sff_corgi_lj: (Cine - My Action Hero)
Annie Smith PeckMarch 6:
Annie Smith Peck


Reminds one of the old feminist saying '...but in high heels and backwards!' Imagine mountain-climbing in long skirts?
sff_corgi_lj: (OTD - One True Duet - 'Under Pressure')
Better timing today. ^_^ Better timing than the first time this was posted, too.

Lena HorneMarch 5:
Lena Horne


BTW, irrelevant to Lena, did you know Canadian Women's History Month is October?
sff_corgi_lj: (Knackered)
*blink* Um... it's still morning in Hawaii? [posts hastily]

Kateri TekakwithaMarch 4:
Kateri Tekakwitha
sff_corgi_lj: (Science - Deep space)
Ack, I'm lateish. Meant to do this from work, got too busy.

Astronomer Maria MitchellMarch 3:
Maria Mitchell
sff_corgi_lj: (Comics - Wonder Woman)
NOW I remember what I forgot yesterday.

In the great tradition of American TV (and because I was just not prepared!), I will bring you reruns from my 2004 commemoration of American Women's History month. To spare your Flist displays, they'll be linked rather than literally reposted.

Some of you have seen these before; some haven't; and the ones who have, maybe you'll like revisiting them. ^_^

Susan B. AnthonyMarch 1:
Susan B. Anthony


Deborah Samson/Robert ShurtleffMarch 2:
Deborah Samson
sff_corgi_lj: (My Fandom (SF))
Proof of 'behind every great man there's a great woman'...

Elizabeth Holloway MarstonVirginia "Ginny" Heinlein
Wonder Woman Elizbeth Holloway Marston iconGinny Heinlein icon

Elizabeth and Ginny )
sff_corgi_lj: (Breast cancer Amazon)
Laurie Anderson

Laurie Anderson (+ Lola) icon

Who is Laurie Anderson?

A poet, writer, visual artist, and social commentator, she is perhaps best known as a recording artist, one whose technical wizardry and live shows have earned her a reputation as one of the most eccentric performers in the business.

She's a lot of things. In general she's known as a "performance artist." A performance artist is an artist who works in the medium of live performance. Laurie's performances use a bewildering variety of media, including film, electronic and acoustic music, slides, costumes, and other weird effects that don't even have names.

Laurie is also a recording artist with Warner Bros. Records. She has made several albums, and all of them are more or less "avant-garde." She began to actually sing recently, starting with the Album "Strange Angels." Otherwise the vocals were primarily spoken.

Some common themes in her works are airplanes, dogs, family, the United States, dreams, and language. 1

Laurie Anderson was born in Chicago in 1947. One of eight children, she studied the violin and, while growing up, played in the Chicago Youth Symphony. She graduated in 1969 from Barnard College in New York, and went on to study at Columbia University, working toward a graduate degree in sculpture. The art scene of the early 1970s fostered an experimental attitude among many young artists in downtown New York that attracted Anderson, and some of her earliest performances as a young artist took place on the street or in informal art spaces. In the most memorable of these, she stood on a block of ice, playing her violin while wearing her ice skates. When the ice melted, the performance ended.

Since that time, Anderson has gone on to create large-scale theatrical works which combine a variety of media - music, video, storytelling, projected imagery, sculpture - in which she is an electrifying performer. As a visual artist, her work has been shown at the Guggenheim Museum in SoHo, New York, as well as extensively in Europe, including the Centre Georges Pompidou in Paris. She has also released seven albums for Warner Bros., including Big Science, featuring the song "O Superman," which rose to number two on the British pop charts. In 1999, she staged "Songs and Stories From Moby Dick," an interpretation of Herman Melville's 1851 novel. She lives in New York. 2

1992 - STORIES FROM THE NERVE BIBLE was presented in Jerusalem and Tel Aviv, Israel

"I worked with local laser artists who designed complex laser structures for the performance. These amazing looking structures are strictly illegal in most other countries because the lasers are aimed directly at the audience, resulting in a kind of non-specific group eye surgery." -LA 3

The Record of the Time: Sound in the Work of Laurie Anderson

Opened on November 10, 2003 at PAC-Milan, Italy
The Musée Art Contemporain of Lyon in France has produced a touring retrospective of Laurie's work, encompassing installation, audio, video and art objects and spans her career from the 1970's to her most current works. The show was first exhibited in Lyon from March 6 - July, 2002 and then moved to the Museum Kunst-Palast in Düsseldorf, Germany from May - October 18, 2003. This show will continue to tour european museum through 2005.
Stay posted for further updates about the show!

In 2003-04, Laurie is the first artist-in-residence of NASA.
Stay tuned for updates about this amazing opportunity! 4

NEW SOLO WORK TOUR 2004

Thursday, February 19 - Sunday, February 22, 2004 8:00pm
WORK IN PROGRESS
Presented by: Usine C
Venue: Usine C
Montreal, Quebec
www.usine-c.com ...

1 http://www.cc.gatech.edu/~jimmyd/laurie-anderson/faq/
2 http://www.pbs.org/art21/artists/anderson/
3 http://www.cc.gatech.edu/~jimmyd/laurie-anderson/biography/wb.html
4 http://www.laurieanderson.com/projects.html
sff_corgi_lj: (Science!)
Emma Brunskill
The 'future' of Women's History

Emma Brunskill icon

Emma Patricia Brunskill is an MIT Presidential Scholar and a graduate student in computer science at MIT. As an undergraduate at the University of Washington 1, which she entered at the age of fifteen 2, she was named a Goldwater Scholar (1997), a Mary Gates Scholar (1999), and an Anderson Scholar. She graduated in June 2000 with a double degree in physics and computer engineering 5. Emma was also a runner-up for the Computing Research Association award for outstanding undergraduate female in 2000.

For her senior project in computer science at UW, she created a prototype of a system that could recognize images -- in this case, the gloved hand signs of someone communicating via American Sign Language -- and translate it into characters. 2 Brunskill is interested in studying artificial intelligence and wants her research to have "a social bent." 1

On December 9, 2000, it was announced that Emma had been chosen as a Rhodes Scholar, chosen from 950 applicants for that cycle and the first from UW in two decades. Rhodes scholarships, created in 1902 by the will of British philanthropist Cecil Rhodes, provide two or three years of study at Oxford University in England. Winners are named based on academic achievement, personal integrity, leadership and athletic ability. 2 Her chosen field at Oxford was neuroscience.

Emma's Oxford webpage

Her research experience includes summer work at CERN (European Center for Particle Physics) in 1999. That same summer she visited Paris for the first time and "adored it so much that the following summer I choose to take a French language course at the Sorbonne. There I spent a lot of time wandering the streets of Paris and having long conversations in small cafés." 1

Emma served as the University of Washington coordinator for Amnesty International. An avid rower at the University of Washington and at MIT, Emma looked forward to joining a boat again in Oxford. In her spare moments, she enjoys "reading fiction, dancing, and making sushi," 1 and enjoys listening to Ani DiFranco, Tori Amos and U2. 2 She returned to MIT to complete her Ph.D. after her two years at Oxford. 1 She also received a National Science Foundation Graduate Fellowship.

