My Favorite Feminists

This episode Megan & Milena explore African American rocket scientist, computer scientist, and mathematician Annie J. Easley & 19th century Boston miniature portrait painter Sarah Goodridge

Annie J. Easley

A portrait of Annie Easley.

Annie Easley, a mathematician extraordinaire! We can’t do math, but ladies like Easley made space travel possible! In Episode 5, we cover her contribution to energy conservation, voting rights, equal opportunities, and getting rockets off into space!

“By the way, what’s the big word?” Bill Mauldin, St. Louis Post-Dispatch (1964) Found HERE

African

Americans were given the right to vote, but had to break down barriers put in

place by people in power in order to do so. The two biggest issues were that

voters would need to pay a voting fee, and they would also need to pass a

literacy test. Armed with some college education at the time, Easley took it

upon herself to tutor others who were not fortunate enough to receive an

education like hers so that they would be able to jump at least one of those

hurdles.

Taken by Michael K. McIntyre, 1978 Press Photo Annie Easley works on a NASA computer

In 1955, Easley found her home at NASA as a human computer for the Glenn Research Center. There she would do calculations for projections and testing, learn and teach the new computing program called FORTRAN to current employees once it was being implemented into the administration, work on energy conservation and spacecraft software, and even act as an Equal Opportunity Counselor. She was at NASA for 34 years.

Image from the Glenn Research Center Website HERE

Here we have an illustration of the Centaur Propellant Utilization System. The Centaur rocket is used in many of the spacecrafts being sent out into space today, and utilizes liquid hydrogen and liquid oxygen as its propulsion fluid. Easley worked on the software that the Centaur rockets use.Milena’s complete and utter lack of space knowledge not enough? Let fellow female creator and space flight historian, Amy Shira Teitel, tell you ALL about space. We are not, in any way, sponsored by her or anything affiliated with her. But you gotta recognize a super talented and intelligent lady when you see one. SO CLICK ON IT! Vintage Space

Sarah Goodridge

1930 Self portrait of Sarah Goodridge looking good, only 3 3/4 x 2 5/8 inches in size, about the size of a poker card

Hailing from a small farming town in the early 1800’s, Sarah Goodridge was a miniature portrait painter catering to Boston’s wealthy upper class.  Coming of age in the dawn of the American Industrial Revolution, she was able to financially secure herself as an artist, whereas women her age were often working 13-hour factory shifts. In this episode we learn the importance of a well-placed reed organ,

This episode Megan & Milena cover artist and sociopolitical activist Elizabeth Catlett & Marie Daly, the first black woman in the USA to earn a PhD in chemistry.

Elizabeth Catlett

Born 1915, Elizabeth Catlett was a prolific

African American sculptor, printmaker and activist in the over seventy years

she worked. Spending the majority of her life in Mexico, she was declared an

‘undesirable alien’ during the Cold War for her socially progressive views.

This episode we explore the how’s and why’s of her artistic development, the

importance of escaping mid century American segregation and dropping a hot

potato for a hot tamale. 

Selected Post-Revolution Mexican Mural Art

1931 Mural by Diego Rivera, The Uprising. Diego, along with the other Los Tres Grandes (Siqueiros & Orozco) painters used public art to combat class and social inequality in Mexico

Segment of a massive mural by David Siqueiros, From the Dictatorship of Porfirio Díaz to the Revolution. In it, Siquerios documents the transition from dictatorship to the uprise of the working class, resulting in Revolution.

1944 Mural The Clowns of War Arguing in Hell by Jose Clemente Orozco. Political art commentary extended past Mexico to include the horrors of WWII

Selection of Elizabeth’s Prints

1946 Linocut, I Have Special Reservations. This is part of the series The Negro Woman (renamed The Black Woman Series in 1971). This series earned her the prestigious Julius Rosenwald grant that took her to Mexico in 1946

1952 Linocut La Presa (The Dam) – this is one of many contributions Elizabeth made while at the Mexican artist collective, the Taller de Gráfica Popular (People’s Graphic Arts Workshop) celebrating Mexican revolutionary social and economic progress.

Selection of Elizabeth’s Sculptures

This is the 1947 ceramic sculpture Head of a Young Woman. Her sculptures are typically busts, ranging in material from ceramics to bronze, wood and stone. Her soft abstraction of the body puts her work along the likes of Henry Moore and Brancusi, Big Deal early 20th century artists.

