FEMINAE

FEMINAE

Typographic Voices: Of Women, by Women

FEMINAE

Typographic Voices: Of Women, by Women

FEMINAE

Typographic Voices: Of Women, by Women

Introduction Solidarity

War

Body

Justice Inequality Survival

"Until the lions have their historians, tales of hunting will always glorify the hunter."

Carol Wells Lolita Lebrón: Viva Puerto Rico Libre!

Linda Lucero Girls Will be Boys Will be Girls, Will be...

Jacinta Bunnell Support Equal Citizenship Rights Linda Kiveu Broke But Not Broken Wendy Murray Paper or Plastic...A Reality G. Kondrup

Introduction

"...The legal subordination of one sex to another-is wrong in itself, and now on of the chief hindrance to human improvement; and that it ought to be replaced by a system of perfect equality, admitting no power and privilege on the one side, nor disability on the other."

- On the Subjection of Women, Chapter I, John Stuart Mill, 1869

It has been 150 years since the publication of On the Subjugation of Women, by John Stuart Mill, yet the dialogues and debates continue. The words and images we use are significant to how women define themselves and can impact how an issue is conveyed. Perhaps in these contentious political times we have become more aware of how we have to speak the truth and get messaging out, whether it's a hand-painted sign, a silk-screened message, or letterpress-printer words.

The social, political, and economic issues that women continue to struggle with, and that has been repeatedly addressed over the past 150 years, including voting rights, violence against women, gender inequality in the workplace, and the right to privacy.

FEMINAE: Typographic Voices of Women

by Women, and exhibition of posters

created over the past 50 years and curated from the archives of the Center for the Study of Political Graphics (CSPG), Los Angeles, CA, presented an opportunity to examine the work of several women artists and art collectives that addressed these issues.

The work spans international, crosscultural, and socioeconomic borders. The subject matter of the work varied and shifted with the urgency of the message, and the opportunities for their voices to be heard. As reflected in the artists' and curators' essays, some of the work stems from the personal experiences, while other are inspired by experiences that are more universally shared by all women.

Gloria Kondrup Executive Director Hoffmitz Milken Center for Typography

SOLIDARITY

"Political posters grab our attention through the color and/or graphics, making us read the text.

Whether or not we agree with the message, it can provotke us into asking questions - and asking questions changes us.

Feminae demonstrated, loudly and graphically, that all issues are women's issues."

- Carol Wells, Center for the Study of Political Graphics

"UNTIL LIONS HAVE THEIR HISTORIANS, TALES OF HUNTING WILL ALWAYS GLOIFY THE HUNTER" -AFRICAN PROVERB When I collected my first poster in Mexico City in the summer of 1981, I had no idea that posters would soon change my life.

UCLA Art Historian David Kunzle, my husband Ted Hajjar, and I were en route to Nicaragua to document the art production of the young Sandinista revolution. Muralist Eva Cockcroft joined us in Mexico City and introduced me to Fanny Rabel, a friend of Frida Kahlo, who was considered the first modern female muralist. Fanny gave us a poster she had just finished, commemorating Alaide Foppa, a poet, writer, feminist, art critic, and teacher who

had "disappeared" in Guatemala six months earlier. The poster read "Secuestrada por el Gobierno genocida de Guatemala, ¡Presente!" [Kidnapped by the genocidal government of Guatemala. You are still with us!]. I had never heard of Alaide Foppa until then. Thanks to that poster, I will never forget her and the price she paid for her political commitment.

Posters and murals were everywhere in Nicaragua, promoting the goals and ideals of the Revolution, which included literacy, healthcare, and women's rights. By chance, I saw a poster grab the attention of an eight- or nine-year-old boy, and watched

him mouth the words of the poster, trying to figure it out. It was a poster produced by AMNLAE, the Sandinista women's association. I featured a woman holding a large basket of bright red coffee beans against a bright green background. The text read, "Construyendo La Patria Nueva Hacemos La Mujer Nueva" [In Constructing the New Country We Are Becoming the New Woman.]

The message was sophisticated and I doubt that the child figured it out. But that was the moment when I understood how posters worked, and I became obsessed with collecting posters. I wanted to use them for educating and organizing people in the United States in the same way that the Sandinistas were using them in

Nicaragua. My political activism became intensified through cultural activism.

