Dissecting The Western Woman Artist; An Artist's Dialogue by Amy E. Fraser
Chapter 9 Uterus
Sacred Sexuality And Feminine Symbolism
In order to complete the examination of the subject's genitalia it is necessary to dissect the uterus. First, the ovaries are removed, cut in half and examined and the uterus is opened along either side. Inspection of the subject's uterus reveals scarring consistent with endometriosis. This finding appears to have relevance in relation to the cause of Amy E. Fraser's art.
Physiological And Psychological Aspects
Physiological And Psychological Aspects
The uterus, or womb, as it is commonly called, is part of the female internal genitalia. The uterus is a hollow, expandable, muscular organ of female placental mammals in which the fertilized egg develops during pregnancy. It is about the size of a closed fist, approximately three to four inches wide, and it is shaped like an upside down pear. In general, a womb is the place in which anything is formed or produced, an interior of anything, or a belly. A womb is also referred to as a matrix, which is something that constitutes the place or point from which something else originates.
Autopsy concluded that the subject's uterus stood as the location for woman's sacred sexuality and feminine symbolism. The image of the uterus is frequently used in Amy E. Fraser's art. It's powerful image has helped to heal, teach respect and endure as one of humanity's strongest symbols of life and death.
Autopsy concluded that the subject's uterus stood as the location for woman's sacred sexuality and feminine symbolism. The image of the uterus is frequently used in Amy E. Fraser's art. It's powerful image has helped to heal, teach respect and endure as one of humanity's strongest symbols of life and death.
The Significance Of The Uterus Symbol
The uterus is a multifaceted symbol that holds great personal and social significance for women. It's image expresses life and death, fears and anxiety, freedom and oppression, power and vulnerability, femininity, motherhood, personal choice, career choice, identity, status, and woman's procreative potential as well as creative potential. It is my belief, that, given the multiplicity of meanings, the uterus stands as both a power symbol and a reminder of who we are. The uterus is representative of the choices we make about our bodies and within our bodies. The uterus is a symbol of our personal and intimate choices, but it also reminds us that we are not alone; every woman has had the same choices. I think the uterus is a positive symbol because being a woman is about these choices and experiences and we should not be ashamed of our struggles, hurts and happiness.
Historical Perspectives
Throughout history there have been many misconceptions about woman's procreative capabilities. Once woman was believed to be a magical being who could produce a baby at will and was greatly respected for her powers. This notion did not last long and soon woman and her procreative powers became the property of man.
It is said that a long time ago, a Greek physician named Hippocrates first suggested that hysteria was the result of a wandering uterus. He credited the uterus with a life, mind and will of it own. It was believed that the uterus had the ability to detach itself and wander about the body, causing dysfunction by adhering to other organs. The uterus was seen as the cause for dysfunctions from chest pains to gastrointestinal problems. The uterus was believed to be the culprit, attaching itself to the heart, stomach or other organs, eventually causing women to become hysterical. Apparently Hippocrates believed men were incapable of becoming hysterical. No one knew how to prevent this from happening, but the most commonly prescribed cure was to anchor the uterus. Anchoring could be accomplished by either impregnating the hysterical woman or by keeping the uterus moist through intercourse in order that the uterus would not seek out the moisture of other organs.
By the second century, Aretaeus suggested that the creature-like uterus was attracted or repulsed by certain smells. At this time it was believed that if the uterus was attracted by a smell, it would distend out the vagina toward it. Likewise, if it were repulsed, it would ascend toward other organs.
Later, Galen revised Aretaeus' scent based theory, suggesting instead that the uterus didn't move per se, but that it was abnormal sexual functioning that led to 'hysterical suffocation'. He believed when the uterus was not functioning normally (in a state of abstinence), it poisoned the body through the retention of menstrual fluids (now known as endometriosis) and old semen. The cure for this malady was to provide a way for his patients to return to a normal sex life, once again, prescribing hetero-sex as the primary solution.
It is said that a long time ago, a Greek physician named Hippocrates first suggested that hysteria was the result of a wandering uterus. He credited the uterus with a life, mind and will of it own. It was believed that the uterus had the ability to detach itself and wander about the body, causing dysfunction by adhering to other organs. The uterus was seen as the cause for dysfunctions from chest pains to gastrointestinal problems. The uterus was believed to be the culprit, attaching itself to the heart, stomach or other organs, eventually causing women to become hysterical. Apparently Hippocrates believed men were incapable of becoming hysterical. No one knew how to prevent this from happening, but the most commonly prescribed cure was to anchor the uterus. Anchoring could be accomplished by either impregnating the hysterical woman or by keeping the uterus moist through intercourse in order that the uterus would not seek out the moisture of other organs.
