.Wetakeforgranted
comesfromthewholesalerejectionof all insistedon takingthe local.Duringthis thatmakingartis notsimply"expressing
otherart,especially abstraction andpaint- timeI wasconstantly beingtoldthatsome oneself' but is a far broaderand more
a
ing; dependence on "political correct- woman's work was derivedfromsome important task-expressingoneselfas a
ness" that can lead to exclusivityand far betterknownman'swork. In fact, memberof a largerunity,or comm/unity,
snobbism;and,at the otherextreme,an suchsimilarities wereusuallydemonstra- so thatin speakingforoneselfoneis also
unthinking of
acceptance literally anything bly superficial,but the experienceof speakingfor thosewho cannotspeak.A
doneby a woman.Beneaththesepitfalls searchingfor the differencesprovedin- populistdefinitionof qualityin artmight
is a needforlanguage-visualandverbal valuablebecauseit undermined andfinal- be "thatelementthatmovestheviewer." A
-that will expressthewaysourartand ly invalidated thatnotionof "progress" manprobably can'tdecidewhatthatis for
ideasaredeveloping withoutbeingsappy so dearto theheartof theartmarket. a woman,nor a whitefor a personof
and withoutdenyingthe powersof the In endlesslydifferentways,the best color,noraneducatedforanuneducated
individual withincollectivedialogue. womenartistshaveresistedthetreadmill person, and so forth,which is where
Nevertheless, feministvalueshaveper- to progressbysimplydisregarding a his- "taste"comesin.Thisin turnmayexplain
meatedthe 1970sandarereadyto flower torythatwasnottheirs.Thereis a differ- whythe "experts"haveneverbeenable
in the 1980s,if militarism andsocioeco- ence, thoughnotalwaysan obviousone, to agreeon whichartistshavethiselusive
nomicbacklashdon'toverwhelm us all. betweenthe realbutsuperficialinnova- "quality." Onlywhentherearerealchan-
Oftenacceptedunconsciously, theseval- tionsof a feministorwoman'sartthathas nels of communication can artistand
ues supportthe openingup and out of dissolvedintomainstream concernsand audiencebothchangeand mutually ex-
eyes, mouths,minds,and doors-and theapplication of thesesameinnovations changetheirnotionsof art.
Fall/Winter 1980 363
 Feministsare askingthemselves,as and/orpublicritual;(2) publicconscious- to makeart.
certainartistsandcriticsandhistorians ness-raising andinteraction through visu- Publicconsciousness-raisingandinter-
haveaskedthemselvesfor generations, al images,environments, and perform- action throughvisualimages,environ-
"Is this particularpainting,sculpture, ances;and(3) cooperative/collaborative/ ments,and performances also insiston
performance, text,photograph movingto collectiveor anonymous artmaking. While an inclusiveandexpansive structurethat
me?If so, why?If not,whynot?In this it is true thattheycan more easilybe is inherentin these forms.Thisis in a
intuitive/analyticaltask,thesocialcondi- appliedto themass-reproduced mediums sense the logicalexpansionof a notion
tioningwe haveundergone as women,as such as posters,video,andpublications,thathaspoppedupthroughthehistoryof
nurturersof children,men,homes,and these modelsalso appearas underlyingtheavant-garde-that ofworking"inthe
customs,has its advantages. Weare not aestheticsin paintings, sculptures, draw- gapbetweenartandlife."Asidefroman
bolsteredbytheconviction thatwhatever ings, and prints.Of course, no single outreachbranchof the"happening" aes-
we dowillbe acceptedbythoseinpower. artistincorporatesall the modelsI am theticin theearly1960s,thisnotionhas
Thiscan be psychologically detrimental,idealizinghere, and certainlyindividual remainedfirmlyon art'ssideof thegap.
but it also carrieswithit an increased male artistshave contributedto these Butby 1970,feminists,especiallyon the
sensitivityto the needsof otherswhich notions.But since male consciousness Westcoast,wereclosertotheedgeofthat
accountsto someextentfortherolesthat (orlackthereoOdominates theartworld, gap thanmostartists;theywerefurther
the audience,and communication, play and since with some exceptionsmale fromthepowercenters,and,outof des-
in feministart. artistsare slowto acceptor to acknowl- peration,moreinclinedto maketheleap.
Similarly,becausewomen'straditionaledgetheinfluenceof women,thesemod- Justas ritualartreachesoutandgathers
arts havealwaysbeen consideredutili- els arebeingpassedintothemainstreamup archaeological, anthropological, and
tarian,feministsare morewillingthan slowlyandsubtlyandoftenundermascu- religiousdata,the moreovertlypolitical
othersto acceptthenotionthatartcanbe lineguise-one of thefactorsthatmakes art of public strategiesreachesout to
aesthetically and sociallyeffectiveat the thepinningdownoffeminism's contribu- psychology,sociology,and the life sci-
sametime.Notthatit'seasy.Theparame- tion so difficult.Yetall thesestructures ences.Itsmakers("planners" mightbe a
ters for "goodart"havebeen set; the arein themostfundamental sensecollec- moreaccurateterm)workintimeaswell
illusionof stretchingthose boundaries tive,like feminismitself.Andthesethree asin images,movingclosertofilm,books,
thatprevailsin the avant-garde is more modelsare all characterized by an ele- or mass media.Videoand photography
exactlya restlessthrashing aroundwithin mentof outreach,a needforconnections areoftenusednotso muchto stimulate a
the walls.Overtly feministartistsare al- beyondprocessor product,an element passiveaudienceastowelcomeanactively
waysbeingaccusedof being"badartists" of inclusivenesswhich also takes the participating tohelppeopledis-
audience,
simplybydefinition. That'snotsomething formof responsiveness andresponsibilitycoverwho theyare, wheretheirpower
I'minterestedin responding to here,but for one's own ideas and images-the lies, and how theycan maketheirown
it shouldbe mentionedin thecontextof outwardand inwardfacetsof the same exchanges betweenartandlife.
changing the character of art. Given the impulse. Such work cantakeplacein schools,
historyof theavant-garde, whaton earth Thewordritualhasbeenusedin con- streets,shopping malls,prisons,hospitals,
does "badart"meanthesedays?Butof nectionwithartfrequently andlooselyin or neighborhoods. Amongits mainpre-
courseif someoneisn'tthereto saywhat the last decade,but it has raisedthe ceptsis thatit doesnotrejectanysubject,
"goodart"is-then artitselfgetsoutof importantissue of the relationshipof audience,or context,andthatit accepts
institutionalhand. belief to the formsthatconveyit. The thechangesthesemaymakeintheart.To
Perhapsthe singleaspectof feminist popularity of thenotionof ritualindicates be morespecific,a fewexamples:(1) A
art that makes it most foreignto the a nostalgiafor timeswhenarthaddaily groupof womenof mixednationalities
mainstreamnotion of art is that it is significance.However, goodritualartis livingin Paris,whohavedonelargedocu-
impossibleto discussit withoutreferring not a matterof wishfulfantasy,of skim- mentary piecesincluding drawings, texts,
to the socialstructures thatsupportand minga fewalienculturesforanexoticset photographs, andvideotapes aboutwom-
often inspire it. These structuresare of images.Usefulas theymaybe as talis- en in prisonandaboutTurkish andPortu-
groundedin the interaction techniques mansfor self-development, theseimages gueseworkersat homeandin economi-
adapted(andfeminized) fromrevolution- are onlycontainers.Theybecomeritual callyimposedexile.(2) AnIsraeliwoman
arysocialistpractice-techniques onwhich in thetruesenseonlywhentheyarefilled tryingto communicate to urbanworkers
thewomen'smovement itselfis based:con- bya communal impulsethatconnectsthe on the TelAvivwaterfront theplightand
sciousness-raising, goingaroundthe cir- past(thelasttimeweperformed thisact) beliefs of the Bedouintribes through
