In her traditional, minimalist, masculine grid system, typically in two panels, she first paints the word “angry” and then the name of the feminist artist that she is highlighting. All of the pieces coming in varying color, all done in paint and pastels, she shows a sense of togetherness in these paintings and listing the women who have joined her on the feminist art crusade. An example of one of the pieces she did is Angry Harmony, where she cites Harmony Hammond as not only one of her fellow feminist painters but also the respect that she feels for Hammond, depicted in a cool palate with highlights of a deep red. In an article that she did for Hammond’s feminist magazine, Heresies, she speaks about what it is like to be a feminist lesbian painter and how she conceives and produces her work.
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At the end she speaks about making feminist art, warning the reader that, “I want to caution against the dangers of purposefully and consciously setting out to make lesbian or feminist imagery or any other imagery which does not emerge honestly from the rigors of work. The chief danger as I see it lies in losing direct touch with the art, risking an involvement with a potentially superficial concern,” (Fishman, How I Do It, 75). She is saying that feminist and lesbian art have to come from a place of interest and genuine caring rather than the desire to fit into a trend or movement. As explored in her article she is a very genuine person and cares deeply about this movement, all be it that she is effected by its success greatly but that doesn’t take away from her voice from the movement that has made major impacts and even given representation to the LGBTQ community. Watch out for Fishman’s masculine grids in the future, she has done great work so far I think there is still more to
At the end she speaks about making feminist art, warning the reader that, “I want to caution against the dangers of purposefully and consciously setting out to make lesbian or feminist imagery or any other imagery which does not emerge honestly from the rigors of work. The chief danger as I see it lies in losing direct touch with the art, risking an involvement with a potentially superficial concern,” (Fishman, How I Do It, 75). She is saying that feminist and lesbian art have to come from a place of interest and genuine caring rather than the desire to fit into a trend or movement. As explored in her article she is a very genuine person and cares deeply about this movement, all be it that she is effected by its success greatly but that doesn’t take away from her voice from the movement that has made major impacts and even given representation to the LGBTQ community. Watch out for Fishman’s masculine grids in the future, she has done great work so far I think there is still more to