By the second century, Aretaeus suggested that the creature-like uterus was attracted or repulsed by certain smells. At this time it was believed that if the uterus was attracted by a smell, it would distend out the vagina toward it. Likewise, if it were repulsed, it would ascend toward other organs.
Later, Galen revised Aretaeus' scent based theory, suggesting instead that the uterus didn't move per se, but that it was abnormal sexual functioning that led to 'hysterical suffocation'. He believed when the uterus was not functioning normally (in a state of abstinence), it poisoned the body through the retention of menstrual fluids (now known as endometriosis) and old semen. The cure for this malady was to provide a way for his patients to return to a normal sex life, once again, prescribing hetero-sex as the primary solution.
Feminist Discourse
Feminists of the 70's saw female sexuality as an identifying component of women's identity. Feminist artists explored and reclaimed their sexuality through bold representation of the female body. They attempted a new politics of sexuality by developing what they believed to be a universal feminine image (central/vaginal) as well as a female language. They focused on creating new feminine identities using positive 'alternative' images to counter Western culture's history of objectification. These feminists felt that the personal was political and they expressed their opinions and visions about menstruation, maternity, domesticity, sexual abuse, objectification and aging in their works. The figure of the goddess became increasingly important to the 70's feminists because they felt her presence disrupted dominant conceptions of history. The idea of the goddess was empowering to these women because it offered a new vision and goals that were not previously popular in Western culture.
The 70's feminists saw 'Cunt' art as an awakening of consciousness about their bodies and sexual selves. The goal was to subvert patriarchal obsession with phallic forms by developing an active vaginal form. They hoped that their representations of the female body would reclaim femininity from patriarchy.
However, most of the vaginal, centralized imagery of the 70's was dismissed as essentialist, kitsch and pornographic by the 80's feminists who followed. Judy Chicago's 'Dinner Party', with its muscular, labial forms was most prominently and openly criticized. The new generation of feminists felt that the greatness and variety of womens' accomplishments was diminished by the genital representation and that this imagery reinforced negative body-based sexual stereotypes. Many dismissed the 70's feminist art as possessing low artistic standards and naiveté in its purported universalism.
80's feminists concentrated on deconstructing the pleasure that men received from representations of the female body. They felt women artists should resist the dominant scopophilic and fetishisizing effects of the 'male gaze' and were taught to avoid 'essentializing' notions of femininity at all costs. The label of 'essentialism' was coined by the 80's feminists and became as limiting to them as it was to 70's feminists.
In my opinion, one of the most important aspects of Judy Chicago's works was the controversy they provoked. She forced viewers to reconsider their basic assumptions about what art can and should do and she played a major part in redefining the roll of the female artist. Ms. Chicago's works sparked important, volatile dialogue about female art that continues to this day. I believe I would not be where I am today in my education or in my career if not for the courage and originality of feminists like Judy Chicago.
Female artists of my generation have almost had to start from scratch in portraying their concepts of modern womanhood. It is as if the knowledge gained by women before us has been hidden or revised. In reexamining the views of the 80's feminists, a case may be made that they oversimplified or misjudged the original goals of 70's feminism. 90's feminism became more open and inclusive to multiple points of view, desires and experiences, including feminists of color and lesbian feminists as well as many other women from a wide range of social and financial backgrounds. I feel the 21st century view of feminism will continue to be about having multiple choices. Sometimes women want to be represented by their intelligence and other times they want to celebrate their sexuality or biological capacities such as birth and menstruation.
The reburgeoning of feminist interest in the body, women's sexuality and desire in the late 90's art practice and theory suggests to me that the 80's feminism was perhaps too restrictive and too prescriptive in a more modern, multifaceted Western culture. Although 21st century feminist artists are taking up the celebration of femininity where the 70's feminists left off, we are approaching it from an enlightened perspective. The female body is polymorphous rather than one unified symbol of definable female imagery; each artist maintains a sense of individuality, creating works from her own notions, beliefs, experiences, ideals and descriptions of what it means to be female.
