‘A Women’s Picture Book’

Press, 21 December 1988, Page 21

‘A Women’s Picture Book’

By

JANE ENGLAND

“Is it for women who can’t read?” asked a male colleague on catching a glimpse of the title “A Women’s Picture Book.”

The book, which encapsulates the work of 25 women artists of Aotearoa, has been compiled and edited by A Women’s Gallery-Spiral Group.

The women behind the collective, Marian Evans, Bridie Lonie and Tilly Lloyd deserve recognition for acting on the knowledge that art by women is often not recognised or incorporated in books published by men. The Booker Prize winner “The Bone People” would be serving as an unpublished and bulky doorstop if it had not been picked up and published by Spiral. A flick through "A Women’s Picture Book” provides a realistic glimpse of women’s art, actions, activities, and a commitment to themselves and their communities — of particular relevance to a nation teetering on the brink of newfound independence.

The art, poignant and seldom passive is a variety of work reflecting our times. Feminism is not dead but it has found some fresh New Zealand issues to focus upon. Black and white photographs and sketches reveal sombre moods, brave lines, confidence and passion. The paintings burn with anger and life, in black and red, and the rich, joyous, primal, primary tones of the rainbow.

The artists are as diverse as their works, but some themes are common threads in the memoirs scattered throughout the book. Pauline Thompson: “I realised I was alot stronger than I was giving myself credit for being and I’d been covering this up by my lack of selfconfidence and negative self-image...” Juliet Batten: “Yes, I went and married a creative man — which for many women is the end. But I was lucky because my marriage broke. It was terribly painful; I

went through a death and a rebirth. But, I had this second chance.

Some revelations could cause uncomfortable currents to ripple through the art world.

Sylvia Bowen: “I. am trivialised and ignored by gallery directors, dealers, politicians of every ilk, and professional art workers, by book people and literary scenes. Gallery directors either will not show my work or only what is their opinion — they seem to want to take power over my message...” Many show the growth of feminism through injustice.

Carole Shepheard: “The desire for justice, opportunity, equality, and access is not only what I wish for myself but for the older woman artist, for the current art students who are mostly in a state of oblivion and for my daughter who sees

the world as being for her alone and all it can offer accessible.”

Others provide raw proof of the status of lesbianism in society.

Jill Livestre: For how many more generations must lesbians waste precious time searching through biographies, studying works, digging up letters to find out who else was queer, survived, and created.

“Whether you reckon its okay, irrelevant, sinful, outrageous or slightly embarrassing, some of us are lesbians, and our lives and our perceptions have had, and will continue to have, tremendous impact in women’s art.”

Throughout the book there is a strong image of women working out these themes and many more in their work. Other focal points include biological awareness, menstruation, childbirth, and childrearing, environmental concerns and the growth in recognition of dual

pakeha and Maori cultures.

The title recognises the first name for this country . . . Aotearoa. Some of the work encompasses Maori struggles for land rights, culture and language, and the responsibility pakeha women are taking in facing such issues.

Fiona Clark: “I think it is disgusting that we live in Aotearoa and can’t speak the language of this country.”

This book is evidence of the versatility of a wide range of women, shown through their lives and their work. The editors are women who are perceptive enough to realise that such works should not be overlooked, left to lie as doorstops, or in faded portfolios.

The creative force the book represents deserves acknowledgement now rather than waiting for the day it is picked up and appreciated by a man.