As part of her graduate career, she has co-written Building Peer-to-Peer Systems With Chord, a Distributed Lookup Service. Proceedings of the 8th Workshop on Hot Topics in Operating Systems (HotOS-VIII), 2001. -- Frank Dabek, Emma Brunskill, M. Frans Kaashoek, David Karger, Robert Morris, Ion Stoica, Hari Balakrishnan.

She's kept up her athletics as well, participating in the 2002-03 Reebok Cross [Country] Challenge, November 2, 2002, coming in with a 28:13, coming in number 50 of 66 in the Senior ['senior'?? - c.] Women class, listed as 'Emma Brunskill Oxford University'; 3 and in the 'Harpoon Brewery Oktoberfest Blues Run & BBQ Bash', in Somerville, Massachusettes, October 30, 2003, 137 of 500 mixed-gender participants listed, with a time of 24:41 4.

She attended the Society for Neuroscience Annual Meeting, November 7-12, 2003 and enjoyed New Orleans when she wasn't in conferences. Emma is also currently a member of MIT's Committee on Foreign Scholarships conducts interviews September through November with applicants for the major international scholarships: Marshall, Rhodes, Fulbright, Fulbright-Hayes, Gates, Churchill, and DAAD awards.

Her sister, Amelia, is following right behind her, also having been made a Mary Gates Scholar and having entered the University of Washington in the same Early Entrance Program. Amelia is majoring in Psychology, but is also being quite the theatre maven.

"We gave them a lot of space. Both are very organized with their time. We never had to say, 'Do your homework,'" said their mother, Clare Brunskill, a first-grade teacher in the Edmonds School District.

Their father, Andrew Brunskill, a medical director for the Washington State Health Care Authority, also downplayed his role. "We're delighted and amazed by what they did," he said. "We try to support them and stay out of the way."1

Posted by: Emma Brunskill at February 19, 2004 03:49 PM:
I agree with the idea expressed in both papers that educational experiences involving projects and creating and designing can be very productive learning experiences. However, I think it is important to remember that there may be some ideas that are easier to learn in traditional ways. Re-discovery through projects of simple concepts, like color mixing, is an effective method of aquiring such concepts and is likely to mean more than simply route learning such ideas. Similarly, other projects like building houses out of blocks may allow kids to develop the intuition between structure and stability. But for more advanced concepts, such as those involved in robots and electronics for example, it is likely that the project process will initiate inquiries into matter that is then perhaps most efficiently learned through traditional methods. There is a tremendeous amount of knowledge already present in the fields of mathematics, physics, and chemistry to name just a few. It does not seem necessary nor efficient for people to rederive the principles of all these fields from scratch. Rather, it seems like project learning can interact with traditional learning: when a question arises during a project, consulting a textbook on electronics may be the most effective source to answer it.

I do feel like there are a number of basic concepts that it is beneficial for all people to have a basic understanding of. Cavallo's paper argues for education that involves the undertaking of deep prolonged projects rather than "rushing through a broad curriculum in a shallow manner." I think if a project-based approach is to be taken, it is important that the projects be diverse enough so that the learner ends up with a broad range of knowledge over a wide range of disciplines. Such a broad knowledge base facilitates the learner's ability to play a role in more of society, as well as allows them to make cross-connections between disciplines. However, I don't think there is a necessary parallel between long periods of time & specific curriculum and/vs short periods of time and a broad curriculum. Instead school periods could be arranged to promote students undertaking a number of different projects bridging different disciplines that could be pursued over a longer time scale than the typical 1 hour classes of current schools.

http://dtm.media.mit.edu/dtm/dtm04/blog/archives/000048.html

1 http://www.americanrhodes.org/newsletter2001/brunskill.html
2 http://seattlepi.nwsource.com/local/rhod11.shtml, rhod28.shtml
3 http://www.ukathletics.net/vsite/vcontent/page/custom/0,8510,
  4854-133222-134530-21747-81581-custom-item,00.html

4 http://www.coolrunning.com/results/03/ma/Oct30_Harpoo_set1.shtml
5 http://www.artsci.washington.edu/newsletter/WinterSpring01/awards.htm

http://www.funjournal.org/
http://people.csail.mit.edu/emma/
sff_corgi_lj: (Breast cancer Amazon)
Del Martin and Phyllis Lyon

Del Martin and Phyllis Lyon icon

Pioneering lesbian rights activists and NOW members Del Martin and Phyllis Lyon made history Feb. 12 in San Francisco when they became the first same-sex couple in the United States to have their marriage recognized by a government entity.

After forming the first national lesbian rights organization, Daughters of Bilitis, in 1955 and joining NOW in the 1960s as one of the few sources of community, Martin and Lyon left the organization over concerns about homophobia in 1979, but rejoined in 1988 and participated in that year's NOW Lesbian Rights Conference. 1

The
Daughters of Bilitis (D.O.B.) was the first national organization for lesbians in the United States. It was a huge step foward for the lesbian movement. These brave souls were the first to say "we are gay and we are not ashamed".

Two of the eight women who founded the historic group were a couple by the names of Del Martin and Phyllis Lyon. They met in 1950 in Seattle and started out as friends. Del was a lesbian and Phyllis her "straight friend". In 1952, they became lovers and in 1953 they moved together to San Francisco. Two years later, they and their friends began the organization which quickly became a driving force in the lesbian movement. The D.O.B. provided lesbians a place to meet outside of bars, a way to document their lives and a forum to promote civil rights. The group put out a national newsletter for their members, with Phyllis as the editor, called The Ladder. It was the beginning of the ongoing battle lesbians face to be recognized as "legitimate couples". 2

After wrangling with N.O.W., the couple turned their energies to writing Lesbian/Woman. Published in 1972, it described lesbian lives in a positive, knowledgeable way almost unknown at the time. Publishers Weekly chose it as one of the 20 most influential women's books of the last 20 years (the 70s and 80s).

In 1972, they helped to set up the Alice B. Toklas Memorial Democratic Club. They have been influential in getting women and lesbians on the San Francisco police force, in the fire department, and elected and appointed to public office.

Del was a key member of a campaign that resulted in the historic 1973 decision of the American Psychiatric Association to remove homosexuality from its manual of mental disorders. For the first time in history, lesbians and gay men were not classified as deviant. This served as a catalyst, raising consciousness for the recognition of lesbians and homosexuals as human beings.