Protest posters are a very effective method of challenging the corporate view of the world. Despite the flood of commercial images that bombard us as we go about our daily lives, posters have the power to refocus our thoughts. They grab our attention through colors and/or graphics, making us read the text. Whether or not we agree with the message, it can provoke us into asking questions - and asking questions changes us.

The first exhibition I created opposed President Reagan's war on the newly liberated people of Nicaragua and the struggling people of El Salvador. The posters refuted Reagan's lies: Reagan called

the Sandinistas "Godless Communists" -and the posters showed priests and nuns participating in the leadership of the revolutionary movements in their own words and images.

The Center for the Study of Political Graphics (CSPG) has a wealth of visual resources about women's issues, by women artists. In the last 30 years, I have curated 16 distinct poster exhibitions about women, and included sections on women in many others. Feminae was the most recent, but it was in many ways, one of the most challenging-it was not only about women, but all of the posters had to have been made by women.

Adding to the difficulty is that many of the poster artists are unknown. The adage,

"anonymous was a woman" is complicated by the fact that many political artists work anonymously - either to protect their lives or their jobs, or simply to prioritize the cause. Feminae was also one of the most rewarding, as it demonstrated loudly and graphically, that all issues are women's issues.

Carol Wells Founder and Executive Director Center for the Study of Political Graphics

FEMINAE

So Long as Women Are Not Free the People Are Not Free See Red Women's Circle Silkscreen, Circa 1978 London, United Kingdom 30 in x 20 in

Typographic Voices: Of Women, by Women

Women Are Not Chicks Women's Graphics Collective Offset, 1972 Chicago, Illinois 25 in x 19 in

Sisterhood Is Blooming Women's Graphics Collective Silkscreen, 1972 Chicago, Illinois 26 in x 20 in

And Ain't I a Woman?

Ann Grifalconi Offset, 1971 Lebanon, New Hampshire 23.5 in x 17.75 in

Pink Sheila Levrant de Bretteville; A Women's Community, Inc. Offset, 1974 Los Angeles, California 26 in x 20 in

The Wave Women's Graphics Collective Silkscreen, 1975 Chicago, Illinois 30 in x 20 in

We Celebrate Women's Struggles Susan Shapiro, Inkworks, Gonna Rise Again Graphics Offset, 1975 Oakland, California 26 in x 20 in

International Women's Day March 8 Cecilia Blomberg; Northwest Working Press; New American Movement (NAM) Offset, 1980 Eugene, Oregon 22.75 in x 17.75 in

WAR

"While yelling '¡Viva Puerto Rico!,' Puerto Rican nationalist Lolita Lebrón and her comrades led an armed assault on the US Hour of Representatives in 1954, resulting in the wounding of five members of Congress.

Lebrón was convicted of attempted murder and other crimes. President Carter granted Lebrón clemency in 1979"

- Linda Lucero, Lolita Lebrón: Viva Puerto Rico Libre!

LOLITA LEBRÓN: VIVA PUERTO RICO LIBRE! LINDA LUCERO The La Raza Silkscreen Center colletive was founded in San Francisco’s Mission District in the 1970s by young artists and student activists who viewed art as a tool for organizing as much for as a means of self-expression. These turbulent years were marked by political and social issues that included civil rights, the Vietnam War, United Farm Workers movement, women's rights, and police brutality; as well as the struggle by people of color and the poor for equal access to education, housing, health, and political representation. Revolutionary movements in the Philippines, Vietnam, Chile, Mexico, Nicaragua, El Salvador, Puerto Rico, and China were in the news

daily, and making waves locally. Political exiles from Central and South America joined local activists in the Mission District to form international solidarity groups.

The times are reflected in artwork that came out of La Raza Silkscreen Center (later to be known as La Raza Graphics). We produced posters for community-based organizations that announced rallies, boycotts, cultural and educational events, services, and fundraisers. We also produced prints that were individual artistic expressions of resistance, affirmation, and solidarity.

