ABSTRACT
The whole idea of artmaking as an involvement with materials, process, forms or “craft” was entirely foreign to me. When, in sculpture class, the teacher had given lectures on long, elaborate, technical processes, I had barely been able to contain my boredom. My male friends, although as bored as I was, took voluminous notes—preparations, I later discovered, for the time when they would get jobs teaching sculpture and setting up sculpture shops. No one had ever suggested to me that I would have to “make a living,” so I was not involved in “preparing” myself for a job. (I supposed I just assumed that “somehow I would get along.