Del went on to author Battered Wives in 1976, on the subject of domestic violence. The book acted as a catalyst for the establishment of a network of battered women's shelters. Phyllis began a new career in sex education and became co-director of the National Sex Forum, which originated the use of explicitly sexual films as a teaching tool. Later she was a co-founding faculty member of The Institute for Advanced Study of Human Sexuality, a graduate school which grants doctoral and other degrees in sexology. 5

In 1979, Martin and Lyon founded the "Lyon-Martin Women's Health Services" clinic on Market Street. It began as an all volunteer clinic, the first of its kind, to fill a need for lesbians who were not accessing the health care system due to possible homophobia, ignorance, discrimination or intimidation. The clinic's mission statement is "Provide quality, affordable, nonjudgmental, comprehensive health care and health education for women, by women. We are committed to serving all women with a focus on lesbians and special outreach to women of color, low income women, older women and women with disabilities." 3

On February 13, 2003, No Secret Anymore: The Times of Del Martin and Phyllis Lyon premiered in San Francisco. Filmmaker Joan E. Biren began making the documentary in 1999 and was still editing it almost all the way up to the first screening. 4 Produced by Academy Award Nominee Dee Mosbacher, No Secret Anymore follows the couple through six decades, tracing the emergence of lesbians from the fear of discovery to the expectation of equality.

While some might rest on their laurels, Phyllis and Del forge on. They are now involved with Old Lesbians Organizing for Change (OLOC), dealing with ageism, and are working on the needs of lesbian, gay, bisexual, and transgender elders. Senator Dianne Feinstein and Representative Nancy Pelosi appointed Del and Phyllis respectively as delegates to the 1995 White House Conference on Aging. They raised issues related to sexual orientation and made sure their demands were part of the Conference record. 5

1 http://www.now.org/issues/lgbi/021304lyon-martin.html
2 http://www.geocities.com/mycauses/legend.html
3 http://www.sfccc.org/clinics/lmwhs.htm
4 http://www.noevalleyvoice.com/2003/February/Lyon.html
5 http://woman-vision.org/nosecret/

http://www.washingtonpost.com/wp-dyn/articles/A15518-2004Feb28.html



Today's profile brought to you by Tetsubo Productions and 'Dinner Theatre', coming soon to a Quicktime window near you!
sff_corgi_lj: (TV - SG's Dr. Janet Frasier by chiroho)
Marcelite Harris

Maj. Gen. Harris icon

Major General Marcelite Harris is a woman of "firsts." She was the first woman aircraft maintenance officer for the United States Air Force; she was the first woman deputy commander for maintenance; she was one of the first two women air officers commanding at the U.S. Air Force Academy. General Harris served her entire 30+ year Air Force career as a woman with a mission to be the best. 1 The Air Force sent her to aircraft maintenance school, and being a quick study, Harris learned. "I thought men had been keeping all this a secret," she said, laughing. "It wasn't all that hard." In the service, she earned respect. "When I was in Thailand, one of my airmen said to me, 'A woman can't do this job,'" Harris recalled. "I said, 'What about me?' He said, 'You're different.'" 7

From September 1975-May 1978 she was a personnel staff officer and White House social aide, Headquarters U.S. Air Force, Washington, D.C.

As Director of Maintenance, General Harris organized, trained and equipped a work force of more than 120,000 technicians and managers, and maintained a $260 billion plus Global Reach Global Power aerospace weapons systems inventory, She developed maintenance policy, ensuring the readiness of the single largest element of manpower supporting Air Force combat forces worldwide. She determined and successfully defended an annual budget of more than $20 billion to the office of the Secretary of Defense, Office of Management and Budget and Congress. 1

At the time of her retirement in 1997, Harris was the highest ranking female officer in the Air Force. She then became Director of Operations Support and Logistics Processes for the United States Space Alliance, the company contracted by NASA for the launch and recovery of the space shuttle 2 from 1999-2002. Harris found being a manager at a large, private aerospace contracting company in Florida a sometimes trying experience. She liked her colleagues and made good friends, but found that the military, it was not. "In civilian life, you can tell your boss to go fly a kite," as long as you're willing to look for another job, Harris said recently. "I didn't understand" the different attitude. 7 The mismatch prompted her to leave after three years.

She kept a position on the Board of Directors for The Astronauts Memorial Foundation. 3 Governor Jeb Bush recently (2003) nominated a replacement for Harris on Board of Supervisors, Florida Space Authority.

In 2002, New York City's Mayor Bloomberg appointed, to the surprise of many, Joel I. Klein as Chancellor of the new Department of Education. 4 And as it turned out, Klein was searching for someone who was a self-starter with deeply ingrained discipline, who was good at implementing strategies and tactics and who had the outstanding leadership qualities and stubborn drive to serve as his Chief of Staff. Given these requirements, looking for a person with a lifetime of stunning success in the military was perhaps not as unusual as it would seem at first glance.

"I come from a family of educators," she says, relaxing in the spacious fourth-floor conference-room in the Tweed Courthouse. "My great-great grandfather established a school for African-American children. His son, my grandfather, became an architect after being one of the first blacks ever at MIT. My mom was a high school librarian, and her brother is a teacher and principal. He was the Vice Principal at my junior high school, in fact." 2

Joel Klein said about her appointment as his Chief of Staff, "...The Air Force has not been historically congenial to women, much less to African American women. I brought her in partly because she is a unique national treasure, but more importantly because she has a quality that a lot of educational operations lack: She understands what it is to accomplish a mission." 5

Most recently, Harris was one of the keynote speakers at the Sally Ride Science Festival held in Orlando Feb. 2, 2003. It is one of the projects from Ride's Imaginary Lines company, designed to keep middle school girls interested in math, science and technology. 6 Then perhaps the military-civilian mismatch came into play again, as Harris resigned after less than six months on the job as Education Chief of Staff. Her replacement was announced in March, 2003. She is now retired in Manhattan, engaged, and thinking of relocating to Florida. 8

Many have recognized the dedication and excellence of Marcelite Harris including the National Organization of Tuskegee Airman, naming her Woman of the Year. Dollars and Sense Magazine, honored her as 'Most Prestigious Individual'. Harris was named "Military African American Woman" for contributions to the Department of Defense, National Political Congress of Black Women. She was noted as "Black Woman of Courage" by the National Federation of Black Women Business Owners. Harris received the prestigious 'Ellis Island Medal of Honor."

General Harris received many medals and decorations including the Air Force Commendation Medal with oak leaf clusters * Presidential Unit Citation * Air Force Commendation Unit Award with "V" device and eight oak leaf clusters * Republic of Vietnam Gallantry Cross with Palm. She has a B.A. degree in speech and drama from Spelman College in Atlanta and a B.S. degree in business management from the University of Maryland.

