By Marco Albertario

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Approximately seventy- five women artists from Los Angeles and San Francisco came to see what had been going on. Paintings and prints tended toward images of vulvas and dark spaces, “cunt art,” while performance pieces explored social roles and socialization. ”100 In her memoir, Chicago describes the event as consolidating what the Fresno group had accomplished: “The weekend was filed with identification, laughter, tears and warmth. I cried, feeling that the weekend had somehow changed the meaning of the year.

In 1971 a new group with a more professionally visible profile formed. Women in the Arts (wia), organized by Elaine de Kooning, an influential abstract expressionist painter and wife of renowned painter Willem de Kooning, and Sylvia Sleigh, a realist painter married to the curator of the Guggenheim Museum, Lawrence Alloway, added their voices to the call for greater gender inclusivity in the city’s art scene. 26 Art News reported on the growing feminist agitation. ”27 When, for the third straight year, feminists again picketed the Whitney Annual, a group of women extended their activism to print, launching Feminist Art Journal in 1972.

18 In the major locations that gave structure to the making, selling, and displaying of art—the nexus of art schools, galleries, museums, art history, and art critics—women were nearly completely absent in 1970. These facts, coupled with the untapped talent of a new generation of female artists and an ascendant women’s movement, led groups of women on both coasts to organize. The first woman- centered shot fired against the established art world came in 1969 in New York City, home to the nation’s premier “taste- making” art institutions, particularly for modern art, such as the Museum of Modern Art and the Whitney Museum.

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Botticelli by Marco Albertario
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