The 70's feminists saw 'Cunt' art as an awakening of consciousness about their bodies and sexual selves. The goal was to subvert patriarchal obsession with phallic forms by developing an active vaginal form. They hoped that their representations of the female body would reclaim femininity from patriarchy.
However, most of the vaginal, centralized imagery of the 70's was dismissed as essentialist, kitsch and pornographic by the 80's feminists who followed. Judy Chicago's 'Dinner Party', with its muscular, labial forms was most prominently and openly criticized. The new generation of feminists felt that the greatness and variety of womens' accomplishments was diminished by the genital representation and that this imagery reinforced negative body-based sexual stereotypes. Many dismissed the 70's feminist art as possessing low artistic standards and naiveté in its purported universalism.
80's feminists concentrated on deconstructing the pleasure that men received from representations of the female body. They felt women artists should resist the dominant scopophilic and fetishisizing effects of the 'male gaze' and were taught to avoid 'essentializing' notions of femininity at all costs. The label of 'essentialism' was coined by the 80's feminists and became as limiting to them as it was to 70's feminists.
In my opinion, one of the most important aspects of Judy Chicago's works was the controversy they provoked. She forced viewers to reconsider their basic assumptions about what art can and should do and she played a major part in redefining the roll of the female artist. Ms. Chicago's works sparked important, volatile dialogue about female art that continues to this day. I believe I would not be where I am today in my education or in my career if not for the courage and originality of feminists like Judy Chicago.
Female artists of my generation have almost had to start from scratch in portraying their concepts of modern womanhood. It is as if the knowledge gained by women before us has been hidden or revised. In reexamining the views of the 80's feminists, a case may be made that they oversimplified or misjudged the original goals of 70's feminism. 90's feminism became more open and inclusive to multiple points of view, desires and experiences, including feminists of color and lesbian feminists as well as many other women from a wide range of social and financial backgrounds. I feel the 21st century view of feminism will continue to be about having multiple choices. Sometimes women want to be represented by their intelligence and other times they want to celebrate their sexuality or biological capacities such as birth and menstruation.
The reburgeoning of feminist interest in the body, women's sexuality and desire in the late 90's art practice and theory suggests to me that the 80's feminism was perhaps too restrictive and too prescriptive in a more modern, multifaceted Western culture. Although 21st century feminist artists are taking up the celebration of femininity where the 70's feminists left off, we are approaching it from an enlightened perspective. The female body is polymorphous rather than one unified symbol of definable female imagery; each artist maintains a sense of individuality, creating works from her own notions, beliefs, experiences, ideals and descriptions of what it means to be female.
Responsibility, Reproduction and Society
A healthy uterus is something that most women take for granted until something goes awry. The ability to have children will always be an important focus of a woman's identity, in every culture. In our culture, women who cannot have children or choose not to have children can expect to answer for either her choice or lack of one. The most commonly asked questions of a single childless woman over 25 concern her unmarried and/or childless state. No one seems ashamed or shy about asking such personal questions of women.
However, I am encouraged that the 21st century will produce many new role models and standards for maternal bliss. Madonna (a controversial feminist/pop star), at 41, is pregnant with her second child, proving that feminism, career, fame, fortune, marriage and motherhood are all possible after the age of 25.
However, I am encouraged that the 21st century will produce many new role models and standards for maternal bliss. Madonna (a controversial feminist/pop star), at 41, is pregnant with her second child, proving that feminism, career, fame, fortune, marriage and motherhood are all possible after the age of 25.
Redefining Western Femininity
The uterus is a strong power symbol for women if they relate to it in it's active state. Masculinity is defined on the basis of the active and erect phallus and it is perceived as large, strong, powerful, with the capacity to ejaculate. Women too have this powerful potential. What if femininity were based on woman's ability to ejaculate? What if Western culture conceived of the process of birth as a nine month erection to which women experience the awe and joy of the ejaculating womb? If our culture's notions of femininity were based on the birth-pushing function of the womb, rather than on it's containing function, women would be expected to be the strong initiators and movers.
Femininity cannot be represented by one symbol or concept and should be conceived of in a more multidimensional way. Women can more easily identify with some aspects of their body more than others and internal genitalia may be one of the more difficult, but important, conceptualizations. However, the point is that women have many strong body power symbols and can represent their feminine identity based on many symbols.