During the time, the Vencerémos Brigade was organizing annual contingents of US

citizens to breaks the US government's economic and cultural blockade of socialist Cuba-a punishing blockade that continues today. In 1975, I traveled to Cuba via Mexico with the eighth contingent of the Vencerémos Brigade, joining White, Black, Chicano, Native American, and Puerto Rican activists from the US and Puerto Rico. The brigadistas included union organizers, longshoreman, nurses, actors, artists, journalists, radio djs, attorneys, photographers, teachers, etc. During the day, we joined Cuban construction workers to build housing. On the jobsite over lunch, we brigadistas talked about the Chicano, Black Power and feminists movements in the US. After dinner, we heard various presentations on Cuba's history and

culture, including its antiracist and anticolonial moments. On Saturday nights and Sundays, we sang and made music, ate ice cream, danced to the hottest Cuban bands, and engaged in more political and cultural discussions with other brigadistas and the Cubans.

After six weeks of work, we toured the island by bus for three weeks, visiting schools, factories, hospitals, farms, villages, parks, museums, and historical monuments. I remember the warmth of the Cuban people-despite the fairy recent 1961 CIA-sponsored invasion of Cuban at Playa Girón. I remember concerts of beautiful songs and delicious meals of rice, black beans, roast pork, and cold beer. I remember sweet rum, strong, sugared

coffee and pungent cigars. It was an unforgettable, and profound experience.

While in Cuban, I learned about several political prisoners held in the United States prisons. Among them, Puerto Rican nationalist Lolita Lebrón made a lasting impression. While yelling "¡Viva Puerto Rico!," Lebrón and her comrades led an armed assault on the US Hour of Representatives in 1954, resulting in the wounding of five members of Congress.

Lebrón was convicted of attempted murder and other crimes. President Carter granted Lebrón clemency in 1979.

I was politically inspired both by the Cuban Revolution and by the activism of my fellow brigadista. As an artist, I returned to San Francisco fired up by the dramatic,

colorful graphics of the Cuban Revolution, especially the incredible artist such as Raúl Martinez and Felix René Mederos. I was determined to highlight more women in the graphics that La Raza Silkscreen produced starting with my own work. After spending nine weeks on the island, I felt bolder and more confident. Lolita Lebrón ¡Viva Puerto Rico Libre! was the first print I made after returning from Cuba.

Lolita Lebrón La Raza Silkscreen Center; Linda Lucero Silkscreen, 1978 San Francisco, California 28.5 in x 22.5 in

War Is Not Healthy for Children and Other Living Things Lorraine Schneider; Another Mother for Peace Offset, 1967 Beverly Hills, California 26.5 in x 22 in

This Woman is Vietnamese...

Liliana Porter; Collective Graphics Workshop; Photo: John Schneider, The New York Times Silkscreen, 1970 New York, New York 27.75 in x 20.25 in

Women's Encampment for a Future of Peace and Justice Summer 1984 Bonnie Acker; Tower Press Offset, 1984 Burlington, Vermont 19 in x 17 in

Did She Risk Her Life for Governments that Enslave Women?

Guerrilla Girls Offset, 1991 New York, New York 25 in x 19.5 in

Day of Unacceptance April 22 Coalition; Jane Norling Offset, Circa 1972 San Francisco, California 25 in x 19.5 in

Stop the Bombing © Corita Art Center Silkscreen, 1967 Los Angeles, California 15.5 in x 23 in

Make Out Not War Favianna Rodriguez; Tumi's Design; Code Pink Offset, 2008 Oakland, California 24 in x 18 in

BODY

"For every woman who is tired of beig a sex object, there is a man who must be worried about his potency."

- Nancy R. Smith, For Every Woman, 1973

GIRLS WILL BE BOYS WILL BE GIRLS WILL BE...

JACINTA BUNELL The introduction to Girls Will Be Boys Will Be Girls Will Be... Coloring Book (2001) included a fictional story about children liberating their neighborhood from restrictive gender normal. Part of the inspiration was For Every Woman (1973) by Nancy R. Smith: For every woman who is tired of acting weak when she knows that she is strong, there is a man who is tired of appearing strong when he feels vulnerable For every woman who is tired of acting dumb, there is a man who is burdened with the constant expectation of "knowing everything."

For every woman who is tired of being called "an

emotional female," there is a man who is denied the right to weep and to be gentle.

For every woman who is called unfeminine when she competes, there is a man for whom competition is the only ay to prove his masculinity.

