The year my second son was born, I went to work, and my husband stayed home. It was the most luxurious year of my life. In the mornings, I nursed my baby while my husband brought our older child to preschool. When he got back, I handed off the baby, said, “bye, Sweetie, see you… Read more →
By Rachel Epp Buller
One of the recurring themes in my “Women and Gender in Art History” class this semester has been the historical association of women with the domestic sphere. In the nineteenth century, we looked at examples of European art that addressed this clear cultural separation of spheres, where public = masculine and private = feminine. Of course, this cultural association of women with domesticity persisted throughout much of the twentieth century (think June Cleaver) and was cleverly marketed to women through seemingly endless inventions of domestic appliances and ever-better cleaning products.
By the 1970s, American feminist artists and writers began taking on the gendering of domesticity. Building on Betty Friedan’s arguments in The Feminine Mystique (1963), writers like Pat Mainardi critiqued the cultural assumptions that made cleaning a gendered imperative. In “The Politics of Housework” (1970), Mainardi examined the excuses used by her husband to avoid sharing the burden of household chores: