[-empyre-] most influential, most dangerous, most courageous women

[cara baldwin]

What does this have to do with drawing, you ask? In a typically modernist approach to figure and field we're instructed to balance figure and ground in a way that is 'convincing'. Even if we 'solve' this problem by way of recourse to an overall composition-the multitudes-we are left with the responsibility for our own discernment and action.

Sent from my iPhone

On Mar 6, 2011, at 10:51 PM, Cara Baldwin <carabaldwin13 at gmail.com> wrote:

>> where might 'we' might best focus our energies; figure and ground or the multitude?
> 
> My answer to this question took less than a second, actually-- the multitudes. Figure and ground will take care of themselves.
> 
> This is an expanded field, certainly; and one in which figures are articulate led not just differently-but more or less visibly.
> 
> 'According to a study by the Centre for Women and Gender Studies, nearly 85 per cent of the United Arab Emirates population of four million is migrant workers. In Bahrain and Saudi Arabia 65 per cent of the workforce are expats. In Kuwait it is 82 per cent, and in Qatar almost 90 per cent.'
> Women are systematically and historically divested of rights and representation. They resist definition and are difficult to organize because of their illegibility-at a scale that is global, and radically local. 
> 
> 
> 
> On Mar 6, 2011, at 3:06 PM, Ana Valdés <agora158 at gmail.com> wrote:
> 
>> Dear Christina, allow me to dissent a little bit :)
>> At the Intifada the women had a very crucial role, I met Leila Khaled some years ago in Amman and her tale of her hitchjacking of two planes in the Eighties: is really atonishing.
>> And I come myself from a generation of women engaged in gerilla warfare in South America. I spent four years as political prisoner in Uruguay for that.
>> I think it's a kind of media issue, we "common women" don't fit in the hero's stereotyps.
>> Cheers
>> Ana
>> 
>> On Sun, Mar 6, 2011 at 7:14 AM, christina <christina at christinamcphee.net> wrote:
>>  'most dangerous' --...  with help from friends--
>> 
>> Vera Zasulich, Hélène Cixhous, Patti Smith, Judith Butler
>> Amelia Bloomer, Scheherazade, Rosa Robata, Sofia Perovskaya
>> Lilith, Hildegard of Bingen, Carolee Schneemann, Adrian Piper
>> Cindy Sherman,  Julian of Norwich, bel hooks, Camille Paglia
>> Jingyu Xiang,Vivienne Westwood,  Isak Dinesen, Jeanne d'Arc
>> Gertrude Stein, Duygy Asena , Donna Haraway, Maria Callas
>> Grace Paley, Colette, Margaret Atwood, Regina Jose Galindo
>> Leslie Marmon Silko, Eliabeth Cady Stanton, Nan Goldin, Linda Nochlin
>> Boadicea, Lee Lozano, Sofia Perovskaya, Valie Export
>> Hannah Wilke,Rosa Robata,Lee Krasner,Lourdes Casal Valdes
>> Tracey Emin, Scheherazade,Billie Holliday, Amelia Bloomer
>> Marina Abramovic, Angela Davis, Edie Sedgwick, Jessica Mitford
>> Marguerite Duras, Phoolan Devi, Joan Didion, Felipa de Souza
>> Kate Millett, Pina Bausch, Charlotte Corday, Lidia Cabrera
>> 
>>      yet there are more....
>> 
>> 
>> 
>> On Mar 5, 2011, at 9:42 PM, christina wrote:
>> 
>> Something is happening when a field becomes visible-- a field of women in Bahrain countering a police line, a field of women in Ivory Coast (shot down, six)--it's impossible not to speak of
>> this new site of action. Remember when the only (s)hero job for women in the intifada was to get oneself blown up?
>> 
>> 
>> Two days from now will be March 8-- Internatinal Women's Day Centenary  1911-2011.  http://www.internationalwomensday.com/
>> 
>> What happens when finally enough people start to have faith that it actually matters for half of humankind to have human rights?
>> 
>> How does this field become visible?
>> 
>> 
>> 
>> 
>> 
>> _______________________________________________
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>> 
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>> 
>> 
>> 
>> -- 
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>> 
>> 
>> "When once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been and there you will always long to return. 
>> — Leonardo da Vinci
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