For everywoman who is tired of being a sex object, there is a man who must worry about his potency.

For every woman who feels "tied down" by her children, there is a man who is denied the full pleasure of shared parenthood.

For every woman who is denied meaningful employment or equal pay, there is a man who must bear full financial responsibility for another human being

For every woman who has not been taught the intricacies of an automobile, there is a man who was not taught the satisfaction of cooking.

For every woman who takes a step toward her own liberation, there is a man who finds the way to freedom has been made a little easier.

Irit Reinhemer and I hoped to bring an analogous message to children and wrote an adaptation loosely based on Smith's poem. Crimethinc, an anonymous anarchist collective, asked our permission to print posters which wrapped the words of our adapted poem around an image we ad photoshopped of two drawings by Laura New burn from Bamboo Girl Zine (1995) written by Margarita Alcantara.

Crimethinc distributed tens of thousands

of these posters. It is their graphic style so many have come to know. The back of the poster contains images from our book, redrawn to be one illustration style. These posters made their way around the world, into classrooms, dorm rooms, and punk houses.

Syracuse Cultural Workers created a spinoff of the Crimethinc poster so this message could reach more people. They mimicked the graphic style of Crimethinc, enlarged the poster, and created postcards.

They translated it into Spanish. What an assortment of collaborators this project has seen!

All versions of the poster gave credit to Smith, but in 2005 she approached us with the copyright infringement lawsuit. We had

no intention of offending the writer of this iconic poem so Irit and I sent an apology letter illustrating the history of the book and poster, suggesting Smith contact Crimethinc and Syracuse Cultural Workers, as the printing of the posters was not under our authority. No lawsuit was ever filed. Our book that contained the adapted poem eventually went out of print. When I rereleased Girls Will Be Boys Will Be Girls Will Be... Coloring Book in 2018, O omitted the poem so as not to displease Smith.

Since 2001, I have published coloring books about gender fluidity, queerness, and feminism (including Girls Are Not Chick and Sometimes the Spoon Runs Away With Another Spoon).

I am proud of the world I have done for

gender liberation and it appears that this poster has been a meaningful piece of art for countless people, but if I were to do it over again, I would seek out a conversation with any artist before referencing their work.

Every Girl Every Boy Larua Newburn; Syracuse Cultural Workers Offset, 2004 Syracuse, New York 24 in x 18 in

Trans People are People Rachel Curry Offset, 2017 Los Angeles, California 23 in x 17.5 in

Pro Choice Medusa Offset, 1989 United States 35 in x 23 in

Seeing Fat Mariona Barkus Offset, 1995 Los Angeles, California 17 in x 11 in

Beatifully Slim...At Last Carol Porter; RedPlanet Community Art & Design Studio Silkscreen, 1992 Richmond, Australia 25.25 in x 19.75 in

Stop Sterilization Abuse Committee to End Sterilization Abuse; Women's Graphics Collective Silkscreen, sate unknown Chicago, Illinois 32 in x 14 in

Abortion is a Personal Decision Women's Graphics Collection Silkscreen, Circa 1970s Chicago, Illinois 24.5 in x 18 in

Your Body is a Battleground Barbara Kruger Offset, 1989 New York, New York 29 in x 24 in

Dein Körper ist ein Schlachtfeld Barbara Kruger Offset, Circa 1991 Berlin, Germany 23.25 in x 33 in

Untitled (Questions) Barbara Kruger Silkscreen, 2009 Los Angeles, California 20 in x 25.5 in

Preserve the Right of Choice Trudy Cole Offset, 1992 Churchville, Virginia 35 in x 23 in

JUSTICE

"...male-dominated political classes had created governing structures which did not effectively address women's rights."

- Linda Kiveu, Support Equal Citizenship Rights

SUPPORT EQUAL CITIZENSHIP RIGHTS Linda Kiveu The purpose of this poster was to promote and empower Kenyan women who were discriminated against by men.

Backward traditional practices had influenced the men that would become major leaders, and who would create the Kenyan constitution in 1963, without equal citizenship rights by the male-dominated political classes, and created governing structures without the participation of women.

Additionally, the poster was meant to challenge authority by creating a voice against discriminatory traditions and laws against women, and sensitize men about women's rights-which are also human

rights. Bowers (1999) stated that "asserting your voice when appropriate, can further your contribution to others."