Made in 1970 in response to the killing of a Black Panthers member, Elizabeth created Target Practice. Almost 50 years later, the subject of black men being casualties to police brutality is as relevant and fucked up as ever

People mentioned this episode:

* Mamie Phipps Clark, check out last episode * James V. Herring, art historian * James Lesesne Wells, Harlem Renaissance graphic designer * James. A Porter, author of Modern Negro Art and influential professor for Elizabeth *

This episode Megan & Milena cover artist and sociopolitical activist Elizabeth Catlett & Marie Daly, the first black woman in the USA to earn a PhD in chemistry.

Elizabeth Catlett

Born 1915, Elizabeth Catlett was a prolific

African American sculptor, printmaker and activist in the over seventy years

she worked. Spending the majority of her life in Mexico, she was declared an

‘undesirable alien’ during the Cold War for her socially progressive views.

This episode we explore the how’s and why’s of her artistic development, the

importance of escaping mid century American segregation and dropping a hot

potato for a hot tamale. 

Selected Post-Revolution Mexican Mural Art

1931 Mural by Diego Rivera, The Uprising. Diego, along with the other Los Tres Grandes (Siqueiros & Orozco) painters used public art to combat class and social inequality in Mexico

Segment of a massive mural by David Siqueiros, From the Dictatorship of Porfirio Díaz to the Revolution. In it, Siquerios documents the transition from dictatorship to the uprise of the working class, resulting in Revolution.

1944 Mural The Clowns of War Arguing in Hell by Jose Clemente Orozco. Political art commentary extended past Mexico to include the horrors of WWII

Selection of Elizabeth’s Prints

1946 Linocut, I Have Special Reservations. This is part of the series The Negro Woman (renamed The Black Woman Series in 1971). This series earned her the prestigious Julius Rosenwald grant that took her to Mexico in 1946

1952 Linocut La Presa (The Dam) – this is one of many contributions Elizabeth made while at the Mexican artist collective, the Taller de Gráfica Popular (People’s Graphic Arts Workshop) celebrating Mexican revolutionary social and economic progress.

Selection of Elizabeth’s Sculptures

This is the 1947 ceramic sculpture Head of a Young Woman. Her sculptures are typically busts, ranging in material from ceramics to bronze, wood and stone. Her soft abstraction of the body puts her work along the likes of Henry Moore and Brancusi, Big Deal early 20th century artists.

Made in 1970 in response to the killing of a Black Panthers member, Elizabeth created Target Practice. Almost 50 years later, the subject of black men being casualties to police brutality is as relevant and fucked up as ever

People mentioned this episode:

* Mamie Phipps Clark, check out last episode * James V. Herring, art historian * James Lesesne Wells, Harlem Renaissance graphic designer * James. A Porter, author of Modern Negro Art and influential professor for Elizabeth *

This episode Megan & Milena cover artist and sociopolitical activist Elizabeth Catlett & Marie Daly, the first black woman in the USA to earn a PhD in chemistry.

Elizabeth Catlett

Born 1915, Elizabeth Catlett was a prolific

African American sculptor, printmaker and activist in the over seventy years

she worked. Spending the majority of her life in Mexico, she was declared an

‘undesirable alien’ during the Cold War for her socially progressive views.

This episode we explore the how’s and why’s of her artistic development, the

importance of escaping mid century American segregation and dropping a hot

potato for a hot tamale. 

Selected Post-Revolution Mexican Mural Art

1931 Mural by Diego Rivera, The Uprising. Diego, along with the other Los Tres Grandes (Siqueiros & Orozco) painters used public art to combat class and social inequality in Mexico

Segment of a massive mural by David Siqueiros, From the Dictatorship of Porfirio Díaz to the Revolution. In it, Siquerios documents the transition from dictatorship to the uprise of the working class, resulting in Revolution.

1944 Mural The Clowns of War Arguing in Hell by Jose Clemente Orozco. Political art commentary extended past Mexico to include the horrors of WWII

Selection of Elizabeth’s Prints

1946 Linocut, I Have Special Reservations. This is part of the series The Negro Woman (renamed The Black Woman Series in 1971). This series earned her the prestigious Julius Rosenwald grant that took her to Mexico in 1946

1952 Linocut La Presa (The Dam) – this is one of many contributions Elizabeth made while at the Mexican artist collective, the Taller de Gráfica Popular (People’s Graphic Arts Workshop) celebrating Mexican revolutionary social and economic progress.