1 http://www.wic.org/bio/mharris.htm
2 http://www.educationupdate.com/archives/2002/dec02/issue/spot_harris.html
3 http://www.amfcse.org/Board/harris.htm
4 http://www.pencil.org/publicschools/eyeoned/archive_090402.htm
5 http://www.gothamgazette.com/article/feature-commentary/20021014/202/128
6 http://www.imaginarylinesinc.com/press/newspapers/030120FloridaToday.shtml
7 http://www.wbbusa.com/pressroom05162003.htm
8 http://www.nydailynews.com/news/local/v-pfriendly/story/64809p-60400c.html

http://www.af.mil/bios/bio_print.asp?bioID=5723&page=1
http://www.floridaspaceauthority.com/
http://www.amfcse.org/board/harris.htm


(See also: http://www.army.mil/soldiers/apr1998/features/tomb.html)
sff_corgi_lj: (TV - tWW 'Decisions' by Crumpets)
Hillary Rodham Clinton

Hillary icon

Hillary Diane Rodham, Dorothy and Hugh Rodham's first child, was born on October 26, 1947. Two brothers, Hugh and Tony, soon followed. The children grew up in Park Ridge, Illinois, as a close-knit family. An excellent student, she was also a Girl Scout and a member of the local Methodist youth group. Hillary also enjoyed sports, was a member of the National Honor Society, and was always interested in politics. 1, 3

She entered Wellesley College in 1965. As an undergraduate, Hillary mixed academic excellence with school government. Speaking at graduation, she said, "The challenge now is to practice politics as the art of making what appears to be impossible, possible." Graduating with high honors, she moved on to Yale Law School, where she served on the Board of Editors of the Yale Review of Law and Social Action and interned with children's advocate Marian Wright Edelman. While at Yale, she developed her special concern for protecting the best interests of children and their families. It was there that she met Bill Clinton, a fellow student. The President often recalls how they met in the library when she strode up to him and said, "If you're going to keep staring at me, I might as well introduce myself." The two were soon inseparable -- partners in moot court, political campaigns, and matters of the heart. 1, 3

In 1973, Hillary became a staff attorney for the Children's Defense Fund in Cambridge. A year later she was recruited by the Impeachment Inquiry staff of the Judiciary Committee of the U.S. House of Representatives to work on the Watergate Impeachment proceedings. 1

Eventually, Hillary left Washington and followed her heart to Arkansas, marrying Bill Clinton in 1975. She and Bill joined the faculty of the University of Arkansas Law School at Fayetteville in 1975 and Hillary joined the Rose Law Firm in 1976. In 1978, President Jimmy Carter appointed her to the board of the Legal Services Corporation, and Bill Clinton became governor of Arkansas. Their daughter, Chelsea, was born in 1980. 1, 3

Serving as First Lady of Arkansas for twelve years, Hillary continued to work tirelessly balancing family, law, and public service, working in particular on behalf of children and families. In addition to chairing the Arkansas Education Standards Committee, she founded the Arkansas Advocates for Children and Families. She introduced a pioneering program called Arkansas Home Instruction for Preschool Youth, which trained parents to work with their children in preschool preparedness and literacy. Hillary also served on the boards of the Arkansas Children's Hospital, Legal Services, and the Children's Defense Fund. In recognition of her professional and personal accomplishments, Hillary was named Arkansas Woman of the Year in 1983 and Arkansas Mother of the Year in 1984. 1, 3

When her husband was elected to the presidency in 1992, she was undoubtedly the most overtly political First Lady ever. She was the first First Lady to hold the Master of Science degree (the second being Laura Bush). Just as her husband was the first President from the Baby Boom generation, she was its first First Lady. 6 When the Clintons arrived in Washington, D.C., Hillary felt that she had not only public responsibilities as First Lady, but also the important private responsibility to make the historic, and formal, White House a true home for her husband and daughter Chelsea. For example, because the private living quarters did not have an informal place to gather for meals, she decided to have the serving kitchen on the second floor converted into a family kitchen. There, the three of them could gather around the table just as they had in Arkansas. 4

As the nation's First Lady, Hillary continued to balance public service with private life. Her active role began in 1993 when the President asked her to chair the Task Force on National Health Care Reform. The controversial commission produced a complicated plan which never came to the floor of either house. It was abandoned in September, 1994. She continued to be a leading advocate for expanding health insurance coverage, ensuring children are properly immunized, and raising public awareness of health issues. She wrote a weekly newspaper column entitled "Talking It Over," which focused on her experiences as First Lady and her observations of women, children, and families she has met around the world. 3, 6

Her 1996 book It Takes a Village and Other Lessons Children Teach Us was a best seller, and she received a Grammy Award for her recording of it. The book was a national call for all sectors of society to take responsibility for our children. In it, Hillary emphasizes that while parents are the most important influence in their children's lives, and have the primary responsibility in raising them, society also plays an important role in rearing our nation's children. She stresses that ultimately children will thrive only if all of society provides for them. 4 Unfortunately, the phrase "It takes a village to raise a child" was frequently lampooned by her opponents. 5

In 1997, the First Lady, along with the President, hosted two important conferences on children's issues. Hillary played a strong role at the White House Conference on Early Childhood Development and Learning, where experts emphasized that the success a child has in reaching their full potential is influenced by what they experience during their critical early years. The White House Conference on Child Care drew attention to the struggle our nation's working parents face in finding child care they can afford, trust and rely on. This conference played an important role in developing the President's historic child care initiative -- the largest investment in child care in our nation's history -- to make child care better, safer, and more affordable for America's working families. She also worked to reform America's foster care system and promote adoption. 4

During her stay in the White House she was often controversial, weathering criticism about everything from her hairstyles to her involvement in public policy, her role in a questionable land deal in Arkansas (the so-called Whitewater affair) and other scandals. She also endured her husband's much-publicized affair with intern Monica Lewinsky and supported him during the subsequent impeachment hearings, publicly sticking by the President, initially claiming that the allegations of Bill's infidelities were the result of a "vast right-wing conspiracy", and even when the affair was confirmed, remaining by his side. The state and nature of their marriage has been the subject of much speculation, with some claiming it was a purely political arrangement and widespread stories about their regular arguments. On the other hand, some people say there is a deep respect for each other's political abilities and intelligence -- one that transcends their tiffs. Regardless, they remained together long after the political necessity for the marriage to stay together passed. 5, 6

Undeterred by critics, Hillary nonetheless won many admirers for her staunch support for women around the world and her commitment to children's issues. 3 She continued to be a leading advocate for expanding health insurance coverage, ensuring children are properly immunized, and raising public awareness of health issues. She worked on lesser but noteworthy projects like shaping the CHIP, Children's Health Insurance Program, as well as breast cancer funding. 6 When President Clinton left the Presidency after his second term, the Clintons moved to New York State to establish residency. Respected and long-serving Democratic Senator Daniel 'Pat' Moynihan had announced his retirement, and Hillary wanted to run for the junior senator position to continue working for her chosen causes.[ed]

