The large scale photorealistic paintings of heterosexual intercourse which Betty Tompkins made between 1969 and 1974 were practically unknown when they were exhibited together for the first time in New York in 2002. