& Dirt Domesticity Constructions of the Feminine WHITNEY MUSEUM OF AMERICAN ART TheWhitney Museum ofAmerican Artat EquitableCenter is fundedby The Equitable. & Dirt Domesticity Constructions ofthe Feminine ^^^^^^^^^^^^^^^^^^^H was by ^^^^^^^^^^^^^^^^^^^H thefollowing Helena ^^^^^^^^^^^^H the Museum ^^^^^^^^^^^^^^^^^^^H ^^^^^^^^^^^^^^^^^^^H Study Program Jesus Fuenmayor Kate Haug Frazer Ward The videoprogram was organized by Cara Mertes COVER: Charles VanSchaick J. SevenMaids:BlackRiver Falls,Wisconsin,c.1890 © 1992 Whitney Museum ofAmerican An 945 Madison Avenue, NewYork, NewYork 10021 & Dirt Domesticity Constructions of the Feminine — June 12 August 14. 1992 Whitney Museum ofAmerican Art at Equitable Center Ann Hamilton, stilllife, 1988 Acknowledgments We would like to express oursincere gratitude to Benjamin H.l). Buchloh, Ron Clark, and Sarah Bayliss for their advice, support, and consistent effort m the development and execution ofthis exhibition. We also thank Kathleen Monaghan for her expert counsel and for giving us the oppor- tunity to present this exhibition at the Whitney Museum at Equitable Center. Theoretical advice from Norman Cowie, Dina Ciraulo, Thelma Golden, Fred Wilson, Renee Green, Constance Wolf, Martha Rosier. Sal- ly Stein, Helen Molesworth, and fellow Whitney Independent Study Program participants was crucial to both the form and content ofthe exhibition. Kathryn Kanjo,Jennifer Landes, Amy Zorn, Gioia Whitte- more, and Samantha Tsao provided essential technical advice concern- ing organization ofthe exhibition. Scott Catto at P.ROW, Kim Heirston at Stux, Laurence Shopmaker at Max Protetch Gallery, Larry Levine at Louver, and Nicole FriedleratThe Museum ofModern Artwere all gen- erous with their time. Archivists at The State Historical Society ofWis- consin, The New-York Historical Society, the Museum ofthe City of New York, The Schomburg Center for Research in Black Culture, The New York Public Library, and Katherine Bassney at the International Museum ofPhotography, George Eastman House, supplied important documentary material. Dina Helal at the Whitney Museum at Philip Morris was extremely helpful and giving with her knowledge and time. David Leith and Lucia Siskin at the International Center ofPhotogra- phy library granted liberal access to their collection. We would like to thank fhe artists, designer Alex Ku, and all those who took interest in this project. Preface "Dirt and Domesticity: Constructions of the Feminine" began with research into documentaryphotographs and advertisements from the first halfofthe century. Femininity seemed to be defined in terms ofhow women managed dirt.Women who had servants to deal with dirt were perceived to be more feminine, more ladylike. As a result, the negative, "unfeminine" connotations ofdirt had to be absorbedby the body ofthe servant. Representations ofservants tended either to desexualize them or to position them as functional accessories within the domestic environ- ment, as ifto repress the threat inherent in contact with dirt. During and immediately afterWorld War II, a hegemonic model of femininity developedin the United States: the middle-class, white house- wife so familiar from popular culture ofthe 1950s. Human servants were now replaced by mechanical and electrical appliances, chemical cleaning agents, and prepared, pre-packaged food. In the most extreme idealiza- tions, the housewife orchestrated a team ofinorganic servants, so-called — — labor-savingdevices, whichsymbolically ifnotactually removedher from contact with dirt (so she would always be "clean" for her husband). The contradictions within this model are revealed by the critical irony of Toby Lee Greenberg's work, such as Accept This Fact (1987), which mis- matches representations ofthe ideal with instructions on how to achieve it. In Greenberg'spiece, itis quite clearthatdirtnevergoesaway; itjusthas to be hidden from the men. The different ways in which dirt has been negotiated suggest hier- archical distinctions within definitions offemininity. The symbolic rela- tions between dirt and the body ofthe servant become crucial when we consider how class and race privilege are built into concepts ofcleanli- ness (and beauty, a corollary, as Lorna Simpson's C-ration 1991 suggests). 