Selection of Elizabeth’s Sculptures

This is the 1947 ceramic sculpture Head of a Young Woman. Her sculptures are typically busts, ranging in material from ceramics to bronze, wood and stone. Her soft abstraction of the body puts her work along the likes of Henry Moore and Brancusi, Big Deal early 20th century artists.

Made in 1970 in response to the killing of a Black Panthers member, Elizabeth created Target Practice. Almost 50 years later, the subject of black men being casualties to police brutality is as relevant and fucked up as ever

People mentioned this episode:

* Mamie Phipps Clark, check out last episode * James V. Herring, art historian * James Lesesne Wells, Harlem Renaissance graphic designer * James. A Porter, author of Modern Negro Art and influential professor for Elizabeth *

In this episode of My Favorite Feminists, Megan & Milena cover fellow University of the Arts alumnus Meta Warrick Fuller & developmental psychologist Mamie Phipps Clark

Meta Vaux Warrick Fuller

It’s 1899, you’re 22 years old and traveling abroad for the first time. Its taken endless persuasion to get your family to agree to it – after all you’re an unaccompanied young lady – but finally they consent. The ship has sailed and you’re in Paris, about to start your professional career as a sculptor when, well, will you look at that – some good old fashioned American racism! 3,705 miles away from your home shore is not far enough to escape the second-class reality of being an African American.Thankfully for us that did not stop Meta Vaux Warrick Fuller from pursuing her art. Despite the racism she faced by another American on her first day in Paris, she spent decades creating sculptures that exemplified the realities of being black in early 20th century America.  Before the Harlem Renaissance, before the Black Arts Movement she was a lone woman documenting the often-painful narrative of what it meant to be black in America – a reality still relevant a century later.

Selection of Meta’s Surviving Art

The Savings Bank, a 1907 diorama from the Warrick Tableaux in which Meta showed African Americans doing everyday things, despite the prevailing dehumanizing racism that inhibited, and in many cases killed, African Americans of the time. And by time I mean that shit is still a reality today. On the bright side, Meta took home a whooping 47,602.04$ (adj. for inflation) for her commission

8 foot tall 1913 sculpture Emancipation. After Meta’s art was destroyed in a fire this is the piece that got her back in the studio and making kickass work, all thanks to a certain W. E. B. Du Bois for suggesting she get back into art making. At the Harriet Tubman park in Boston, MA

Commissioned for another piece, this time by W. E. B. Du Bois, Meta created Ethiopia in 1921. It’s regal and powerful and unfortunately necessary because of fucked-up racists’stereotypes that her work combated

Fucked-up American Racist Shit of the Era, Early 1900’s

HOLY FUCK

?!!!

You can blame Thomas Rice for his creation, the ‘Jim Crow’ character

THIS IS THE SHIT META HAD TO DEAL WITH. THIS IS WHY ‘ETHIOPIA’ IS SO IMPORTANT

Mammie Phipps Clark

When did you first show signs of self consciousness? Mamie Phipps Clark could probably answer that question for you. Say hello to the developmental psychologist that made waves in the world of segregation in the 1940s, and helped shape the future of millions of African American children.

250 African American Children sat in a room where these dolls were placed in front of them and asked questions on self and racial identification. The results were a conclusive overall bias towards the white doll.

Frustrated with the lack of resources for African American youth in Harlem during the 1940s, Phipps started the Northside Center for Child Development. The Center is still going strong today, offering multitudes of after school programs, in-school counseling, and support programs for families struggling with abuse. This picture was taken from their website, Northsidecenter.org

In this episode of My Favorite Feminists, Megan & Milena cover fellow University of the Arts alumnus Meta Warrick Fuller & developmental psychologist Mamie Phipps Clark

Meta Vaux Warrick Fuller

It’s 1899, you’re 22 years old and traveling abroad for the first time. Its taken endless persuasion to get your family to agree to it – after all you’re an unaccompanied young lady – but finally they consent. The ship has sailed and you’re in Paris, about to start your professional career as a sculptor when, well, will you look at that – some good old fashioned American racism! 3,705 miles away from your home shore is not far enough to escape the second-class reality of being an African American.Thankfully for us that did not stop Meta Vaux Warrick Fuller from pursuing her art. Despite the racism she faced by another American on her first day in Paris, she spent decades creating sculptures that exemplified the realities of being black in early 20th century America.  Before the Harlem Renaissance, before the Black Arts Movement she was a lone woman documenting the often-painful narrative of what it meant to be black in America – a reality still relevant a century later.

Selection of Meta’s Surviving Art

The Savings Bank, a 1907 diorama from the Warrick Tableaux in which Meta showed African Americans doing everyday things, despite the prevailing dehumanizing racism that inhibited, and in many cases killed, African Americans of the time. And by time I mean that shit is still a reality today. On the bright side, Meta took home a whooping 47,602.04$ (adj. for inflation) for her commission

8 foot tall 1913 sculpture Emancipation. After Meta’s art was destroyed in a fire this is the piece that got her back in the studio and making kickass work, all thanks to a certain W. E. B. Du Bois for suggesting she get back into art making. At the Harriet Tubman park in Boston, MA

Commissioned for another piece, this time by W. E. B. Du Bois, Meta created Ethiopia in 1921. It’s regal and powerful and unfortunately necessary because of fucked-up racists’stereotypes that her work combated

Fucked-up American Racist Shit of the Era, Early 1900’s

HOLY FUCK

?!!!

You can blame Thomas Rice for his creation, the ‘Jim Crow’ character

THIS IS THE SHIT META HAD TO DEAL WITH. THIS IS WHY ‘ETHIOPIA’ IS SO IMPORTANT

Mammie Phipps Clark

When did you first show signs of self consciousness? Mamie Phipps Clark could probably answer that question for you. Say hello to the developmental psychologist that made waves in the world of segregation in the 1940s, and helped shape the future of millions of African American children.

250 African American Children sat in a room where these dolls were placed in front of them and asked questions on self and racial identification. The results were a conclusive overall bias towards the white doll.

Frustrated with the lack of resources for African American youth in Harlem during the 1940s, Phipps started the Northside Center for Child Development. The Center is still going strong today, offering multitudes of after school programs, in-school counseling, and support programs for families struggling with abuse. This picture was taken from their website, Northsidecenter.org

In this episode of My Favorite Feminists, Megan & Milena cover fellow University of the Arts alumnus Meta Warrick Fuller & developmental psychologist Mamie Phipps Clark

Meta Vaux Warrick Fuller

It’s 1899, you’re 22 years old and traveling abroad for the first time. Its taken endless persuasion to get your family to agree to it – after all you’re an unaccompanied young lady – but finally they consent. The ship has sailed and you’re in Paris, about to start your professional career as a sculptor when, well, will you look at that – some good old fashioned American racism! 3,705 miles away from your home shore is not far enough to escape the second-class reality of being an African American.Thankfully for us that did not stop Meta Vaux Warrick Fuller from pursuing her art. Despite the racism she faced by another American on her first day in Paris, she spent decades creating sculptures that exemplified the realities of being black in early 20th century America.  Before the Harlem Renaissance, before the Black Arts Movement she was a lone woman documenting the often-painful narrative of what it meant to be black in America – a reality still relevant a century later.

Selection of Meta’s Surviving Art

The Savings Bank, a 1907 diorama from the Warrick Tableaux in which Meta showed African Americans doing everyday things, despite the prevailing dehumanizing racism that inhibited, and in many cases killed, African Americans of the time. And by time I mean that shit is still a reality today. On the bright side, Meta took home a whooping 47,602.04$ (adj. for inflation) for her commission

8 foot tall 1913 sculpture Emancipation. After Meta’s art was destroyed in a fire this is the piece that got her back in the studio and making kickass work, all thanks to a certain W. E. B. Du Bois for suggesting she get back into art making. At the Harriet Tubman park in Boston, MA

Commissioned for another piece, this time by W. E. B. Du Bois, Meta created Ethiopia in 1921. It’s regal and powerful and unfortunately necessary because of fucked-up racists’stereotypes that her work combated

Fucked-up American Racist Shit of the Era, Early 1900’s

HOLY FUCK

?!!!

You can blame Thomas Rice for his creation, the ‘Jim Crow’ character

THIS IS THE SHIT META HAD TO DEAL WITH. THIS IS WHY ‘ETHIOPIA’ IS SO IMPORTANT

Mammie Phipps Clark

When did you first show signs of self consciousness? Mamie Phipps Clark could probably answer that question for you. Say hello to the developmental psychologist that made waves in the world of segregation in the 1940s, and helped shape the future of millions of African American children.

250 African American Children sat in a room where these dolls were placed in front of them and asked questions on self and racial identification. The results were a conclusive overall bias towards the white doll.