In a blaze of international media publicity, Hillary ran for the New York senate seat in 2000. Initially expected to face Rudy Giuliani, his cancer scare prevented one of the most eagerly anticipated political contests of the election cycle and instead she faced an inexperienced Republican opponent, Representative Rick Lazio. Despite considerable efforts by the Republican party to defeat her, and allegations of anti-Semitism, 6 Hillary was elected United States Senator from New York on November 7, 2000, in part by campaigning extensively in traditionally Republican areas of Upstate New York. She is the only First Lady ever elected to the United States Senate and the first woman elected statewide in New York. 2, 6 Now midway through her six-year team, Senator Clinton has proven to be a strong and fairly popular advocate for New York; she is the first New York Senator to serve on the Senate Armed Services Committee. 2

In 2003 Hillary published a 562-page memoir, Living History, detailing her eight years in the White House. 5 Her supporters are already gearing up for her re-election campaign in 2006. 7

The Senator has been the recipient of numerous awards including the Claude Pepper Award of the National Association for Home Care, the Martin Luther King, Jr. Award of the Progressive National Baptist Convention, the Memorial Sloan-Kettering Cancer Center Medal, the Servant of Justice Award of the New York City Legal Aid Society, the Eleanor Roosevelt Val-Kill Medal, the Public Spirit Award of the American Legion Auxiliary, the Shalom Chaver Award for International Leadership of the Yitzhak Rabin Center for Israel Studies, the Albert Shanker Award of the New York State United Teachers. 2


1 http://www.wic.org/bio/hclinton.htm
2 http://clinton.senate.gov/
3 http://www.whitehouse.gov/history/firstladies/hc42.html
4 http://www.a-ten.com/biographies/hillary_clinton.html
5 http://www.who2.com/hillaryrodhamclinton.html
6 http://en.wikipedia.org/wiki/Hillary_Rodham_Clinton
7 http://www.friendsofhillary.com/
sff_corgi_lj: (Anime - Sailormoon: Saturn)
Alice Jackson Stuart

Alice Jackson Stuart icon

In August 1935, at age 22, Alice Carlotta Jackson became the first African American to apply to the all-white University of Virginia. Small numbers of women had been admitted into the graduate and professional schools in earlier years, so the issue was her race rather than her gender. Under the U.S. Supreme Court's 1896 Plessy v. Ferguson decision, states could segregate by race so long as they provided "equal" facilities for blacks and whites. Since none of the black colleges and universities in Virginia offered a master's degree program in French, an African-American citizen of Virginia who wanted to pursue an advanced degree in that field would have to attend an out-of-state school.

Jackson, a Richmond native and daughter of a pharmacist, completed a Bachelor of Arts degree in English at Virginia Union University in Richmond and had taken some additional courses at Smith College in Massachusetts. Her application to the U.Va. graduate school for an MA in French was denied by the Board of Visitors on the basis of state's Jim Crow educational policies and "other good and sufficient reasons."
"The education of white and colored persons in the same schools is contrary to the long established and fixed policy of the Commonwealth of Virginia. Therefore, for this and other good and sufficient reasons not necessary to be herein enumerated, the rector and board of visitors of the University of Virginia direct the dean of the department of graduate studies to refuse respectfully the pending application of a colored student."
Jackson was part of a bigger movement at the time, coordinated by the NAACP, that sought to force Southern states to provide equal access to public higher education for black students. 1 Her cause was taken up by NAACP lawyer Thurgood Marshall, who would later become the first black U.S Supreme Court justice. 3 At the recommendation of the NAACP, she sent a letter asking the university to "enumerate" the other reasons for her rejection. The Board of Visitors refused to elaborate on its decision, perhaps because it did not want to cloud the legal issue of racial segregation with other merit-based considerations. 1

One voice from within the University community, The National Students League, protested the Board's action "because it implies the desirability of continuing educational inequality." A small (not over 20 members) but vocal Communist student organization, the NSL wrote a highly publicized letter to the BOV and President John Newcomb condemning their actions and also held a public forum for the students to discuss this controversial issue. Coverage of the protest in national newspapers, such as The New York Times, brought more attention to the case and pressure on the Board. President Newcomb also received half a dozen similar letters from other NSL University branches.

The case resulted in passionate public arguments on a range of issues. Many white Virginia newspapers criticized Jackson and the NAACP for damaging race relations and "unnecessarily rocking the boat." But these complaints were met with strong rebuttals from the NAACP Chief Counsel Charles Hamilton Houston, who wrote: "Amicable race relations are pleasant but must not be purchased at the price of fundamental rights."

Though the NAACP eventually decided not to press the Jackson case in court, the threat of such a case led to direct state action to provide African-American citizens with access to separate-but-equal higher education facilities. In December 1935, the Virginia State Board of Education established a graduate school for African Americans at Virginia State University at Petersburg. And in February 1936 the Virginia General Assembly passed House Bill 470, the Dovell Act, which paid qualified black applicants the additional amount of tuition and travel expenses required to attend schools outside the state offering a similar course of study. This bill provided for the education of hundreds of African American students over the next twenty to thirty years.

Alice Jackson took her grant money from the new Scholarship bill (one of about 400 who did so 3) and attended Columbia University, graduating with an M.A. in English in 1937. Unable to obtain any teaching positions in the state of Virginia because of the notoriety associated with her application, she taught at a college in Florida for 45 years, and then at Howard University for some time. Yet, despite the repercussions of her challenge to U.Va.'s segregation policies, she remained committed to what she called "the fight for equal educational opportunities for Negroes in the South."

It was not until the 1980s that the University of Virginia and current African-American students honored her. In 1990 the Virginia General Assembly honored her with a resolution commending her courageous act in the 1930s. Alice Jackson Stuart passed away on June 13, 2001, aged 88. [Obituary, Richmond Times-Dispatch] She was a pioneer in her day and took the first step on a very long and painful path to the desegregation of the University of Virginia. 1

Stuart's gutsy effort to change university policy is little-known today. But it made headlines at the time, and led to legislation that paid for black residents of Virginia to attend out-of-state professional schools. Fifteen years later, black students were admitted to the University of Virginia. And now, Stuart's essays, letters, speeches and papers -- including her correspondence with the university -- have been donated to the school by her son, Julian T. Houston. "There is, then, a certain poetic justice for my mother, in donating her papers to the university which denied her admission so long ago," Houston said.

Houston, a Massachusetts Superior Court judge, said several universities, including Tulane and Emory, were interested in the 30 boxes of files after his mother died in 2001 at the age of 88. The papers represent "not just a history of the university, but history of the South and history of the U.S.," said Michael Plunkett, director of special collections at the university library. The school already had newspaper articles and university and NAACP documents about Stuart, said university historian Scot French, who helped obtain the papers. "What we didn't have was her perspective on all of this," he said. "We didn't have her words."

"I thought that certainly as a taxpayer I would be, should be, eligible for attending the university," Stuart said in a transcript of a 1987 interview.

