25th Anniversary Publication
September 1998
Introduction

On Your Mark: Artemisia Gallery, 25 Years
by Claire Wolf Krantz

Artemisia Gallery, after 25 years, continues to grow as a dynamic institution. Its ongoing success stems from the character of its membership, a fluctuating group of forceful women artists. Despite their diverse backgrounds, these women are able to periodically re-examine their organization’s identity, reasons for being, role in the community, and future directions.  Major transformations in America’s social and economic conditions have also prompted new questions about these issues. As we have witnessed in Chicago during the last decade, the penalty for institutions who ignore change is their demise.

Artemisia has thrived for many reasons: its membership’s energy and flexibility is an important one. But other, quite practical matters have also been indispensable, including an attention to sound management of time, finances, and optimal location.  Early on, the members anticipated the need for multiple sources of income and support from a diverse community. Most importantly, they avoided the mistakes of some “alternative” organizations that became ingrown rather than engaging an outside audience. Artemisia has effectively addressed both art and non-art communities despite the difficulty of sponsoring art that a general audience might find obscure or problematic. Its exhibits sometimes raise tough societal questions; others explore new, unfamiliar venues. Artemisia is also one of the few institutions that is committed to showing the work of mid career female artists or those dealing with unfashionable subject matter.

An interesting shift in the gallery’s focus has been away from an initial emphasis on radical feminism into a larger dialogue that integrates feminist points of view with the artworld and beyond. This departure from a clearly articulated militant feminist agenda has blurred some of its boundaries, making clear-cut definitions of identity and role problematic. However, the organization is now developing different kinds of voices to enrich the stew of information, ideas and art that can be seen in the city. In connection with its ordinary function as a gallery, it has also expanded its educational and networking functions to include mentoring of emerging women artists and international exchange programs, integrating all kinds of cultural activities in one space.

This process of definition and change has been fascinating to watch. As a student at the School of the Art Institute in the Seventies, Artemisia’s existence was astonishing to me. When a male teacher said that he really didn’t understand what issues I was dealing with in my work, he was right. When he directed me to the recently formed Artemisia gallery as a resource, he did me an enormous favor. My development as an artist and writer was shaped by my exposure to this organization’s burgeoning feminist dialogue and related artwork. Changing ideas were voiced about personal and cultural identity as well as interpersonal and gender relationships. These issues had been simmering under the surface for years.  By routinely exhibiting art that championed previously ignored issues (which the mainstream artworld still considers insignificant) the gallery has maintained a leadership role in transforming the hidden, inchoate thoughts of the feminist agenda into language. Thus, these reflections become public and accessible - so that I, as well as my male teachers and peers, could begin to discuss and maybe understand them.

Being something of a loner, I never joined Artemisia. But in 1987 I did exhibit my paintings in one of their guest spaces. It was an important experience for me, different from showing in other venues. Because the gaps between emerging and established artists are minimized at Artemisia, the cross-fertilization that results can be unexpectedly wonderful. When (then president) Fern Shaffer volunteered to help me with a difficult installation, our conversation helped me articulate for myself some important ideas about what I was doing and why. This interaction resulted in a stronger show and seeded further reflection on the direction of my work. Artists who are experimenting with new ideas and modes of presentation need support, protection, and feedback, as well as money and gallery space.  By its very nature, experimental work doesn’t fall within already defined boundaries nor does it have a prepared treatise to explain what hasn’t been tried yet. It may be rough around the edges. How many experienced artists allow themselves to be stimulated, or even influenced, by the new questions posed by less seasoned artists? True risk taking can take place at Artemisia because of its openness to experimentation with ideas and forms outside the realm of the artworld’s sanctioned concepts and its lessened pressure for immediate, polished success.

Uncertainties about the collective’s definition, role, and audience are ongoing: How do men fit into a women’s gallery? Is feminism still a vital issue? If so, what issues within feminism still need to be aired? Where is the line drawn between a cooperative gallery whose function is limited to exhibiting members’ work and the broader agenda that has always been characteristic of Artemisia? Although the gallery has undergone many changes over its history, it has been constant in its acceptance and encouragement of work outside of artworld boundaries as well as in its support of art that is evolving and in process. Thus, Artemisia fills a significant niche that it likely will continue to maintain. 

Claire Wolf Krantz is an artist, freelance critic, and guest curator.
As an artist she works in a combination of painting and photography as well as digitally created images.