Kenyan women, married to immigrant men didn't have the same citizenship rights as did Kenyan men. Citizenship rights were not granted to their spouses and children.

The constitution discriminated against them through the law, while Kenyan men who married foreign women were able to confer citizenship to their spouses and children.

Kenyan women were not able to effectively take care of their children because they were forced to apply for work permits for their immigrant spouses which took years to get, or were even denied.

The political message was revealed in the poster through symbols that are identified through the Kenyan visual culture and can be understood by audiences from other cultures that have the same issues with social inequality. Traditional symbols and stereotypes are juxtaposed with text to expand and create new meaning and interpretations.

When traditional ceremonies occur in African tribes, faces are painted using colors from wet clay; this concept was applied in the image where the face of the woman in the poster is painted using the colors of the Kenyan national flag. The title "Support Equal Citizenship Rights" is divided with "support" in red and in a larger Aachen typeface than the words "equal citizenship

rights" to emphasize the issue at hand. The closely-cropped photographic image of a painted face on a dramatic black background, draws the viewer in to read the important message of citizenship discrimination against Kenyan women and is a call to action for changing the laws, so that women have equal access to citizenship rights.

Although this poster was designed for the Kenyan audience, it is important to understand that the traditional and cultural inequalities in the law are not limited to Kenyan women alone, it is also a reflection of the struggles experienced by women in other countries.

Support Equal Citizenship Rights Linda Kiveu Digital Print, 2008 Los Angeles, California 34.25 in x 21.5 in

Las Queremos Vivas / We Want Them Alive Roxana Ruiz Digital Print, 2003 Mexico 36 in x 23.25 in

You Cannot Bury the Truth Katarzyna Saskia Helińska Digital Print, 2015 Designed: Poland; Printed: Mexico 36 in x 23.5 in

Torture In Chile Nancy Spero Silkscreen, 1975 New York, New York 22.25 in x 30 in

UNOCAL: Stop Sacrificing Women for Oil Feminist Majority Foundation Digital print with Hand-Colored Letters, 1998 Los Angeles, California 24 in x 18 in

You don't have to take it!

Julie Shiels Offset, Circa 1992 Melbourne, Australia 16.5 in x 20.5 in

Do women have to put up with violence? no!

Julie Shiels; RedPlanet Community Art & Design Studio Offset, 1987 Melbourne, Australia 28.5 in x 19.75 in

Black Women Will Not Be Intimidated See Red Women's Workshop Silkscreen, Circa 1977 London, United Kingdom 31 in x 21 in

End Police Brutality Alicia Nauta Silkscreen, 2014 Ontario, Canada 17 in x 11 in

Dump the Prison Stock!

Melanie Cervantes; Dignidad Rebelde Dgital Print, 2012 Oakland, California 31 in x 21 in

Detention Jenny Polak, Resistant Strains Offset, 1998 Glover, Vermont 17.5 in x 23.25 in

My Friend Has a Salvadoran Maid Sheila Pinkel Offset, 1991 Los Angeles, California 22 in x 17.75 in

Undocumented Unafraid Favianna Rodriguez; Presente.org Offset, 2010 Oakland, California 24 in x 17.75 in

WAC is Watching Women's Action Coalition (WAC) Offset, Circa 1992-95 Los Angeles, California 14 in x 11 in

INEQUALITY

"For every woman who is denied meaningful employment or equal pay, there is a man who must bear full financial responsibility for another human being."

- Nancy R. Smith, For Every Woman, 1973

BROKE BUT NOT BROKEN Wendy Murray Broke was developed during my March 2015 Artist Residency in Wollongong— a small post-industrial city just miles south of Sydney. The residency was part of the Future Feminist Archive, a year-long project to mark the 40th Anniversary of International Women's Year. One of the residency motivations was to explore the intergenerational relationship of artists and activists as one of feminism's organizing principles.

We chose Wollongong because of its poster-making history—where Michael Collaghan and Gregor Cullen first established Redback Graphix in 1980, with fellow artist Alison Alder as a key founding

member.

While there I watched Radical Wollongong (2014), a film about Wollongong's activism history. The film highlights union and activists' actions in he region and follows the story of the early 1980s downturn in the steel and coal industries and the battle of those laid off and left unemployed.

