Today’s Dame of the Day is Grace Lee Boggs (June 27, 1915 – October 5, 2015). After earning her Ph.D from Barnard College, Boggs opted against the exclusionary politics of professorship and took a job at the University of Chicago’s Philosophy Library. There, she met her collaborators C.L.R. James and Raya Dunayevskaya, joined the Worker’s Party, and refocused her energy into the Civil Rights and Black Power Movements. After marrying her husband, James Boggs, the couple relocated to Detroit and continued to found youth programs, community-based projects, and grassroots organizations. Boggs died last month at the age of 100.
In today’s episode of Schoolin’ Life, we meet illustrator/painter/cartoonist Fiona Smyth.
Quick bio: who are you, what are you into, and how do you spend your days?
I’m a feminist artist whose practice includes drawing, painting, illustration, and cartooning. I’m into zine collecting, comics, and snacking! I teach illustration and cartooning at the Ontario College of Art and Design University (OCAD U) and the Art Gallery of Ontario. I’m the illustrator in collaboration with writer and sex educator Cory Silverberg for the picture book What Makes A Baby and the newly released follow-up Sex Is A Funny Word from Seven Stories Press. My first graphic novel, The Never Weres, was published by Annick Press in 2011.
What expectations did you have for yourself over the coming decade?
I graduated art school in 1986 but I was already exhibiting my paintings the year before. My expectations were to spread my work internationally and live off my art. I managed to establish myself as an artist, illustrator, and cartoonist in Toronto and get a bit of a reputation beyond Canada. Sometimes there were day jobs and there was a brief stint on welfare.
In what ways did society shape your expectations of yourself?
I was inspired by what was happening in New York City’s Lower East Side’s art scene- fast creators and ever present artists like Keith Haring. Toronto was a real boys’ club in art and comics. I knew as a woman artist (in Toronto and beyond) I was an exception and so was the content of my work/what I had to say. I was creating sexy, in your face, colourful work. I was driven to show my work often, and also outside the gallery system through posters, murals, clothing, and zines.
What was your first job like?
My very first job ever was when I was 15 at a deli/café named Sweet Gallery but later in my twenties my day job was working the candy counter and ticket sales at a repertory cinema. I was doing illustration commissions, painting clothes and murals, and making comics during the day. I worked with Reactor Art & Design for illustration, Vortex Comics, and Weller-Potovsky Gallery in Toronto.
What was your first apartment like?
I lived in the basement of a student rented house. There were at least 4 other roomies. I had a studio at the time that was shared with 3 other artists. At some point I decided to get a cat, which the roomies were not psyched about.
Did you experience any big life changes?
My family moved to Nova Scotia and I was on my own for the first time in Toronto. It was a much bigger adjustment than I realized- freedom but also dealing with emotional issues.
In what ways did your friendships change?
I knew a lot of people but had a handful of close friends. I got into a bad habit of finding “surrogate parent” friends, or troubled and depressed folks like myself. There were many bad decisions in relation to friends, living situations, and partying during those days.
What did you learn through your romantic relationships?
There weren’t romantic ones until I met my partner (of now 23 years) when I was 28. Before Craig Daniels entered my life, it was drug addicts, alcoholics, and genuine jerks- territory that was familiar.
How did your relationships with your family change?
Distance and time helped me build healthier boundaries and self-esteem (plus the stability and support of my relationship with Craig, and therapy).
How do you feel society viewed you?
As a woman artist society tends to judge your work in relation to what you look like in a way that doesn’t happen to male artists. When I was younger, folks were often surprised by my demeanour in relation to the sexy, violent, outrageous content of my work and they also made assumptions because I was a punk rocker. I find now as an older artist, folks are surprised I don’t look like a punk rocker. I can’t win!
Also you can be pigeonholed as a particular kind of artist- for example for years I’d have art directors say something like: “We love your work but we don’t want erect penises or flaming vaginas in this kids’ illustration” –well, duh!
How do you feel you changed emotionally?
At the time I was making bad decisions and acting out in ways I wouldn’t understand until years later. I’ve gained understanding and empathy for my younger self since then.
How did you change intellectually?
When I first made a name for myself as an artist I was afraid of the F word. I would call myself a humanist. That didn’t last long, I am a feminist artist and fiercer about that stance the older I get. Personal experience and feminism opened my eyes.
In what ways do you feel your identity changed?
I discovered my art acted like an alter ego and that was an okay way to deal with being in the world.
How did your worldview change over the course of the decade?
My worldview was becoming more and more fatalistic, especially with the occurrence of family illness.
What was the most embarrassing moment?
Apart from not calling myself a feminist for a time? Being 15 minutes late for a friend’s wedding for which I was the “best man”.
What was your biggest disappointment and how did that affect you later?
There was a chance I might have gone to NYC as part of a studio residency. For many years an established artist teacher/mentor of mine would bemoan the fact I hadn’t gone but in retrospect I often think of it as missing a bullet not an opportunity. I needed the stability and slowness of Toronto to discover my healthiest self and my visual voice. I think I would have been burnt out on drugs and the fast pace of NYC, I don’t think my 20’s self would’ve survived.
Who was your biggest influence and why?
Punk rock and hip hop DIY culture (this was pre-Riot Grrrl and Queercore) which taught me to be wary of the establishment, not give a fuck, and promote and disseminate my work outside the gallery system. Keith Haring showed the way in creating populist iconic work fast and effectively, and including social justice themes. He taught me the personal is political, and can be accessible and universal.
Is there any one experience that you feel defined the decade? Or one historical moment that changed you?
The murder of 14 women at École Polytechnique in Montreal in 1989: I remember hearing the news, being in denial thinking they were murdered because they were engineering students- and having the nauseating realization they were murdered because they were women.
Do you have any regrets? Are there things you wish you’d done, hadn’t done, or done differently?
I wish I’d done more comics- I pursued art more fervently but comics travel in the world better.
Is there a story that you feel best sums up the decade?
I had some adventures in Detroit- showing art, and visiting with Craig and his band, The Leather Uppers. The grit and rawness of this dystopic American city was juxtaposed with an amazing music scene (The Gories). This culture was at its most punk and resilient, grounded by broken glass and burning cars.
Today’s Dame of the Day is Amandina Lihamba (1944-). As one of Tanzania’s leading playwrights, Lihamba wrote her Ph.D dissertation on the evolution of ngonjera, the a form of verse drama. Today, she is a professor at Dar es Salaam University. Over the course of her tenure, Lihamba founded a community theatre festival for children and a drama group for girls.