cle withequaltimeforall speakers,and and the present(the ritualwe are per- "DesertPeople"costumeritualsin urban
criticism/self-criticism. Fromthe result- formingnow) and the future(will we workplaces.(3) ANewYorkwomanwho
ing structureshaveevolvedthe models ever performit again?).Whena ritual madeher "Maintenance Art"firstin the
feminismoffersfor art.Thesemodels,I doesn'twork,it becomesa self-conscioushome, thenin officebuildings,andhas
repeat,arenotnewwaysof handlingthe act,anexclusiveobjectinvolving onlythe spentthe last twoyearsidentifying with
pictureplane,or newwaysof rearrang- performer.Whenit doeswork,it leaves the men in the city'sSanitation Depart-
ing space,nor newwaysof makingfig- theviewerwitha needto do or to partici- ment (the "women"of the citygovern-
ures,objects,or landscapes live;theyare patein thisact,or in something similar, ment), recognizingtheir maintenance
inclusivestructures or socialcollages. again. (Hereritualart becomespropa- workas artbyshakinghandswithevery
Thehistoryof themaleavant-garde has gandain thegoodsense-that of spread- memberof the department.(4) Two
beenoneofreverse(orperverse) response ingtheword.)Onlyin repetition doesan womenin LosAngeleswhomakepublic
to society,withtheartistseenastheoppo- isolatedactbecomeritualized, andthisis pieces strategically
designedto change
sitionorasout-of-touch idealist.Thefemi- wherecommunity comesin. Thefeminist theimageandmediacoverageof feminist
nist (and socialist)valuesysteminsists developmentof ritualart has been in issuessuchas rapeandviolenceagainst
uponculturalworkerssupporting andre- responseto realpersonalneedsandalso women.(5) A mixed-gender group,led
sponding to theirconstituencies. Thethree to a communalneed for a new history bya SanFrancisco woman,thathasbuilt
modelsof suchinteraction are:(1) group and a broaderframework withinwhich a "life frame"whichis simultaneously

364 ArtJournal
performance art,fiveacresof community calls herselfSpiderWomanandanother
outreach,andanexperimental agriculture groupcallsitselfAriadne. AsI waswriting
station,makingconnections betweenani- this essay, I read an articleaboutthe
mals,plants,people,andart.(6) Agroup NativeAmericanethosof totalinterrela-
of womenphotographers in EastLondon tionshipbetweenallthingsandcreatures
organizingchild-carefacilitiesandcom- whichsays:"Thus,nothingexistedin iso-
paringpicturesof reallifewiththemass lation.Theintricately threads
interrelated
mediaimagesof women.(7) Amanin a of the spider's web was referred to ...
small economicallydevastated NewEn- theworld.... Thisis a profound 'symbol'
glandmilltownwhousesphotography as whenit is understood. Thepeopleobvi-
a vehicleof continuing awarenessto ac- ously observedthat the threadsof the
quainttheinhabitants withtheirenviron- web were drawnout from withinthe
ment, with each other, and with their spider'sverybeing.Theyalsorecognized
possibilities.(8) Another manwhomixes thatthethreadsin concentric circleswere
artandscienceandpopulismin a South sticky,whereasthethreadsleadingto the
Bronxstorefrontandcallsit a "cultural centerwere smooth!"10 Theauthorre-
concept." membershis mothersayingthat"inthe
All these examplesoverlap.So does NativeAmerican experienceallthingsare
thefinalone.Muchoftheworkmentioned possibleandthereforeall thingsareac-
aboveis beingexecutedbyvariouscom- ceptable"and he goes on to hope that
binationsof artistsor of artistsandnon- "oursocietalstructures andattitudesbe-
artists,oftenanonymously or underthe come bold and largeenoughto affirm
rubricof a collectiveor networkor proj- ratherthanto deny,to acceptratherthan
ect. Somewomenworkcooperatively-- to reject."