Frustrated with the lack of resources for African American youth in Harlem during the 1940s, Phipps started the Northside Center for Child Development. The Center is still going strong today, offering multitudes of after school programs, in-school counseling, and support programs for families struggling with abuse. This picture was taken from their website, Northsidecenter.org

In this episode of My Favorite Feminists, Megan & Milena cover what suffragists have to do with the Guerrilla Girls & the slightly problematic Margaret Sanger

The Guerrilla Girls & Those Silly Shrill Suffragists

Guerrilla Girls artists Kathe Kollwitz, Zubeida Agha and Frida Kahlo during a press preview for an exhibition of works by the Guerrilla Girls titled “Not Ready To Make Nice: 30 Years And Still Counting,” at the Abrams Art Center, April 30, 2015. Photograph by Andrew Hinderaker

Sure, equal representation in the art world is skewed AF, but good news! Since the 1980’s there’s been a badass group of anonymous art activists calling out art world BS. In this episode we learn what they have to do with the Suffrage movement, how postcards are actually really cool, and the public perception of women daring enough to speak out against gender injustice & how visual aids in the public domain have aided in countering stereotypical notions of feminine roles specific to the visual art world. Yah’know, just the little things.

Suffragette Movement

BFF’s Elizabeth Cady Stanton (left) and Lucretia Mott (right)

Anti Suffrage post card is from 1909, perfectly arguing the suffragist position – if it’s not fair for a man, why is it fair for a women?  

As promised, a excerpt from the 1915 book Are Women People? A book of rhymes for suffrage times by the American Alice Duer Miller:

Why We Oppose Pockets for Women 1. Because pockets are not a natural right. 2. Because the great majority of women do not want pockets. If they did they would have them. 3. Because whenever women have had pockets they have not used them. 4. Because women are required to carry enough things as it is, without the additional burden of pockets. 5. Because it would make dissension between husband and wife as to whose pockets were to be filled. 6. Because it would destroy man’s chivalry toward woman, if he did not have to carry all her things in his pockets. 7. Because men are men, and women are women. We must not fly in the face of nature. 8. Because pockets have been used by men to carry tobacco, pipes, whiskey flasks, chewing gum and compromising letters. We see no reason to suppose that women would use them more wisely. You can read the entire (short) book HERE

Art Influencing the Guerrilla Girls

1981 Work by Barbara Kruger Your gaze hits the side of my face. Her direct text over imagery inspired the Guerrilla Girls early work

Work from the Survival Series (started 1983) by Jenny Holzer. The Guerrilla Girls use similar biting, searing aphorisms paired with visuals to confront the viewer

Selected Work of the Guerrilla Girls

We Sell White Bread, 1987 poster by the Guerrilla Girls

Same shit, different decade : (

One of the Guerrilla Girls most well known (and depressing) satirical works, from 1988.

Wanna see more of the Guerrilla Girls’ work? Or check out that tote bag with eyeholes? Check out their website HERE

Slightly Problematic Margaret Sanger

Margaret Sanger. Being Intense.

Controversial, yet effective, Margaret Sanger got stuff done. She could ABSOLUTELY be considered a problematic fav.

In this episode of My Favorite Feminists, Megan & Milena cover what suffragists have to do with the Guerrilla Girls & the slightly problematic Margaret Sanger

The Guerrilla Girls & Those Silly Shrill Suffragists

Guerrilla Girls artists Kathe Kollwitz, Zubeida Agha and Frida Kahlo during a press preview for an exhibition of works by the Guerrilla Girls titled “Not Ready To Make Nice: 30 Years And Still Counting,” at the Abrams Art Center, April 30, 2015. Photograph by Andrew Hinderaker

Sure, equal representation in the art world is skewed AF, but good news! Since the 1980’s there’s been a badass group of anonymous art activists calling out art world BS. In this episode we learn what they have to do with the Suffrage movement, how postcards are actually really cool, and the public perception of women daring enough to speak out against gender injustice & how visual aids in the public domain have aided in countering stereotypical notions of feminine roles specific to the visual art world. Yah’know, just the little things.

Suffragette Movement

BFF’s Elizabeth Cady Stanton (left) and Lucretia Mott (right)

Anti Suffrage post card is from 1909, perfectly arguing the suffragist position – if it’s not fair for a man, why is it fair for a women?  