One goal of my works is to help women gain a positive sense of feminine identity, both by encouraging them to expand their ambitions and by freeing themselves from stereotypical conceptions, including racial, gender, ethnic and sexual preference stigmas. My work affirms the validity of the female experience by emphasizing female sexuality, psyche, instinct and achievements. It transforms the female sex from the focus of objectification to a powerful symbol of subjectivity. Redefining the terms and symbols of Western femininity is a good place to start.
Femininity cannot be represented by one symbol or concept and should be conceived of in a more multidimensional way. Women can more easily identify with some aspects of their body more than others and internal genitalia may be one of the more difficult, but important, conceptualizations. However, the point is that women have many strong body power symbols and can represent their feminine identity based on many symbols.
One goal of my works is to help women gain a positive sense of feminine identity, both by encouraging them to expand their ambitions and by freeing themselves from stereotypical conceptions, including racial, gender, ethnic and sexual preference stigmas. My work affirms the validity of the female experience by emphasizing female sexuality, psyche, instinct and achievements. It transforms the female sex from the focus of objectification to a powerful symbol of subjectivity. Redefining the terms and symbols of Western femininity is a good place to start.
The Uterus In Relation To My Own Art
From an intellectual perspective, I choose to use the image of the uterus in my works because, although part of the female internal genitalia, it is not as offensive to the Western eye, or as limited in meaning as the 70's labial imagery. The image of the uterus is more sacred and not as heavily infected with Western cultural taboos and misconceptions. From this perspective, the strongest aspect of the uterus as symbol is it's lack of definition and the fact that, so far, it remains purely a female claimed symbol, not objectified by society.
However, my original attraction to this symbol did not derive from an intellectual pursuit. The uterus imagery grew out of a desire that was completely visceral and emotional. I first introduced uterine imagery into my works at the time I discovered I had both uterine cancer and endometriosis. My Doctors felt it was important for me as an artist to visualize the organ in an attempt to will it into good health. Much has been written about the power of the mind in relation to the heath of the body. I took my Doctors advice rather literally and began drawing and painting the uterus almost as much as I was thinking about it.
The result of my experience with the uterus has made it a significant part of my life and art. It's appearance in my works directly expresses my thoughts and emotions about those experiences. It speaks of my fears, anxieties and respect. My uterus has taught me to appreciate both life and death on a much more intimate level.
I have experienced a full spectrum of emotions regarding this powerful organ. I have despised it for making me weak and vulnerable. I rejected it for making me aware of my own mortality. I hated it for it's existence within my body, defining me within Western culture's frame of femininity. I agonized over it's meaning to me as a woman and within society as a whole. I feared for it's limitations as well as it's incredible potential. I admired it for it's ability to heal as well as create. I respect it for it's power. I have felt everything and nothing for this aspect of my embodiment.
Today, I feel the uterus is the most powerful of all body part symbolism in my works because it evokes so much for me, but also because it is distinctively female. Womens' bodies are built to accommodate this powerful organ. From the curve of our stomachs, to the tilt of our pelvis, to the entire organization of our circulatory system, the uterus structures our bodies' shape and function. The uterus defines our sex and speaks volumes of our separate and unique sexuality.
Throughout history, the uterus has been an enduring symbol of life and death. For centuries it has symbolically appeared in art and literature. As women, the womb is not only the place of our birth but often the cause of our death. Throughout time, many woman lost their lives giving birth. This strongly suggests that there is no body part more symbolic of the life/death cycle. I often represent the uterus separate from my female figures because it's meaning surpasses an individual existence.
The image of the uterus is smooth, pure, private, internal and mysterious. It's shape reminds me of other primitive images such as, cow skulls, early crosses and tribal dances. To me the uterus is an image that is all at once humorous, beautiful and frightening. It is like a religious figure, perhaps my vision of a modern goddess. It is an image that is universal and sacred. The symbol evokes wonder, awe and respect. It is an image as foreign to us as it is intimate, and as public as it is personal. It is a symbol that possesses wisdom, history and feminine knowledge. Like a goddess, the idea of the uterus offers protection, warmth and comfort but it also stands as a warning and message.