Houston said his mother, despite her pioneering role, was relatively unknown in the civil rights movement because of her modesty. She would refer to her rejection by the University of Virginia, he said, but seldom gave details. "She didn't seek publicity or promote herself. She was very private," Houston said.

A researcher at the university found that Stuart was among 400 black students who received the [grant money to learn out-of-state]. Some became doctors, lawyers and university presidents.

Forty years later, Stuart spoke at an awards banquet for black students at the school. In her speech, which is in the collection, she said that the invitation left her with "a sense of great joy and long reminiscences. ... We share together."

"It's a tribute to people like her who tried and failed that I am here," said Julian Bond, chairman of the National Association for the Advancement of Colored People and a history professor at the school. Retired university history professor Paul Gatson, who is writing a history of the school, met about 35 of Stuart's relatives at a recent luncheon to honor her. They include doctors, lawyers, corporate executives and Ivy League students. 2

Her son can be heard talking about his mother's papers on the Travis Smiley Show on NPR.


1 http://www.virginia.edu/woodson/projects/kenan/jackson/jackson.html
2 http://www.cnn.com/2003/EDUCATION/11/05/poetic.justice.ap/
3 http://www.boston.com/news/education/higher/articles/2003/10/10/
   black_woman_whose_rejection_blazed_trails_
   at_u_of_virginia_finally_takes_place_at_the_school/
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Bessie Coleman

Bessie Coleman icon

Bessie Coleman was born into a large family in Atlanta, Texas, on January 26, 1892, the tenth of thirteen children. By the time of Bessie’s birth, Susan and George Coleman, her parents, had been married for 17 years. George was of mixed blood—part African-American and part Cherokee. Migrating Georgians had founded the town some 10 years before her birth. Its residents numbered fewer than 1,000. 1

As her older sibs started work in the fields, Bessie kept her eyes on her sisters and helped her mother work in her garden. She began school at the age of six and had to walk 4 miles each day to her all-black school. She was intelligent and established herself as an outstanding math student. However, Every year the routine of school, chores, and church was shattered by the cotton harvest. Each man, woman, boy and girl was needed to pick the cotton, so the Coleman family worked together in the fields during the harvest. 1

In 1901, Bessie’s happy life took a dramatic hit. George Coleman left his family. He had become fed up with the racial barriers that existed in Waxahachie and all across the state of Texas. He returned to Oklahoma, or Indian Territory as it was called then, to find better opportunities. Unable to convince his wife and children to go with him, he left with a heavy heart. Soon after Bessie's father left, her remaining older brothers also left home, leaving Susan Coleman with four girls under the age of nine. 1

Bessie saved her money and then in 1910 took her savings and enrolled in the Colored Agricultural and Normal University in Langston, Oklahoma. Bessie completed only one term before she ran out of money and was forced to return to Waxahachie. She continued her former life working as a laundress in the small Texas town. 1

In 1915, at the age of twenty-three, she set out to stay with her brother, Walter, in Chicago while she looked for work. All she wanted was a chance to “amount to something”. 1 Among her many gentlemen friends was Claude Glenn, a much older man whom she married in 1917, but lived with only briefly. 3 By 1918, Bessie's mother Susan and her three younger sisters, Georgie, Elois and Nilus, had joined Bessie and her brothers in Chicago. By 1920, 90% of the African American population of Chicago lived on the South Side, between Twelfth and Thirty-ninth streets on the north and south and Lake Michigan and Wentworth Avenue on the east and west. It was a pretty well-balanced place where the wealthy, the well-educated, the middle class, the poor and the hard-working co-existed in generally law abiding harmony. Bessie lived with her brothers Walter, a Pullman porter, and John, frequently unemployed. She decided that she would become a beautician to make ends meet. 1

Walter and John had been serving in France during World War I and returned safely; Bessie, taking her cue from brother John's teasing claims that French women were superior to African American women because they could fly and had careers, decided she would become a flier. 1, 2

Having secured funding from several sources and received a passport with English and French visas, Bessie departed for France in November of 1919. She completed in seven months, a ten month course at the Ecole d'Aviation des Freres Caudon at Le Crotoy in the Somme. Learning to fly in a French Nieuport Type 82, Bessie's schooling included "tail spins, banking and looping the loop." She received her license from the renowned Federation Aeronautique Internationale (FAI) on June 15, 1921. Her birthplace was listed as Atlanta, Texas, but her age was listed as 25 (the figure she had given passport authorities in Chicago) rather than 29 that she actually was. The license did not indicate that Bessie was the first black woman to ever earn a license from the prestigious FAI nor that she was the only woman of the sixty-two candidates to earn FAI licenses during that six-month period. 1 Flying as entertainment could provide financial benefits for an aviator but required skills that Bessie did not possess. Once again, Bessie departed for France, arriving in Le Havre on February 28, 1922. She received advanced training in the Nieuport, returning to New York in August. 1

"Bessie realized that to make a living at flying she would first have to dramatize herself, like Roscoe Turner, the great speed pilot who wore a lion-tamer's costume when he flew and took his pet lion, Gilmore, along in the second cockpit," wrote Doris Rich in Queen Bess: Daredevil Aviator. "Speaking to reporters, Bessie now began to draw upon everything at her command —- her good looks, her sense of theater, and her eloquence—to put her own campaign of self-dramatization into high gear.... Everything she told them was purposefully selected to enhance the image of a new, exciting, adventurous personality." 3

Her first appearance was in an air show on September 3, 1922 at Curtiss Field near New York City. The show, sponsored by Robert Abbott and the Chicago Defender, billed Bessie as "the world's greatest woman flyer." More shows followed around the country including Memphis and Chicago. On June 19, 1925, Bessie made her flying debut in Texas at a Houston auto racetrack renamed Houston Aerial Transport Field in honor of the occasion. 1

She flirted briefly with a movie career and traveled to California to earn money for a plane of her own. 1 Although Coleman eventually succeeded, the only one she could afford was an ancient Curtiss JN-4, priced at $400. Days after receiving the plane, she was flying from Santa Monica, California to an exhibition in central Los Angeles in February of 1923, when it stalled at 300 feet, nose-dived, and smashed into the ground. She spent the next three months in the hospital with a broken leg, broken ribs, and several serious lacerations. 3

Discouraged by the loss of her only plane, her lengthy hospitalization, and continuing managerial problems, Coleman spent the next 18 months in Chicago 3 formulating a new plan. It was another two years before she finally succeeded in lining up a series of lectures and exhibition flights in Texas. Once there, she defied not only racial barriers but gender barriers as well. 1

Bessie left for a series of lectures in black theaters in Georgia and Florida. After two months in Florida, she opened a beauty shop in Orlando to hasten her accumulation of funds to start the long awaited aviation school. Using borrowed planes Bessie continued exhibition flying and occasional parachute jumping. As she had often done in other U.S. locations, Bessie refused to perform unless the audiences were desegregated and everyone attending used the same gates. 1

