Last month, my column focused on the importance of intersectionality within the feminist movement by highlighting the revolutionary work of Sojourner Truth, an escaped slave, abolitionist, and women’s rights activist. I’d like to continue to press the importance of intersectionality, particularly given our current political state. Of late, I’ve received a little criticism that some of my recent Holy Women Icons are too political, particularly with reference to Mothers of Black Lives Matter, Dolores Huerta, and the Midwives of Standing Rock. As a woman artist, and particularly a queer woman artist, the personal is always political. Feminists taught us this decades ago. Since the lives, loves, and bodies of LGBTQs, women, refugees, immigrants, people of color, Muslims, Jews, those who are differently abled, and the poor continue to be legislated, violated, excluded, and oppressed, I’d contend that writing about, painting about, and working for liberation for all of these intersectional identities is paramount, especially for those who profess faith in a homeless refugee liberator from the Middle East (that would be Jesus, of course). Needless to say, I believe these recent works in the Holy Women Icons Project fit in quite nicely with the over seventy revolutionaries—political and otherwise—that I’ve painted and written about in the past.
These critiques combined with the current climate of the United States, new legislation passed, proposed, and promised that attacks the lives of the aforementioned marginalized groups. So, I took to canvas and, for the first time, I did not pen the poetry scrawled across the holy woman’s heart. Instead, I relied on the words of Jewish American poet, Emma Lazarus (1849-1877). Most famous for the portion of her sonnet, “The New Colossus,” that graces the pedestal of the Statue of Liberty, I wanted Lady Liberty and Lazarus’ timely words to become my newest Holy Woman Icon. In its entirety, “The New Colossus” reads: Continue reading “Painting the Mother of Exiles by Angela Yarber”