The uterus has been many things to many people, it has evoked hatred and disgust as well as inspired love and worship. It is a symbol full of contradictions, conflict, confusion and multiple dimensions. The uterus itself is an organ that is both strong and muscular, yet delicate and fragile. It's exterior is soft and curvaceous, yet structured and defiant. It is flexible, it expands and shrinks. It represents time, our past, present and future. The uterus gives both pain and pleasure and it teaches us about love and loss. I believe it is these complex, multidimensional aspects of the organ that make it a positive symbol to represent a new, more encompassing view of modern femininity.
One example of the uterus symbol's contradictory nature can be found in Awakening. It depicts a woman breaking free from a larger-than-life uterus. The intention of this piece is to positively represent a woman in a state of rebirth, moving on to the next phase of her life. However, some may interpret the ripped organ as a negative portrayal of woman's sacred symbol. This is not the case. Birth is a painful and often violent process of the female body. Surviving the ordeal illustrates woman's strength, power and ability to endure.
More examples of the uterus as symbol in my paintings can be found on AEFraser.com in the Hysterikos gallery. There you will find 20 abstract paintings focusing on the uterus. The series title is Hysterikos, which means suffering in the womb. For some, the ancient root word hystera, meaning womb, may erroneously allude to the previously discussed ancient Greek notion that hysteria was peculiar to women and caused by disturbances of the uterus. Regardless of these early misconceptions, Hysterikos does not mean the same as hysteria. The words are not interchangeable. Hysterikos is not a pejorative term used against women, in the same way the word hysterectomy, the removal of the uterus, is not an offensive term. My Hysterikos series does not in any way refer to the word hysteria which is defined as a psychoneurosis marked by emotional excitability and disturbances of the psychic, sensory, vasomotor, and visceral functions. It also does not refer to the behavior exhibiting overwhelming or unmanageable fear or emotional excess. The Hysterikos series was inspired by my battle with endometriosis, which can most definitely be defined as a suffering in the womb.
I have also chosen to symbolize many of the concepts vested in the uterus through the image of the egg. The egg almost universally symbolizes perfection and totality. Cosmogonic myths which posit creation arising from the cosmic egg are varied. Sometimes the God creator lives alone inside the egg. Sometimes the primordial chaos is described as an egg. Generally, all the possibilities of a perfect creation are inherent in the egg. The egg, like the uterus, is a symbol of birth, the Great Mother and the origin of life. Both egg and womb contain the ancient mysteries of the seed, and are an appropriate archetypal image to express the preformed totality which contains everything. Both represent woman's potential, fertility, strength and abilities.
I also chose the egg as an extension of the womb symbol because, before the egg became closely entwined with the Christian Easter, it was honored during many rite-of-Spring festivals. In Pagan times, the egg represented the rebirth of the earth. The long, hard winter was over; the earth burst forth and was reborn just as the egg miraculously burst forth with life. The egg, therefore, was believed to have special powers. The Romans, Gauls, Chinese, Egyptians and Persians all cherished the egg as a symbol of the universe.
However, my original attraction to this symbol did not derive from an intellectual pursuit. The uterus imagery grew out of a desire that was completely visceral and emotional. I first introduced uterine imagery into my works at the time I discovered I had both uterine cancer and endometriosis. My Doctors felt it was important for me as an artist to visualize the organ in an attempt to will it into good health. Much has been written about the power of the mind in relation to the heath of the body. I took my Doctors advice rather literally and began drawing and painting the uterus almost as much as I was thinking about it.
The result of my experience with the uterus has made it a significant part of my life and art. It's appearance in my works directly expresses my thoughts and emotions about those experiences. It speaks of my fears, anxieties and respect. My uterus has taught me to appreciate both life and death on a much more intimate level.
I have experienced a full spectrum of emotions regarding this powerful organ. I have despised it for making me weak and vulnerable. I rejected it for making me aware of my own mortality. I hated it for it's existence within my body, defining me within Western culture's frame of femininity. I agonized over it's meaning to me as a woman and within society as a whole. I feared for it's limitations as well as it's incredible potential. I admired it for it's ability to heal as well as create. I respect it for it's power. I have felt everything and nothing for this aspect of my embodiment.
Today, I feel the uterus is the most powerful of all body part symbolism in my works because it evokes so much for me, but also because it is distinctively female. Womens' bodies are built to accommodate this powerful organ. From the curve of our stomachs, to the tilt of our pelvis, to the entire organization of our circulatory system, the uterus structures our bodies' shape and function. The uterus defines our sex and speaks volumes of our separate and unique sexuality.
