Women Academics From The United States

"[H]e was now confronted with what he imagined to be a general, undiscriminating hostility, a spirit of criticism embodied in the girl that was capricious, feminine, and absolutely inscrutable, so that he went about feeling continually guilty without knowing just what it was he had done. It haunted him that if he could anticipate every objection, he would be safe, but there was no telling what this strange girl might find fault with, and the very limitation of his knowledge of her made the number of possible objections limitless."

"When we pass from "I ought to do this" to "You think I ought to do this," it seems to us at first that we have weakened the imperative; actually, by externalizing it, we have made it unanswerable, for it is only ourselves that we can come to terms with."

"He had the true American taste for argument, argument as distinguished from conversation on the one hand and from oratory on the other. The long-drawn-out, meandering debate was, perhaps, the only art form he understood or relished, and this was natural since the argument is in a sense our only indigenous folk-art, and it is not the poet but the silver-tongued lawyer who is our real national bard."

"You know what my favourite quotation is? […] It’s from Chaucer […] Criseyde says it, "I am myne owene woman, wel at ese.""

"She could not bear to hurt her husband. She impressed this on the Young Man, on her confidantes, and finally on her husband himself. The thought of Telling Him actually made her heart turn over in a sudden and sickening way, she said. This was true, and yet she knew that being a potential divorcee was deeply pleasurable in somewhat the same way that being an engaged girl had been."

"To be disesteemed by people you don’t have much respect for is not the worst fate."

"Every word she writes is a lie, including and and the."

"In politics, it seems, retreat is honorable if dictated by military considerations and shameful if even suggested for ethical reasons."

"I'm afraid I'm not sufficiently inhibited about the things that other women are inhibited about for me. They feel that you've given away trade secrets."

"I am putting real plums into an imaginary cake."

"Europeans used to say Americans were puritanical. Then they discovered that we were not puritans. So now they say that we are obsessed with sex."

"I combine concrete cynicism with a sort of vague optimism."

"I suppose everyone continues to be interested in the quest for the self, but what you feel when you’re older, I think, is that — how to express this — you really must make the self. It's absolutely useless to look for it, you won’t find it, but it’s possible in some sense to make it."

"I have often asked myself whether, given the choice, I would choose to have manic-depressive illness. ... Strangely enough, I think I would choose to have it. It's complicated. Depression is awful beyond words or sounds or images ... So why would I want anything to do with this illness? Because I honestly believe that as a result of it I have felt more things, more deeply; had more experiences, more intensely; ... worn death 'as close as dungarees', appreciated it - and life - more; seen the finest and most terrible in people ... But, normal or manic, I have run faster, thought faster, and loved faster than most I know. And I think much of this is related to my illness - the intensity it gives to things"

"If I can't feel, if I can't move, if I can't think, and I can't care, then what conceivable point is there in living?"

"The history of art is that there have been alot of artists who have always been socially engaged and art comes out of both a desire to define the meaning of life and a kind of rage and railing against human limitations."

"At a certain point power becomes very frightening, and to really begin to reconstruct civilization means to really act in a powerful way. And power is the thing that women have been taught is a real taboo."

"As we know, by and large women's life experience has not been represented. It has been men's life experience that has made up the body of art history. At least, as we know it now; and there are all these categories and words that diminish women's expression. So that if it's done by a man, it's "high art"; if it's done by a woman, it's "decorative". If it's done by a man, it's "art"; if it's done by a woman, it's "political". There's all these words, you know? For example, images by men, of women are "art"; images by women of men are "political". Abstract patterns by men are "art"; abstract patterns by women in fabric are "decorative"; they're called quilts. So there's all these kind of double standards and all these kind of words that prevent women's experience from entering—even when they express it—from entering the mainstream of art."

"Art without content is like sex without intimacy: technically sufficient, but emotionally empty."

"A similar kind of confusion can be found in the attitude Judy Chicago (born in 1939) brought to one of the most ambitious works concerned with the Holocaust, her Holocaust Project, completed in 1992. From the way in which she explains her understanding of the Holocaust, about which she admits that as late as 1984 she "knew almost nothing," one does not know if she has ever separated the Holocaust itself from other kinds of victimization. For example, she says: "In exploring the Holocaust, I was learning about the tragic ways Jews had been victimized, and this eventually linked up with my understanding of women's oppression. I realized that part of what had led me to the Holocaust was a deep, though previously unarticulated interest in "the victim" experience and that my previous investigation of the ways women had been treated historically provided me with an unusual frame of reference for examining the Jewish experience of the Holocaust. . . . I began to perceive that the unique experience of the Holocaust could be a window into an aspect of the unarticulated but universal human experience of victimization"...My problem with Chicago is the way one set of atrocities dissolves into another without qualification, as if they are all equal."

"Because we are denied knowledge of our history, we are deprived of standing upon each other's shoulders and building upon each other's hard earned accomplishments. Instead we are condemned to repeat what others have done before us and thus we continually reinvent the wheel. The goal of The Dinner Party is to break this cycle."

"The failure of so-called progressive culture or the left is that people were closed within a bubble. And now it is promoted even more in what are called silos—in the right, the left, the middle, by our online identities, by our bookmarks, by where we go..."

