{"id":108441,"date":"2017-03-08T10:39:11","date_gmt":"2017-03-08T15:39:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=108441"},"modified":"2017-03-09T13:39:57","modified_gmt":"2017-03-09T18:39:57","slug":"women-hold-up-half-the-sky","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/03\/08\/women-hold-up-half-the-sky\/","title":{"rendered":"Women Hold Up Half the Sky"},"content":{"rendered":"
<\/a>

See Red Women\u2019s Workshop, Women\u2019s Day March (detail), 1975.<\/p><\/div>\n

 <\/p>\n

A calendar for 1977 by the British art collective See Red Women\u2019s Workshop shows the month of February as a chutes-and-ladders-type \u201cgame for working women.\u201d Wealthy daddies and husbands can help the player swiftly advance, but the game\u2019s hazards are many: \u201cCareers officer suggests domestic science,\u201d \u201cTrouble finding nursery\u2014needs part-time work,\u201d \u201cShopping in lunch hour, housework in evening\u2014exhausted.\u201d Even the end of the game is booby-trapped: \u201cOver 40, promotion given to younger man.\u201d<\/p>\n

The other months in the calendar spin out the game\u2019s thematic pitfalls: racism, sexual orientation, housework drudgery, social-service cuts. August exhorts women of different ethnicities to unite and organize against the National Front. November excoriates the discomfort inherent in beauty regimens\u2014girdles, waxing, heels. September revises a child\u2019s primer so that Jane thinks, \u201cStuff this! It\u2019s about time I got myself out these sexist books and started giving girls an example of all the other things we can do!\u201d<\/p>\n

Jane\u2019s purposeful finger to the patriarchy embodies the aim of See Red. In 1974, a group of women answered an ad calling for those in the visual arts to gather to help promote the women\u2019s liberation movement and counter the prevailing negative images of women in advertising and the media. Like many women at the time, the members of See Red were disillusioned with the Left; the story they relate is an old one: \u201cWe found ourselves marginalized within these campaigns and were expected to stay in the background, keep quiet and make the tea.\u201d The members worked collectively and non-hierarchically: from idea to concept to design to production, decisions and process were undertaken as a group. Notably, the new book See Red Women\u2019s Workshop: Feminist Posters 1974\u20131990<\/em><\/a> lists no authors in the front matter, and the essay detailing the group\u2019s history is written in the first-person plural. <\/p>\n

\"\"<\/a><\/p>\n

See Red\u2019s first commission came in 1975\u2014to design a poster for the first International Women\u2019s Day March, that year. The holiday has its origins in the United States: in honor of the New York City garment-worker\u2019s strike in 1908, the Socialist Party celebrated the first National Women\u2019s Day in February 1909. But socialism was an unwelcome import, a signifier of industrial and social revolt, and as Howard Zinn wrote in A People\u2019s History of the United States<\/em>, \u201cCertain kinds of resistance \u2026 could not be tolerated.\u201d (Zinn also cites the mass deportation of noncitizen immigrants in 1919 and 1920 on the belief that, \u201cas a matter of self-preservation, this was a natural right of the government\u201d; Zinn\u2019s history is always timely.) For the women of See Red, communal working methods were not only essential to the success of the group\u2014the desire to be inclusive of a variety of issues, concerns, and experiences\u2014but also reflected their daily lives, the shared households they lived in and the group nature of their struggle. As they write in the book, \u201cThe themes we worked on were our lives, and the commitment kept us going.\u201d<\/p>\n

An early poster, from 1974, depicts some fifty women in various roles: as wife, girlfriend, mother; out to dinner, shopping, entertaining\u2014always glamorous and carefree. At the bottom is the handwritten question WHICH ONE ARE YOU?<\/small> The poster reproduces a page from a Letraset art sheet, which was used by graphic designers in need of stock images. \u201cWe just added the question,\u201d the book\u2019s authors write, \u201cas we didn\u2019t recognize these representations of ourselves in these images.\u201d See Red made buttons that announced, WE DON\u2019T JUST WANT MORE CAKE, WE WANT THE BLOODY BAKERY<\/small> and, on the occasion of the Queen\u2019s twenty-fifth anniversary, STUFF THE JUBILEE<\/small>. At the time of Lady Diana Spencer\u2019s marriage to Prince Charles, they launched a \u201cDon\u2019t Do It, Di\u201d campaign. A calendar page features a \u201cSpot the Dyke Competition\u201d (\u201cWhich are the seven lesbians at the bus stop?\u201d) and a drawing of Joseph, loafing outside the stable, announcing, \u201cThree more for supper, Mary.\u201d<\/p>\n

<\/a>

See Red at their workshop in Iliffe Yard, London. Photo by Angela Phillips, for Spare Rib<\/em>.<\/p><\/div>\n

The group disbanded in 1990, but in its sixteen years of activity, they counted more than forty women as members, many of whom later pursued careers in advocacy, art, and policy making. They produced countless pieces of activist art: calendars, lithograph posters, illustrations, information booklets, flyers, and placards. They endured windows smashed by the National Front, work spaces without plumbing or heating, a paucity of supplies and funding, and Margaret Thatcher. But they were never short on sisterhood. If that sounds corny, think of how the embattled term feminist<\/em> has lately come to resemble a totaled car: too wrecked to save. Maybe this is the moment to remember what we\u2014women\u2014have in common and to begin from there.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Nicole Rudick is managing editor of <\/em>The Paris Review.
\n<\/em><\/p>\n

All images \u00a9 See Red Women\u2019s Workshop<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cWe found ourselves marginalized within these campaigns and were expected to stay in the background, keep quiet and make the 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