At the end of April in 1926, Bessie's Curtiss Aeroplane and Motor Company Jenny (JN-4 with an OX-5 engine) arrived in Jacksonville. On the evening of April 30th, she and her mechanic took the plane up for a test flight. 1 The highlight of her performance the next day was to be a spectacular parachute jump from a speeding plane at 2,500 feet. 3 At 3,500 feet with Wills in the front seat, the controls jammed and the plane unexpectedly plummeted toward earth. Coleman, who wasn't wearing a seat-belt so she could peer over the cockpit to study the contours of the field below, fell out of the cockpit and to her death. 2, 3

Wills tried but failed to regain control of the aircraft, and died instantly when it hit the ground. Although the wreckage of the plane was badly burned, it was later discovered that a wrench used to service the engine had slid into the gearbox and jammed it, causing the plane to spin out of control. Experts noted at the time that gears in more modern planes had a protective coating —- an accident like this need not have happened. 3

On May 2, 1926, thousands of mourners —- among them hundreds of schoolchildren who had heard Coleman lecture on the glories of aviation —- attended a memorial service in Jacksonville. Three days later her remains arrived in Chicago, where thousands more attended a funeral at the city's Pilgrim Baptist Church.

Her dream of a flying school for African American's became a reality when William J. Powell established the Bessie Coleman Aero Club in Los Angeles, California in 1929. As a result of being affiliated, educated or inspired directly or indirectly, by the Bessie Coleman Aero Club, flyers like the Five Blackbirds, the Flying Hobos (James Banning and Thomas Allen), the Tuskegee Airmen, Cornelius Coffey, John "Brown Condor" Robinson, Willa Brown and Harold Hurd continued to make Bessie Coleman's dream a reality. 1

"Because of Bessie Coleman," wrote Lieutenant William J. Powell in Black Wings, "we have overcome that which was worse than racial barriers. We have overcome the barriers within ourselves and dared to dream." 3

A new organization known as the Bessie Coleman Aviators Club, open to women pilots of all races, was founded in 1977 —- some 50 years after her death —- by a group of black women pilots from the Chicago area. Every April, on the anniversary of Coleman's death, the Bessie Coleman Aviators, together with pilots from the Chicago American Pilots Association and the Negro Airmen International, fly low over Lincoln Cemetery in the Chicago suburb of Blue Island to drop flowers on her grave. As an additional tribute to the life and courage of the world's first black woman pilot, in 1990, Chicago Mayor Richard M. Daley renamed Old Mannheim Road at O'Hare Airport "Bessie Coleman Drive." In 1992 he proclaimed May 2nd "Bessie Coleman Day in Chicago." Shortly thereafter, Coleman received national recognition when the U.S. Postal Service issued a stamp commemorating her extraordinary life and accomplishments. 3

Bessie Coleman U.S. stamp (100x156)


1 http://www.bessiecoleman.com/
2 http://www.pbs.org/wgbh/amex/flygirls/peopleevents/pandeAMEX02.html
3 http://www.galegroup.com/free_resources/bhm/bio/coleman_b.htm
   (http://www.gale.com/servlet/BrowseSeriesServlet?
   region=9&imprint=000&titleCode=CBB&edition=
)

http://www.libarts.ucok.edu/history/faculty/roberson/course/1493/readings/Bessie%20Coleman.htm
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Judy Chicago

Judy Chicago (Dinner Party) icon

Born: Chicago, IL, 1939

A childhood love of art led Judy Cohen to UCLA's art program. She earned her bachelor's degree in 1962 and her master of arts in 1964. Rechristened "Judy Chicago" by a gallery owner because of her Windy City accent, she quickly established a name for herself as a contemporary artist, showing her work at numerous local venues. 2

  In the early seventies after a decade of professional art practice, Chicago pioneered Feminist Art and art education through a unique program for women at California State University, Fresno, a pedagogical approach that she has continued to develop over the years. In 1974, Chicago turned her attention to the subject of women's history to create her most well-known work, The Dinner Party, which was executed between 1974 and 1979 with the participation of hundreds of volunteers. 1 The ambitious artwork, which Chicago humorously called a "reinterpretation of The Last Supper from the point of view of those who've done the cooking throughout history," consists of a triangular table, 48 feet long on each side, with complete place settings for 39 women who have been "forgotten by history." In the course of 15 major exhibitions in six countries, The Dinner Party was seen by a million people. 2

The Dinner Party has been the subject of countless articles and art history texts and is included in innumerable publications in diverse fields. The impact of The Dinner Party was examined in the 1996 exhibition, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History. Curated by Dr. Amelia Jones at the UCLA Armand Hammer Museum, this show was accompanied by an extensive catalog published by the University of California Press. In 2004, The Dinner Party will be permanently housed at the Brooklyn Museum as part of the Elizabeth A. Sackler Center for Feminist Art, thereby achieving Chicago's long-held goal of helping to counter the erasure of women's achievements.

Primordial Goddess plate
  From 1980 to 1985, Chicago worked on the Birth Project. Having observed an absence of iconography about the subject of birth in Western art, Chicago designed a monumental series of birth and creation images for needlework which were executed under her supervision by skilled needleworkers around the country. The Birth Project, exhibited in more than 100 venues, employed the collaborative methods and a similar merging of concept and media that characterized The Dinner Party. Exhibition units from the Birth Project can be seen in numerous public collections around the country including the Albuquerque Museum where the core collection of the Birth Project has been placed to be conserved and made available for exhibition and study.

While completing the Birth Project, Chicago also focused on individual studio work to create Powerplay. In this unusual series of drawings, paintings, weavings, cast paper, and bronze reliefs, Chicago brought a critical feminist gaze to the gender construct of masculinity, exploring how prevailing definitions of power have affected the world in general - and men in particular. The thought processes involved in Powerplay, the artist's long concern with issues of power and powerlessness, and a growing interest in her Jewish heritage led Chicago to her next body of art.

 
Hypatia plate The Holocaust Project: From Darkness Into Light, which premiered in October, 1993 at the Spertus Museum in Chicago, continued to travel to museums around the United States until 2002. Holocaust Project evolved from eight years of inquiry, travel, study, and artistic creation; it includes a series of images merging Chicago's painting with the photography of Donald Woodman, as well as works in stained glass and tapestry designed by Chicago and executed by skilled artisans.

Resolutions: A Stitch in Time was Judy Chicago's most recent collaborative project. Begun in 1994 with skilled needle workers with whom she had worked for many years, Resolutions combines painting and needlework in a series of exquisitely crafted and inspiring images which - with an eye to the future - playfully reinterpret traditional adages and proverbs. The exhibition opened in June, 2000 at the American Craft Museum, New York, NY, and was toured by them to seven venues around the United States and Canada.

