Paper about Art and Feminism, 1974, page 5
. :4. uﬂ~\~:' ad‘ Uw me 9.. m..., ,...r, m: nun! r. ( .n...... um" a m-, nu: ms nu nun-5 -s-an Ylflklllxl mm l ..r._ it The Water Quill (detail). Photo: Eberhard Otto. iconography of this narrative genre painting of the nineteenth century. Why is this con- tent, often dealing with social issues in the lives of ordinary men and women and with the moral problems of the day, cast aside as trivial whereas what seems to me rather paltry and silly questions about neo-platonic doctrine in the sixteenth century is taken enormously seriously, suitable for a lifetime of scholarly work? Why is there this kind of value dichotomy governing our cultural institutions? Here again feminism led me to ask questions which are not necessarily totally concerned with the issue of women. Feminism is like a key that unlocks many of the closed compartments in_the mind, com- partments created by one's “natural" expec- tations which now have to be revised, cast aside, sorted out again. » I . ‘.,—..w».~«'—m=<' V,» ‘ .49 t»_~K-.~' (_ . g, - :'r...3eg.':>av-vi‘,-~evIrx:S*S"-~13 ~ .~ »§&'. The Water Quill by Joyce Weiland (C --:.é:.-Wm... I ,.;-*.n........,.;..... w»v:‘....’:r’**"aaa as I anada), embroidered cotton and printed cloth, 1970. Collection: The Art Gallery oi Winnipeg. Courtesy: artcanada. Photo: Eberhard Otto.