"of course I’m a feminist, but I speak about feminism as a plural. There are feminisms, and those feminisms are acted out in terms of site specificity: context, race, class, gender, location. They also connect with a larger term, intersectionality, which is commonly used now but which I’ve always understood organically. There is always a connection between issues of race and gender and class. They don’t ever exist separately, and people who feel that they live them separately are really not understanding the multiple forces that have impacts on their identity and their lives. You just can’t talk about sexuality and gender without engaging the complicated issues of race, and you can’t talk about race without engaging complicated, under-recognized issues of class. And it’s wrong to trivialize any one of those things at the price of the other."

"sports is a way that men can be allowed to have physical contact that is disallowed in a homophobic culture—not only in the playing of the game but also in the viewing of the game. Sports promote a kind of romance or a group understanding and intimacy about the notion of teams, about men being together and men’s bodies being together. It’s also true of the military, and it’s true of cultures in certain countries that disallow difference and are homophobic and at the same time are engaged in a war for a world without women."

"(Where is “Your Body Is a Battleground” not an issue?) BK: I’ve not been to that place yet."

"Most artists will never make money off their work, but that spark, that need to create commentary, to visualize, textualize, and musicalize your experience of the world will continue whether it’s a hot commodity or not. You see that places where that need is shut down, we see oppressiveness and subjugation. That need to create commentary is huge. Most of that commentary will not make a big flip profit for some guy buying a condo on the next block. You have to go in knowing that."

"I never say I do political art. Nor do I do feminist art. I’m a woman who’s a feminist, who makes art. But I think what work becomes visible and what work remains absent is always a result of historical circumstance, you know—hard work, to some degree, and social relations."

"the whole decade-izing thing doesn’t work for me. To me, the ’80s began in 1975 and ended in 1984—’84 or ’85 is when the market changed, when things really heated up. For me, decades are weird. Artists always are a reflection of the times they have come up in. And I think that, for us, there was a real historical change, and it was the first time that women had entered the marketplace, that their works had not been marginalized."

"I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud. I understand that. Now that I have crashed the code, I understand and support all this work. But I know how, in many ways, it’s a closed language. My work, not so much so, and it’s not by coincidence, because I just feel I relate to that reader who doesn’t know the secret code word."

"I have problems with a lot of photography, particularly street photography and photojournalism—objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too."

"I don’t believe that any work, whether it’s a piece of visual art or a novel or a building, is as brilliant and major and extraordinary or as damaged and pathetic and minor as it’s thought to be."

"I’m just trying, like most art or music or movies, to create a commentary—not literal—of how it feels to live another day, to watch the world turn itself inside out or try to turn us inside out."

"I really think that my work has been concerned with a scrutiny of how we are to one another. How we love one another, adore one another, detest one another, damage one another, how we caress one another on both an intimate and global scale. The history of the past thousand years is fraught with power and its abuses."

"What a ridiculous clusterfuck of totally uncool jokers."

"I have no complaints, except for the world."

"Architecture is my first love, if you want to talk about what moves me — the ordering of space, the visual pleasure, architecture's power to construct our days and nights."

"Memory is your image of perfection."

"If you can’t feel it, it must be real."

"When I hear the word Culture I take out my checkbook"

"art is the creation of commentary. I think that art is the ability to textualize or visualize or musicalize one’s experience of the world—not on a diaristic, literal level but in a way that creates a commentary about what it feels to live another day. The goal for every human being, including myself, is to live an examined life—to really think about what makes us who we are in the world and how culture constructs and contains us. That’s what I’m interested in."

"I was never a fan of street photography. I always thought that it was a brutal search on the streets for the most divine grotesquery or the most Other. I was always suspicious of that. A lot of photographers don’t understand the brutality of that practice. There are some photographers who picture people quite brilliantly; Catherine Opie...is an example. But I think photojournalists are incredibly naïve, and many of them think they have halos over their heads, that they are witnessing this brutality but somehow are apart from it."

"... extinction is happening very fast, because we've been destroying habitats — and polluting things. And there may come a time when we want to bring back animals, or we could use the just to the enrich the gene pool of animals that are very close to extinction."

"... you don't have to be larger than life to come to the aid of somebody in trouble. All you need to be able to be compassionate, put your own troubles on hold while someone else's are taking the forefront, and, maybe the toughest part, you have to be wholly nonjudgemental."

"Human beings are sloshing sacks of chemicals on the move."

"I don't want to get to the end of my life and find that I just lived the length of it. I want to live the width of it as well."

"I plan my garden as I wish I could plan my life, with islands of surprise, color, and scent. A seductive aspect of gardening is how many rituals it requires."

"“When I set a glass prism on a windowsill and allow the sun to flood through it, a spectrum of colors dances on the floor. What we call "white" is a rainbow of colored rays packed into a small space. The prism sets them free. Love is the white light of emotion.”"

"There are well-dressed foolish ideas just as there are well-dressed fools."

"What would dawn have been like, had you awakened? It would have sung through your bones. All I can do this morning is let it sing through mine."

"We think of it as a sort of traffic accident of the heart. It is an emotion that scares us more than cruelty, more than violence, more than hatred. We allow ourselves to be foiled by the vagueness of the word. After all, love requires the utmost vulnerability. We equip someone with freshly sharpened knives; strip naked; then invite him to stand close. What could be scarier?"