As promised, a excerpt from the 1915 book Are Women People? A book of rhymes for suffrage times by the American Alice Duer Miller:

Why We Oppose Pockets for Women 1. Because pockets are not a natural right. 2. Because the great majority of women do not want pockets. If they did they would have them. 3. Because whenever women have had pockets they have not used them. 4. Because women are required to carry enough things as it is, without the additional burden of pockets. 5. Because it would make dissension between husband and wife as to whose pockets were to be filled. 6. Because it would destroy man’s chivalry toward woman, if he did not have to carry all her things in his pockets. 7. Because men are men, and women are women. We must not fly in the face of nature. 8. Because pockets have been used by men to carry tobacco, pipes, whiskey flasks, chewing gum and compromising letters. We see no reason to suppose that women would use them more wisely. You can read the entire (short) book HERE

Art Influencing the Guerrilla Girls

1981 Work by Barbara Kruger Your gaze hits the side of my face. Her direct text over imagery inspired the Guerrilla Girls early work

Work from the Survival Series (started 1983) by Jenny Holzer. The Guerrilla Girls use similar biting, searing aphorisms paired with visuals to confront the viewer

Selected Work of the Guerrilla Girls

We Sell White Bread, 1987 poster by the Guerrilla Girls

Same shit, different decade : (

One of the Guerrilla Girls most well known (and depressing) satirical works, from 1988.

Wanna see more of the Guerrilla Girls’ work? Or check out that tote bag with eyeholes? Check out their website HERE

Slightly Problematic Margaret Sanger

Margaret Sanger. Being Intense.

Controversial, yet effective, Margaret Sanger got stuff done. She could ABSOLUTELY be considered a problematic fav.

In this episode of My Favorite Feminists, Megan & Milena cover what suffragists have to do with the Guerrilla Girls & the slightly problematic Margaret Sanger

The Guerrilla Girls & Those Silly Shrill Suffragists

Guerrilla Girls artists Kathe Kollwitz, Zubeida Agha and Frida Kahlo during a press preview for an exhibition of works by the Guerrilla Girls titled “Not Ready To Make Nice: 30 Years And Still Counting,” at the Abrams Art Center, April 30, 2015. Photograph by Andrew Hinderaker

Sure, equal representation in the art world is skewed AF, but good news! Since the 1980’s there’s been a badass group of anonymous art activists calling out art world BS. In this episode we learn what they have to do with the Suffrage movement, how postcards are actually really cool, and the public perception of women daring enough to speak out against gender injustice & how visual aids in the public domain have aided in countering stereotypical notions of feminine roles specific to the visual art world. Yah’know, just the little things.

Suffragette Movement

BFF’s Elizabeth Cady Stanton (left) and Lucretia Mott (right)

Anti Suffrage post card is from 1909, perfectly arguing the suffragist position – if it’s not fair for a man, why is it fair for a women?  

As promised, a excerpt from the 1915 book Are Women People? A book of rhymes for suffrage times by the American Alice Duer Miller:

Why We Oppose Pockets for Women 1. Because pockets are not a natural right. 2. Because the great majority of women do not want pockets. If they did they would have them. 3. Because whenever women have had pockets they have not used them. 4. Because women are required to carry enough things as it is, without the additional burden of pockets. 5. Because it would make dissension between husband and wife as to whose pockets were to be filled. 6. Because it would destroy man’s chivalry toward woman, if he did not have to carry all her things in his pockets. 7. Because men are men, and women are women. We must not fly in the face of nature. 8. Because pockets have been used by men to carry tobacco, pipes, whiskey flasks, chewing gum and compromising letters. We see no reason to suppose that women would use them more wisely. You can read the entire (short) book HERE

Art Influencing the Guerrilla Girls

1981 Work by Barbara Kruger Your gaze hits the side of my face. Her direct text over imagery inspired the Guerrilla Girls early work

Work from the Survival Series (started 1983) by Jenny Holzer. The Guerrilla Girls use similar biting, searing aphorisms paired with visuals to confront the viewer

Selected Work of the Guerrilla Girls

We Sell White Bread, 1987 poster by the Guerrilla Girls

Same shit, different decade : (

One of the Guerrilla Girls most well known (and depressing) satirical works, from 1988.

Wanna see more of the Guerrilla Girls’ work? Or check out that tote bag with eyeholes? Check out their website HERE

Slightly Problematic Margaret Sanger

Margaret Sanger. Being Intense.

Controversial, yet effective, Margaret Sanger got stuff done. She could ABSOLUTELY be considered a problematic fav.