Following the mass layoff of thousands of steel and coal workers, the unemployed got together to bring attention to their plight. One of the first major actions was a walk from Wollongong to Sydney in 1982, demanding the right to work.

The Wollongong unions organized the

Right to Work march to Sydney and Redback Graphix created a poster for this event. The poster was amongst this protest footage, 32 minutes, 23 seconds into the film, as a protest banner appears on the screen reading: I'm not anti-social, I'm just unemployed and broke.

This resonated with me—I was juggling three contract jobs but still not managing to make ends meet. I moved to Melbourne to be with my partner, but I couldn't find work there. So I had to travel the 1000km to Sydney every week in order to maintain a teaching position at the National Art School.

Sure, I was 'working,' but still broke.

Essentially, I was employed but living paycheck to paycheck.

The pressure of living in two cities

eventually got too much and I moved back to Sydney. I was working harder than ever but still treading water. It was eight months after the Wollongong residency, when I stumbled upon the Radical Wollongong screen shot and was inspired to put Letraset to drafting film.

The majority of my artworks are screen printed, using Letraset tone, symbols and type—a rewarding, analogue process. Broke was made from three Letraset positives— scanned, enlarged, and screen-printed on a "one-armed bandit" in the Printmedia studio at Sydney College of the Arts. I created two editions—one for the archive folio for the Future Feminist Archive project; the other, a larger edition for public dissemination.

I first met Carol Wells, Executive Director of the Center for the Study of Political Graphics (CSPG), at the 2016 Australian National University Picturing Politics symposium. Carol was a long was from home but her insights into historical context revealed an institution that actively valued sociopolitical posters and their makers. Carol's ambition to understand the artists' motivations and to educate the public, inflamed my passion for the history of political poster-making.

Carol didn't pull any punches and was discerning about what she felt worked. She was instantly attracted to a number of my posters: Equality—a collaboration with The University of Sydney Associate Professor Kurt Iveson, a series working with images

of women builder and laborers and a lone Aboriginal protestor at the opening of Australian Parliament House; Roll up, Roll up, a large street pster about street harassment; and Sorry posters that question the Australian Foundation Day, a date marking the anniversary of the 1788 arrival of the first fleet of British ships (the British flag was raised on 26 Janurary). The date is hotly contested, with many Australians calling this day 'Invasion Day.' (The day has become symbolic of the History Wars.) But the poster that intrigued Carol the most was Broke—so I donated the print to the CSPG collection. I am excited that the poster wil live on in an institution that understood the spirit in which the work was created.

I'm not Anti-Social Wendy Murray Silkscreen, 2016 Canberra, Australia 40 in x 29.75 in

Chicago Women's Labor History Red Pepper Posters Silkscreen, 1976 San Francisco, California 28.5 in x 18 in

Do Women Have to be Naked to Get into the Met. Museum?

Guerrilla Girls Offset, 2012 New York, New York 11 in x 24 in Guess Who Pockets the Difference?

Common Threads Artist Group Offset, 1995 Los Angeles, California 11 in x 28 in

Women's Work is Never Done Yolanda López, Berkeley Art Center, Alliance Graphics Silkscreen, 1995 Berkeley, California 22 in x 21 in

Nuestro Labor Favianna Rodriguez, Taller Tupac Amaru Offset, 2008 Oakland, California 32.75 in x 21 in

$3 Million $6 Million Women's Action Coalition Offset, 1993 Los Angeles, California 22 in x 21 in

SURVIVAL

"If a woman can't protect, house, clothe, and feed her children, it is perhaps unrealistic to think that environmental concerns or a focus on better health practices would be a priority until the continuous loop of violence, povery, and homelessness is broken."

- G. Krondrup, Paper or Plastic

PAPER OR PLASTIC...A REALITY G. Kondrup A five-year-old girl is standing on the side of a metal door crying, as her father, on the other side of the door, breaks down the door. She is crying for him not to hurt her mother. He promises not to. The five-yearold girl and her older siblings are pounding on the back of the father, trying to pull him off of their mother as he is pushing her face into the floor. That was the last time the five-year-old girl saw her father. But it was the beginning of another, fraught life for a mother, struggling to keep a roof over the heads of four children, and trying to keep them fed and clothed.