helpingan individual artistto realizeher I quote this not only becauseit ex- Notes
visionon a monumental scaleandin the pressesveryclearlya conviction thatlies 1 Eventhe New YorkTimescritic,though
process both giving to her work and at the heartof feminism (and should lie he fears it is "lowering the artistic
gettinginputfor theirownwork.Others at the heartof all art as well), butalso standards."
workcollaboratively, perhapsaccording becauseit comesfromanothersubjugated 2 JudyChicago,ArOforum, September 1974
to their own specialskills, needs, and cultureto whichsomeof us fleeingthe (also reprintedin my From the Center,
concerns.Andothersworkcollectively in potentialdisastersof Westerncapitalism NewYork,1976).
a more or less consciouslystructured aresentimentally attracted.
However, the 3 Surrealismwas also self-described along
manneraimed at equal participation, socialistfeministmodeldoes notstopat these broad lines, and with Dada has
skill- and power-sharing. Eachof these thepointof escapeor rejectionas didthe provedthat it toowasnevera movement
meanshelpsto achievean end resultof counterculture of the 1960s.To change or a style, since it has continuedto
breakingdowntheisolationof theartist's the characterof artis notto retreatfrom pervadeall movementsand stylesever
traditional workpatterns. Noneprecludes eithersocietyor art.Thisis the signifi- since.
individualwork. (I find from my own canceof the modelsI'veoutlinedabove. 4 Ruth Iskin, at a panel on feministart
experiencethatthe dialogueor critical/ Theydo notshrinkfromsocialrealityno and social change accompanyingthe
self-critical methodstimulates newkinds matterhow painfulit is, nor do they opening of The Dinner Party, March
of workingmethodsanda newflexibility. shrinkfrom the role art mustplayas 1979.
Byintegrating feedbackintotheprocess, fantasy, dream,andimagination. Theycon- 5 HarmonyHammond,"Horseblinders,"
and not just as final responseto the tributemostto theavant-garde byslowing Heresies,No. 9, 1980.
product,it also changesthe individual it down.Theylocatea networkof minor 6 MayStevens,"TakingArtto the Revolu-
work.) roads thatsimplycoversmoreterritory tion,"Heresies,No.9, 1980.Manyof the
Thestructures orpatterns I'vesketched thanthe so-calledfreeways. Theseroads ideasin thisarticlearedueto discussions
outabovearelaidoutona gridofdialogue are not,however,deadends.Theysimply withthecollective thateditedthisissueand
which is in turnrelatedto the favorite passmorepeople'shouses.Andaremore withHammondandStevensin particular.
feministmetaphor: theweb,or network, likelyto be invitedin. End 7 SuzanneLacy,panel accompanying The
or quiltas an imageof connectiveness, DinnerParty (seen. 4).
inclusivenessandintegration. The"col- 8 JackBumhamin theNewArtExaminer,
lageaesthetic"namedbytheSurrealists, 1978.
is a kindof dialecticexposingbyjuxtapo- 9 The distinctionbetweenambition(doing
sitionthe disguisesof certainwordsand one's bestand takingone'sartand ideas
imagesandformsandthusalsoexpress- as faras possiblewithoutabandoning the
ingtheculturalandsocialmythsonwhich feministsupportsystem)andcompetition
theyarebased.Thenotionof connections (walkingall overeverybody to accomplish
is also a metaphorforthebreakdown of this) is a much discussedtopic in the
race,class,andgenderbarriers,because women'smovement.
it moves out from its centerin every 10JemakeHighwater,quotingJosephEpes
direction.Thoughmenareitsprogenitors Brown,in an unpublished manuscript.
in art,collageseemsto meto be a partic-
ularlyfemalemedium,notonlybecause
it offersa wayof knitting thefragments of
our lives togetherbut also becauseit
potentially leavesnothingout.
It is no accidentthatone ritualartist
Fall/Winter 1980 365