Throughout history, the uterus has been an enduring symbol of life and death. For centuries it has symbolically appeared in art and literature. As women, the womb is not only the place of our birth but often the cause of our death. Throughout time, many woman lost their lives giving birth. This strongly suggests that there is no body part more symbolic of the life/death cycle. I often represent the uterus separate from my female figures because it's meaning surpasses an individual existence.
The image of the uterus is smooth, pure, private, internal and mysterious. It's shape reminds me of other primitive images such as, cow skulls, early crosses and tribal dances. To me the uterus is an image that is all at once humorous, beautiful and frightening. It is like a religious figure, perhaps my vision of a modern goddess. It is an image that is universal and sacred. The symbol evokes wonder, awe and respect. It is an image as foreign to us as it is intimate, and as public as it is personal. It is a symbol that possesses wisdom, history and feminine knowledge. Like a goddess, the idea of the uterus offers protection, warmth and comfort but it also stands as a warning and message.
The uterus has been many things to many people, it has evoked hatred and disgust as well as inspired love and worship. It is a symbol full of contradictions, conflict, confusion and multiple dimensions. The uterus itself is an organ that is both strong and muscular, yet delicate and fragile. It's exterior is soft and curvaceous, yet structured and defiant. It is flexible, it expands and shrinks. It represents time, our past, present and future. The uterus gives both pain and pleasure and it teaches us about love and loss. I believe it is these complex, multidimensional aspects of the organ that make it a positive symbol to represent a new, more encompassing view of modern femininity.
One example of the uterus symbol's contradictory nature can be found in Awakening. It depicts a woman breaking free from a larger-than-life uterus. The intention of this piece is to positively represent a woman in a state of rebirth, moving on to the next phase of her life. However, some may interpret the ripped organ as a negative portrayal of woman's sacred symbol. This is not the case. Birth is a painful and often violent process of the female body. Surviving the ordeal illustrates woman's strength, power and ability to endure.
More examples of the uterus as symbol in my paintings can be found on AEFraser.com in the Hysterikos gallery. There you will find 20 abstract paintings focusing on the uterus. The series title is Hysterikos, which means suffering in the womb. For some, the ancient root word hystera, meaning womb, may erroneously allude to the previously discussed ancient Greek notion that hysteria was peculiar to women and caused by disturbances of the uterus. Regardless of these early misconceptions, Hysterikos does not mean the same as hysteria. The words are not interchangeable. Hysterikos is not a pejorative term used against women, in the same way the word hysterectomy, the removal of the uterus, is not an offensive term. My Hysterikos series does not in any way refer to the word hysteria which is defined as a psychoneurosis marked by emotional excitability and disturbances of the psychic, sensory, vasomotor, and visceral functions. It also does not refer to the behavior exhibiting overwhelming or unmanageable fear or emotional excess. The Hysterikos series was inspired by my battle with endometriosis, which can most definitely be defined as a suffering in the womb.
I have also chosen to symbolize many of the concepts vested in the uterus through the image of the egg. The egg almost universally symbolizes perfection and totality. Cosmogonic myths which posit creation arising from the cosmic egg are varied. Sometimes the God creator lives alone inside the egg. Sometimes the primordial chaos is described as an egg. Generally, all the possibilities of a perfect creation are inherent in the egg. The egg, like the uterus, is a symbol of birth, the Great Mother and the origin of life. Both egg and womb contain the ancient mysteries of the seed, and are an appropriate archetypal image to express the preformed totality which contains everything. Both represent woman's potential, fertility, strength and abilities.
I also chose the egg as an extension of the womb symbol because, before the egg became closely entwined with the Christian Easter, it was honored during many rite-of-Spring festivals. In Pagan times, the egg represented the rebirth of the earth. The long, hard winter was over; the earth burst forth and was reborn just as the egg miraculously burst forth with life. The egg, therefore, was believed to have special powers. The Romans, Gauls, Chinese, Egyptians and Persians all cherished the egg as a symbol of the universe.
For more Art and Information on Amy E. Fraser go to Aefraser.com All images and text from "Dissecting The Western Woman Artist: An Artist's Dialogue" copyright Amy E. Fraser. All rights reserved. Amy E. Fraser's Master's Thesis. Original Publication by Dartmouth College 2000.