She Laughs Back: Feminist Wit in 1970s Bay Area Art

California State University Sacramento: University Library Gallery

February 6 to April 13, 2024

She Laughs Back: Feminist Wit in 1970s Bay Area Art is tributary to Bay Area and Sacramento feminist artists of the 70s and their use of humor as a tool to subvert power. The show, curated by Dr. Elaine O'Brien over several years, features artists Suzanna Adan, Dori Atlantis, Olive Ayhens, Viola Frey, Lorraine García-Nakata, Kathy Goodell, Lori Greenleaf, Vicki Hall, Elaine Gay Jarvis, Roz Joseph, Jean LaMarr, Judith Linhares, Yolanda López, Joan Moment, Donna Mossholder, Gladys Nilsson, M. Louise Stanley, Trina Robbins, and Nancy Youdelman. This wide selection of artists encapsulates the second wave of feminism occurring alongside multiple civil rights movements of the time and the Vietnam War. This period was notably charged by liberation movements that greatly inspired one another. The feminist movement of the 70s was not stand-alone, but a distinctive chapter in a decades-long movement that is ongoing to this day. These fundamentalist artists were still riding on the momentum set by first-wave feminism, and second-wave feminists themselves. Second-wave feminism established the Equal Pay Act, Griswold v. Connecticut (1965), and Roe v. Wade (1973). 

Viola Frey's Doble Self Portraits (Left) and Lori Greenleaf's Blind Date (1976)

When first entering the exhibition, visitors are met by Viola Frey's Double Self Portraits (1978), two three-pieced ceramic versions of herself who appear engaged in conversation with one another. Nearby them is Lori Greenleaf's Blind Date (1976), a small mole man in search of a date, inspired by the artist's real-life experiences. To the left of the entrance, artists Judith Linhares, M. Louise Stanley, Donna Mossholder, Olive Ayhens, and Lorraine Garcia-Nakata works adorn the walls and display cases. 

(From left to right, wall) Judith Linhares, Levitation (1982), M. Louise Stanley, Rust's Wedding, or The Uninvited Guest (1972), Donna Mossholder, Self-Portrait as Pandora: The Release of Hope (1975), Olive Ayhens, Nutty Woman and Calm Man (1971) and Goodbye Roosterman (1971), Lorraine Garcia-Nakata, No Peasant Shirt, No Shirt (1975/2023)

One of my favorite pieces Rust's Wedding, or The Uninvited Guest (1972) by M. Louis Stanley, doesn't have a straightforward reason for its inclusion in this show from a purely visual standpoint. Viewers may find themselves asking how this piece is either feminist or humorist. However, the whimsical and odd subject matter is based on the artist's sister's (nicknamed Rust since childhood) wedding. The wedding scene is a culmination of the feminist artist's pre-existing artworks and humorous, personal occurrences within the wedding party, such as her nervous father in his underpants. Similar to a game of 'Where's Waldo?' viewers can observe this piece as if playing to spot which faces are familiar and speculate who the "uninvited guest" may be. In the creation of this piece, Stanley aimed to rebel through the creation of multiple caricatures and uses humor to create a new, redefined identity for herself as a female artist. "...I was rebelling on purpose. What else could one do when confronting Abstract Expressionism while trying to invent a personal identity?" -- M. Louise Stanley

M. Louise Stanley, Rust's Wedding, or The Uninvited Guest, 1972

On the right side, a majority of the pieces are made up by artists Jean LaMarr, . Walking around the exhibition, I tried to keep humor in mind. The funny and silly atmosphere of the show, in tandem with the bright color choices made it difficult not to feel the fun in the space, but not to be forgotten is the underlying reason for such tease. Provocative humor challenges a lack of autonomy, rights, and respect from ruling men. I had the privilege of being able to help work on the exhibition before it was completed. As impactful as each of these works are at an individual scale, being able to see this medley of pieces together, within the gallery space, creates an atmosphere that, I feel, many of the works deserve to be viewed in regularly. They play off of one another and create a vibrancy that never shies away from embracing the feminine, finding the power in it, and using that fun as a method of overcoming and self-inclusion.

A selection of Trina Robbins books, Joan Moment' Condom relief Series No.1 (1971), Suzanne Adan's The Restless Balls (1970-73) and Panty Hose (1969)

The nearly semester-long exhibition had multiple display cases showcasing comics, books, and illustrations depicting humorous situations that represented the artist's experiences as women during such charged times. Themes include imagery of sexual content, biblical references, cultural influences, and vivid color palettes to show audiences that humor has power. No longer were they going to accept expectations of what a woman should be, and they laughed at the thought.

Wall of Jean LaMarr's Artwork from 1974 to 1984

Walls containing photographs of various Drag Queens in the 70's by Roz Joseph and paintings (1973 - 1982) by Gladys Nilsson