How to Effectively Challenge Hierarchies 

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Every deep-rooted hierarchy deserves scrutiny and a daring challenge. Not to sow discord or breed zealous factions, but because rigidity stifles progress and exposes the flaws in antiquated models. It's not about sparking futile arguments or cultivating animosity; it's about dismantling the barriers that inhibit creative thinking.

If you have ever wondered in your line of business why certain things have been the same way for so long, it’s time to start diving deeply to find counterpoints that shatter the old.

Miriam Schapiro, born in 1923 in Toronto, Canada, became a groundbreaking force in American feminist art and a foundational figure in the Pattern and Decoration movement. Having spent years conforming to the stringent norms of the predominantly male realm of Abstract Expressionism in New York, Mimi (as affectionately known by her friends) underwent a transformative shift in her artistic approach upon relocating to California with her husband in 1967.

In doing so, she not only reshaped her own creative path, but flung wide the doors for countless female artists suffocated by the obligation to conceal their feminist ideals in compliance with the dictates of the art world. Rejecting the outdated paradigm that once held sway, she embraced a bold departure, embodying three unwavering attitudes that not only fueled her artistic triumphs but, more significantly, etched her well-deserved place in art history.

Nothing takes hold if it doesn’t impact others positively. To do that, a community where people feel affinity and empowerment must be built.

Driven by a profound concern over the art world's unequal treatment of women, with an added indignity of tacitly compelling women to emulate male artists, Schapiro, alongside artist Judy Chicago, pioneered the Feminist Art Program at the California Institute of the Arts in 1971. The first step was to educate and create awareness and to find acolytes to their cause.

Acolytes indeed emerged, inspiring Schapiro and Chicago to conceive Womanhouse, an unprecedented public exhibition at a dilapidated Hollywood mansion, marking the first immersive art experience in the United States centered around female empowerment.

Collaborating with 21 students and local artists, each space within the mansion was transformed into a vivid portrayal of womanhood. In 1972, this pioneering endeavor broke new ground, captivating audiences with its fresh perspective. The response was wild: more than 10,000 people visited during the time Womanhouse was open, national and international press covered the project, and Encyclopedia Britannica reps came to interview Schapiro about it. The dawn of a new era for women artists started to look bright.

Note that they didn’t have to burn things, insult people, attack others or act on the offensive. It was all about education and participation for what they rightfully saw as a restrictive space in an area that shouldn’t have had those barriers and rules imposed on anyone.

When the feedback we get about something new is so remarkable and happens so quickly, we should lean in and avoid self-sabotage and impostor’s syndrome.

Luckily, Schapiro recognized that she had found her calling and she hit her stride. The response to Womanhouse had been exhilarating and gave direction and inspiration to her projects from then on. Almost at the same time she started her “femmages.” Coined with painter Melissa Meyer, the term fuses “female” and “collages.” The works meld painting with historically feminine crafts like quilting and lacemaking. By embracing objects linked to women, Schapiro boldly challenged art world hierarchies and norms.

Her artworks stand as a bold and colorful rebellion against the hypermasculine austerity of the minimalist movement, which reached its zenith in the 1960s. Her canvases emerge as a powerful counterpoint to the stark stacks of Donald Judd and the geometric austerity of Dan Flavin’s neon sculptures, forging a distinct visual language that would reverberate for generations.

What Schapiro was able to grasp almost immediately is that she was not only opening the door for a new generation of women artists, but she was also democratizing access to the arts for those who make it and for those who consume and collect it.

Movements are often formed in response to a perceived need for change or to address a particular issue. In a parallel spirit to the last century, which bore witness to self-styled artistic movements like The Surrealists and Les Fauves, Schapiro and artist Robert Zakanitch galvanized the Pattern and Decoration movement with a strong presence on both the East and West coasts. This collective endeavor acknowledged a shared exploration of ideas among numerous artists who, akin to Schapiro and Zakanitch, sought to transcend conventional boundaries and embrace a rich tapestry of expressive patterns and decorations in their artistic pursuits.

In response to the Western-centric, male-dominated landscape of Modernist thought, these artists sought inspiration globally. The geometric and floral patterns in their work reveal the influence of Islamic tiles from Spain and North Africa. Mexican, Roman, and Byzantine mosaics, Turkish embroidery, Japanese woodblocks, and Iranian and Indian carpets were also sources of influence.

An intriguing facet lies in the inclusivity of this movement, with men actively participating. It underscores a fundamental truth—that enduring creative endeavors thrive on open-mindedness and permeability, transcending gender boundaries to foster lasting impact. “The thing about Pattern and Decoration for us feminists was that in women's traditional art you see pattern and decoration. And of course the decorative was always considered a trivialization, but here were men who were interested in an analysis of the decorative. Why make the decorative? Where does it happen? Does it happen in Islam in the same way that it happens with the Navajos?” Schapiro said.

Also, she was well aware that even radical thinkers have to rely on the expansive benefits of a gray area: “When you get to be my age you realize how there isn't black and white, that most of us live in an enormous area of gray, and that that gray itself has incredible numbers of shadings. So you can't say a feminist should be like this, or people should be like that.”

While the P&D movement had a relatively brief existence of around 10 years, its enduring legacy resonates as it “contributed to post-Modernism by challenging Modernism - in my work through the combining of formal art with artifacts from women's culture.”

The legacy of Mimi Schapiro goes well beyond the bold and intricate patterns of her femmages or even the beginning of a much more level playing field in the arts for everyone. She showed us that challenging hierarchies effectively requires a multifaceted approach rooted in communication, empowerment, and advocacy for change. By fostering open dialogue, educating your crowd, promoting inclusivity, and embracing diverse perspectives, you can dismantle entrenched power structures and create spaces where everyone's voice can be heard and valued.

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