 
  For many decades, Chicago has produced works on paper, both monumental and intimate. These were the subject of an extensive retrospective which opened in early 1999 at the Florida State University Art Museum in Tallahassee, Florida. Organized by Dr. Viki Thompson Wylder, who is a scholar on the subject of Chicago's oeuvre, this was the first comprehensive examination of the body of Chicago's art. The exhibit, Trials and Tributes traveled through 2002 to eight venues and was accompanied by a catalog by Dr. Wylder with an introduction by renowned critic, Lucy Lippard.

In October 2002, a major exhibition surveying Chicago's career was presented at the National Museum of Women in the Arts. The show was accompanied by a catalog edited by Dr. Elizabeth A. Sackler with essays by Lucy Lippard and Dr. Viki Thompson Wylder and an Introduction by Edward Lucie-Smith.

 
  In addition to a life of prodigious art making, Chicago is the author of numerous books:
  • Through the Flower: My Struggle as a Woman Artist, 1975 (subsequently published in England, Germany, Japan, and Taiwan);

  • The Dinner Party: A Symbol of Our Heritage, 1979;

  • Embroidering Our Heritage:The Dinner Party Needlework, 1980 (subsequently published in a combined edition in Germany);

  • The Birth Project, 1985 (Anchor/Doubleday);

  • Holocaust Project: From Darkness into Light, 1993;

  • The Dinner Party/Judy Chicago, 1996;

  • Beyond the Flower: The Autobiography of a Feminist Artist, 1996 (Viking Penguin).

In 1999, Chicago published a book coauthored with Edward Lucie-Smith, the well-known British art writer. Published in the U.S., Canada, England, Australia, New Zealand, and Germany, Women and Art: Contested Territory examines images of women by both male and female artists throughout history. In the spring of 2000, Judy Chicago: An American Vision, a richly illustrated monograph about Chicago's career by Edward Lucie-Smith, was published. This book provided the first comprehensive assessment of Chicago's body of art.

Sappho plate
In 2004, Chicago published Fragments From The Delta Of Venus (powerHouse Books), a collection of images based upon the erotic writing of Anais Nin. Also, included in the book was an essay about Chicago's relationship with Nin who was her mentor in the early seventies. In conjunction with the book's publication, a number of exhibits were held around the country surveying Chicago's erotic work created over three decades. For many years, Judy Chicago has been interested in redressing the iconographic void around women's perspective on sexuality and desire.

In 1999, Chicago returned to teaching for the first time in twenty-five years, having accepted a succession of one-semester appointments at various institutions around the country-beginning with Indiana University, Bloomington, where she received a Presidential Appointment in Art and Gender Studies. In 2000, she was an Inter-Institutional Artist in Residence at Duke University and the University of North Caroline, Chapel Hill. In 2001, with her husband, photographer Donald Woodman, she undertook a project with students at Western Kentucky University, which commemorated the thirty-year anniversary of Womanhouse. Working with students, faculty and local artists, Chicago and Woodman developed a project titled, At Home, re-examining the subject of "the house," this time from the perspective of residents of Kentucky who have a keen sense of place and home. In the fall of 2003, Chicago and Woodman team-taught again facilitating an ambitious inter-institutional, multi-site project in Pomona and Claremont, California.

 
  Chicago is the recipient of numerous grants and awards including an Honorary Doctorate in Fine Arts from Russell Sage College in Troy, NY; an Honorary Doctorate in Fine Arts, honoris causa from Smith College, Northampton, MA; an Honorary Degree of Doctor of Humane Letters from Lehigh University, Bethlehem, PA; an Honorary Doctorate of Fine Arts from Duke University, Durham, NC; and the 1999 UCLA Alumni Professional Achievement Award.

Many films have been produced about her work including Right Out of History; The Making of Judy Chicago's Dinner Party by Johanna Demetrakas; documentaries on Womanhouse, the Birth Project, The Holocaust Project and Resolutions; and two films produced by the Canadian Broadcast Corporation, Under Wraps and The Other Side of the Picture. E Entertainment Television included Judy Chicago in its three part program, World's Most Intriguing Women.

In 1996, the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Radcliffe College, Cambridge, MA, became the repository for Chicago's papers. Chicago is the first living artist to be included in this major archive, one already being used by scholars researching Judy Chicago's work, for example, the art historian, Gail Levin, who consulted the Schlesinger archives from her upcoming biography of Judy Chicago.

  For nearly four decades, Chicago has remained steadfast in her commitment to the power of art as a vehicle for intellectual transformation and social change and to women's right to engage in the highest level of art production. As a result, she has become a symbol for people everywhere, known and respected as an artist, writer, teacher, and humanist whose work and life are models for an enlarged definition of art, an expanded role for the artist, and women's right to freedom of expression.

 
In retrospect it now seems that "The Dinner Party" came out of a social, feminist context as well as an art world one. That for the time was daring, to say the least. Whether you like "The Dinner Party" or not, it changed art. It was an event as much as an artwork. Chicago may not have done it all alone, but she certainly did not have a big New York gallery behind her. Furthermore, her art since "The Dinner Party" confirms that beginning with that work Chicago was after the really big subjects, something even now most artists shy away from for fear of embarrassment, making a mistake, or merely because the commercial art world can't handle other than formal topics or adolescent self-indulgence.

So on the elevator up to the 4th floor I was still wondering about how the actual "Dinner Party" would look and work. There were the now-familiar banners: "And She Gathered All before Her", etc. I turned the corner and there it was. A huge triangular banquet table with 39 place-settings, each one honoring a particular woman in myth and then history. It was still breathtaking. And I, like the others in the crowd, moved counterclockwise from setting to setting from the Primordial Goddess, to Ishtar, to Hatshepsut, to Saint Bridget, through Emily Dickinson, through Virginia Woolf and ending with Georgia O'Keeffe. Every setting tells a story, through the "decorated" ceramic plate and the related needlework runner. What I hadn"t remembered was that the plates got wilder, more three-dimensional, and more vaginal as you move through time around the table.

What is there left for me to say? This time the press response is favorable indeed, certainly in The Times and in The Voice. But what I can say is that what really pleases me is that this is a really nervy, shocking artwork. It is still over-the-top. It pretends to be rational and didactic, which in many ways it is. But the vision of vagina dinner plates at a women’s banquet is exactly what makes "The Dinner Party" far out…and effective. It sometimes takes a bit of wildness to get a point across. So now we probably need a retrospective to put "The Dinner Party" in the context of Chicago's work before and after. Wouldn't it be great if a retrospective accompanied the opening of the permanent installation of "The Dinner Party" at Brooklyn?3


1 http://www.judychicago.com/scripts/shopplus.cgi?DN=judychicago.com&CARTID=%cartid%&ACTION=add&FILE=biography/frameset_bio.html
2 http://www.ucla.edu/spotlight/archive/html_2000_2001/alum_0301_chicago.html
3 http://www.johnperreault.com/_wsn/page5.html
 
     

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