A Lesbian Show

In addition to visual art in a wide range of edia, A Lesbian Show included performances, readings, film, video and discussions on lesbian art and politics. Coordinator Hammond said in the press release, “This unique exhibition acknowledges the huge contribution lesbians have made to culture. It has been a well-guarded secret that many of the 20th century’s well-known artists have been lesbians. As lesbians we have no history, or even a contemporary community of lesbian artists. In order to validate lesbian experiences, it is important that lesbian artists become visible to each other as well as to the women’s community, the art world and people outside the art world. Until we have visibility, we cannot begin to explore the issues of lesbian sensibility in art, nor the role and implications of lesbian culture in a larger social and political context. This exhibition is to acknowledge the creative energies of lesbians and to bring together visual and verbal images of by lesbian artists.”

Visual artists included Barbara Asch, “Wrapped Zone,” a craypas and magic marker drawing; Suzanne Bevier, a braided fabric and thread wall hanging; Betsy Damon, “Ancestors,” an installation on a large circle of sand, of partial plaster female figures facing a center where small bags of flour tinted in pastel shades were gathered; Maxine Fine, an oil painting; Louise Fishman, a two-panel oil on board abstract painting; Jessica Falstein, “Box Constructions,” which suggested organic female shapes; Harmony Hammond, “Ballad of the Crying Bead, a pair of thickly painted panels, surrounded and joined by a painted fabric braid, into which the artist had repeatedly scrawled a story about her unappreciated gift to a friend; Mary Ann King, a rich pattern painting on venetian blinds; Gloria Klein, a large grid painting showing meticulous patterning; Kate Mille “Domestic Bliss: Love Letters to Dakota Rosie, ” a six-panel work of calligraphic line and lettering; Dona Nelson, an abstract oil painting; Flavia Rondo, a painting which featured a menstruating woman; Sandra de Sand, cakes and hats of plaster, toys, fabric, etc.; Amy Sillman, a painting on paper; Ellen Turner, “Solidarity with HET-Identified Lesbians,” work on brown wrapping paper with red and gold stenciled lettering attached to the wall with band-aids; Janey Washburn, “Self-portrait with Peonies and Wall Writings,” which presented the artist standing nude and vulnerable flanked by paper scrolls containing lists of feelings about herself; Ann Wilson, a silk screened classical stereopticon landscape; and Fran Winant, “Dog with Secret Language,” which depicted the artist’s dog sleeping on a couch surrounded by cryptic symbols, a secret script invented by the artist to prevent others from reading the poetry she composed on the school bus.