Theatre Design & Technology - Spring 1988 - 58

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women in the arts shirk the title of "woman artist." When
you consider its close association with terms like
"women's work," it is understandable. Traditionally, associating any endeavor with women devalues it. Also, they
feel that people assume a "woman artist" implies a feminist focus to the work which is not necessarily the case.
Hiding behind this attitude about the "woman artist" label
is an assumption: that there is a gender-neutral body of
criticism that considers only the work of "human artists"
rather than work of "woman artists" and "men artists."
Evidence suggests otherwise.
The experience of men and women in our society is
vastly different. That difference is reflected in our culture.
Recent studies in linguistics show that women use language differently, and so there is every probability they use
visual symbols differently. How would this different sensibility be received within the confines of a critical framework developed solely by masculine viewpoint? This is
not to suggest "it takes one to see one," only that traditional criticism may have some blind spots when assessing feminine valued in art. Women ultimately have to let
themselves be identified as "women artists," for as Carolyn Heilbrun puts it: "It is the mark of a caste that it
internalizes the judgments of the oppressor, particularly
the judgments upon itself."ls
How do these differing gender perspectives function to
effect the art when the process is collaborative? The scene
designer necessarily deals with other people's ideas, the
playwright, the director (usually male) and the other designers. Each designer must negotiate to have his or her
ideas incorporated into the production. How well the designer negotiates determines the amount of artistic ex56

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pression he will be allowed. Arnold Aronson provides
some insight into the gender differences in this process:
In interviewing male designers, and talking to directors who worked with them, I found an acceptance of
rashness. Male designers can come up with all sorts of
wild and extreme ideas that will be tossed around and
accepted as almost equal input. I don't know if it
would be as acceptable from women designers. 16

Women tend to be less assertive by social conditioning.
But for some women set designers, this choice is also an
esthetic and philosophical one. Aronson points out this
aspect of Marjorie Bradley Kellogg's work:
But some designers, through either intention or personal style, imprint themselves very strongly on a
production. Kellogg is a bit more adamant than most
about the need to "moderate" the design to the needs
of the piece and even categorizes some of her designs
as "recessive." She is well aware that the so-called
recessive designs tend to be overlooked. l ?
This attitude can be clearly seen in her description of her
work on The Best Little Whorehouse in Texas-the most
commercially successful show she has designed:
The set did nothing but serve the show. It was a long
collaborative process involving the director, choreographer and me, and occasionally the lighting and costume designers and the producer. We used to gather in
Tommy Tune's apartment and sit on the floor and

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