6 The exhibition examines the multiple forms ofpatriarchal oppression by looking at representations ofsingle women, married women, women of color, and working-class and wealthy women. "Dirt and Domesticity" includes historical and contemporary docu- mentary and "post-documentary" photography, advertisements, video and three-dimensional art. The variety ofwork allows the exhibition to examine the appearance and disappearance ofdirt in a range ofdiscours- es. Perhaps the foremost ofthese is the discourse ofdocumentary pho- tography itself. The "natural" form for representations of the socially "low" and hence dirty, documentary's frequent though not uniform fail- ures to do more than reiterate class and race relations are one point ot departure forwork by Danielle Gustafson, Martha Rosier, Lorna Simpson, Carrie Mae Weems, and Pat Ward Williams. There is movement within the exhibition between more or less reflexive modes ofdocumentation, or deliberately falsified, fictionalized documentation, and work which in var- ious ways takes dirt upon itself, enacts dirtiness in order to reveal its work- ings and its possible transgressive value. In the catalogue, Frazer Ward's essay, Foreign and Familiar Bodies, examines dirt as it appears in the documentary tradition and some ofits successors, andtraces relationsbetween some contemporary and modernist practices, articulated in terms ofthe transgressive potential ofthe "abject" and ofhybridity. Kate Haug's essay, Myth and Matriarchy: AnAnalysis of the Mammy Stereotype, analyzes the role and persistence ofthe "mammy," an ideological figure crucial to the maintenance ofa historically preva- lent idealization offemininity and ofa particularsetofexploitative domes- tic arrangements. Cara Mertes' There's No Place Like Home: Women and Domestic Labor provides a broad historical context, examining the social — conditions which have made possible the enforcement largely bya pro- — cess of naturalization ofthe connections between women and domes- tic labor. Jesus Fuenmayor Kate Haug Frazer Ward 7 Foreign and Familiar Bodies Frazer Ward Until recently, twentieth-century visual culture has left the dirt arising in the specifically feminine domestic sphere to be dealt with by docu- mentaryphotographers, with salutary exceptions, among themMan Ray and Marcel Duchamp's Elevage de Poussiere (Dust Breeding) of1920. The ashtrays in still lifes have been empty, the glasses full; Pop Art's appliances were gleaming icons ofindustrial production and consumption. It is as if artistic laborwere itselfa form ofcleaning, oratleast repressed the neces- sity ofit, despite the time that most ofus, even artists, spend on mainte- nance, cleaning up paint, doing the dishes. It is, however, in the nature ofdirt to be cleaned up. This essay examines the structures and effects of the appearance and disappearance ofdirt, or its repression and return, in a series ofhistorical and contemporary exemplars ofcultural practice. "Dirt and Domesticity: Constructions ofthe Feminine" presents dirtin the threeimportantwaysitfunctionsin thesocialandculturalcon- struction offemininity. The first ofthese is a documentary tradition in which dirt is associated with femininity itselfand the socially "low." Dirt here becomes a sign ofclass relations. The second involves contemporary art, considered in relation to a particularmodernist avant-garde tradition; this contemporary work deals with specific kinds ofdirt which may be referred to, followingJulia Kristeva, as "abject." Abjection poses, or may be made to pose, a threat to repressive social and symbolic systems. In the thirdcategory, dirtisrarelyvisible in obviousways, butresurfacesin works that might be described as hybrids, as they displace materials from famil- iar contexts. Through this formal messiness, dirt can be seen as a positive element within critical art practices. Ultimately, what may be most inter- estingaboutdirtofvarious kindsis thewaysin whichitrevealsbothsocial difference and heterogeneity. 8