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Phyllis Yes
Phyllis Yes (born 1941) is an Oregon-based artist whose artistic media range from works on painted canvas to furniture, clothing, and jewelry.〔("Phyllis Yes Bio" ), 2010. Retrieved 2014-07-28.〕 She is known for her works that “feminize” objects usually associated with a stereotypically male domain, such as machine guns, hard hats, and hammers. Among her best-known artworks are “Paint Can with Brush,” which appears in ''Tools as Art'', a book about the Hechinger Collection, published in 1996〔Timothy Foote, ("Tools as art" ), ''Smithsonian'', April 1996. Retrieved 2013-10-20.〕 and her epaulette jewelry, which applies “feminine” lace details to the epaulette, a shoulder adornment that traditionally symbolizes military prowess.〔Liane Grunberg, "Epaulettes: Instant Heirlooms by Phyllis Yes," ''Ornament'', Autumn 1987.〕 In 1984 she produced her controversial and widely noted “Por She,” a silver 1967 Porsche 911-S, whose body she painstakingly painted in highly tactile pink and flesh-toned lace rosettes. She exhibited it at the Bernice Steinbaum Gallery in New York in 1984 and drove it across the United States as a traveling exhibition in 1985.〔Meg Cox, "Either That Car Is a 1967 Porsche, or the Quickest Doily on Wheels," ''The Wall Street Journal'', April 18, 1985.〕〔Zan Dubin, "Coast to Coast in a Gender Bender," ''Los Angeles Times'', June 7, 1985.〕
== Key Influences ==
Phyllis Yes’s interest in socially prescribed gender roles dates to her youth, when she realized that her elderly neighbor was helpless to care for himself after his wife died. She noted, “He didn’t know how to use the dishwasher, the can opener...If it had been the wife who had survived, she probably wouldn’t have known how to find the fuse box.”〔Liane Grunberg, "Paintings Have Grace of Lace," ''The Japan Times'', March 31, 1991.〕 In her mid-20s, when she was a U.S. Peace Corps volunteer teaching art in northeastern Brazil, she encountered Brazilian gender roles that were different from those she grew up with, such as women who smoked pipes and men who sold fabrics. The experience heightened her awareness that cultures vary widely in their perceptions of “feminine” and “masculine” traits and artifacts. Yes’s key artistic influences include the sculptor Louise Nevelson, as well as feminist artists Judy Chicago and Miriam Schapiro, who urged other women artists “to discover personal imagery and imagery that might honor the neglected and unfairly denigrated women’s decorative and domestic arts of the past.”〔John Perreault, "Affirming Yes," ''New York Arts Journal'', April 1982.〕 This impulse influenced Yes’s “highly praised” paintings of lace in the 1970s and 1980s.〔Matthew Kangas, "Straining at the Bit of Realism," ''The Seattle Times'', April 15, 2005.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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