It was the beginning of years of welfare, living in government housing, and surviving

on government cheese and lard and driedout tins of peanut butter; coupled with the sense that at any moment these very basic needs would be pulled out from under you.

This was a "good" outcome for a family that was a victim of domestic violence. At least they were not homeless.

Others are not so fortunate. Many women and children are trapped between violence and homelessness. According to the American Civil Liberties Union Foundation (ACLU), Women's Rights Project, Domestic Violence and Homelessness, "When women flee domestic abuse, they are often forced to leave their homes, with nowhere else to turn. Landlords also sometimes turn

victims of domestic violence out of their homes because of the violence against them. For years, advocates have known that domestic violence is a primary cause of homelessness for women and families.

Studies from across the country confirm the connection between domestic violence and homelessness.

According to the US Department of Health and Human Services Domestic Violence and Homelessness: Statistics, 2016 in just one day in 2015, over 31,500 adults and children fleeing domestic violence found refuge in domestic violence emergency shelter or transitional housing program. On that same day, domestic violence programs were unable to meet over 12,197 requests for services because

of a lack of funding, staffing, or other resources. Emergency shelter and transitional housing continue to be the most urgent unmet needs for domestic violence survivors.

If a woman can't protect, house, clothe, and feed her children, it is perhaps unrealistic to think that environmental concerns or a focus on better health practices would be considered as priorities unless the continuous loop of violence, homelessness, and poverty can be broken.

Q. What's the Difference between a Prisoner of War and a Homeless Person Guerrilla Girls Offset, 1991 New York, New York 21 in x 16 in

Fight for the International Hotel / Lucha por el Hotel Internacional Rachael Romero, San Francisco Poster Brigade Offset, 1977 San Francisco, California 23 in x 17.5 in

San Francisco [Monopoly] Alexandra Blum; San Francisco Print Collective Silkscreen, Circa 2000 San Francisco, CA 19 in x 19 in

She Knows The Problems It Solves.

The Women's Environmental Network Offset, Circa late 20th century London, UK 16.5 in x 11.5 in

Tobacco Votes Trudy L. Cole Offset, Circa 2001 Churchville, Virginia 22.75 in x 22 in

People Today Recognize Fewer than 10 Plants but over 1000 Corporate Logos Clara Tzara; Breakdown Press; Big Fag Press Digital Print, 2006 Sydney, Australia 15.75 in x 11.5 in

Hoffmitz Milken Center for Typography (HMCT) at ArtCenter College of Design was founded in 2015 to honor Professor Leah Hoffmitz Milken, a renowned letterform designer, typographer, and esteemed faculty member at ArtCenter. The HMCT is dedicated to every aspect of the typographic field. Created to serve as a home and catalyst for the enhanced study of typography and letterform design, the Center serves as a design and typography laboratory, educational forum, research center, and archive. As a meeting place for learning, discussion, and the exchange of ideas and skills, the HMCT hosts workshops, special classes, symposia, lectures, exhibitions, and residency programs. www.hmctartcenter.org

Center for the Study of Political Graphics (CSPG) was formed in 1988 as a resource for activist, artists, students, researchers, and curators. The archive currently contains over 90,000 US and Internatonal posters going back to the 19th century, with most of the collection dating from the 1960s to the present. The Center has the largest collection of post-WWII social justice posters in the US. Our posters have been borrowed by museums around the world—from the Smithsonian to the Tate Modern, to Robben Island. CSPG depends upon the donation of posters to make this resource representative of the many historical and ongoing struggles. Through traveling and online exhibitions, publications, and workshops, CSPG is advancing the power of art to educate and inspire people to action. www.politicalgraphics.org

HMCT Prof. Gloria Kondrup Executive Director Prof. Simon Johnston Creative Director Susan Malmstrom Associate Director Jennifer Allan Goldman Archivist Clifford Pun Coordinator Lavinia Lascaris HMCT Typography Fellow Graphic Design Lulubi Garcia and Nohemy Ramos Special Thanks Lowell Milken Carol Wells Center for the Study of Political Graphics (CSPG) Vanessa Eckstein Blok Design Rachel Elnar Julie Manthey Bella Romain