Top 7 Quotes & Sayings by Miriam Schapiro

Explore popular quotes and sayings by a Canadian artist Miriam Schapiro.
Last updated on December 22, 2024.
Miriam Schapiro

Miriam Schapiro was a Canadian-born artist based in the United States. She was a painter, sculptor, printmaker, and a pioneer of feminist art. She was also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. She incorporated craft elements into her paintings due to their association with women and femininity. Schapiro's work touches on the issue of feminism and art: especially in the aspect of feminism in relation to abstract art. Schapiro honed in her domesticated craft work and was able to create work that stood amongst the rest of the high art. These works represent Schapiro's identity as an artist working in the center of contemporary abstraction and simultaneously as a feminist being challenged to represent women's "consciousness" through imagery. She often used icons that are associated with women, such as hearts, floral decorations, geometric patterns, and the color pink. In the 1970s she made the hand fan, a typically small woman's object, heroic by painting it six feet by twelve feet. "The fan-shaped canvas, a powerful icon, gave Schapiro the opportunity to experiment … Out of this emerged a surface of textured coloristic complexity and opulence that formed the basis of her new personal style. The kimono, fans, houses, and hearts were the form into which she repeatedly poured her feelings and desires, her anxieties, and hopes".

Victor Papenack, who was teaching design, had his students making radios for a penny each that could be shipped to Third World people. — © Miriam Schapiro
Victor Papenack, who was teaching design, had his students making radios for a penny each that could be shipped to Third World people.
Men think that sentiment is not valid; women think that sentiment is important.
We really didn't have any literature telling us it was a good thing to be a woman artist. When I was trained, there were no precedents, and that was something to get really angry about.
Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women.
I question the negative connotations of fabric, of ribbon, of lace. I turn these symbols of our imprisonment around.
If you were to survey celebrated women, with every step toward real success there came a baby.
When I look back on the years of excessive self-doubt, I wonder how I was able to make my paintings. In part, I managed to paint because I had a desire, as strong as the desire for food and sex, to push through, to make an image that signified.
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