74

Sherie Scheer’s series—Heavenly Visions—
depicts Fragonard-inspired images of her own
baby as a cherub floating in an infinite blue
California sky. “Wherever they go, they have no
choice in it. . . . The heavenly vision in which
they appear is both ideal and it is limbo.” This
reflects Scheer’s own experience as a first-time
mother:

| found the child very sensual. It was unex-
pected to me what a strong female biological
experience it was to have a child, and then to be
absolutely in love with the child. In the course
of using her as model, however, | made her
cry, sometimes neglected her, and in a way |
used her, both as a model and as inspiration.
... 1 was aware that the art that makes it in

The shape and color of food itself was so com-
pletely right and ripe for my own feelings that
it became a symbol for me; especially the
tomato, strawberry, and egg became symbols
for myself. These are expressed in scale and
potency; it is a strange word to use in relation-
ship to an egg, a potent egg. . . . The strawberry
is one of the few fruits that carries its seed on
the outside, it is a vulnerable fruit; it is juicy
and has strength and vulnerability at the same

time. . . . Rather than feminist, these paintings
are, | think, more expressive of femaleness. It
was a personal statement for me. ...l can't

separate my experience from a female experi-
ence; | feel powers in me, very specifically in
certain centers in me.

L.A., or made it at the time (two years ago) was
non-image-oriented and | am very image-
oriented. | was also entirely aware that show-
ing babies in one’s art was really outrageous,
and it gave me a devilish pleasure, because |
think that a lot of art that makes it is empty
formula and doesn’t have any blood in it; it is

Suzanne Lacy’s book Rape Is (1972) has a
white cover which becomes bloody red on the
inside. To open the book one must tear apart a
red sticker labeled “rape.”7 Lacy’s book names
21 instances of rape—not only as a sexual viola-
tion but also as a series of psychological as-
saults:

not daring and it is not a turn-on either. So it
was like breaking a taboo, and especially for a
woman artist.

Like Scheer, Gilah Hirsch deals with female
power within its traditional domain. She uses
the imagery of food as “a secret biography, a
metaphorical code.”

Left to right: Karen Carson. Edge of Night. 1975. Pastel and
Charcoal. 36" X 22; Cracking Up. 1975. Paster and charcoal.
36" X 24”; Shattered Dreams. 1975. Pencil. 36" X 24"

Rape is when you are skipping home from
school, and are surrounded suddenly by a gang
of large boys. Rape is when the man next door
exposes himself and you feel guilty for having
looked. Rape is when you’re walking alone,
thinking your own thoughts and a man driving
by shouts “HI SWEETIE!”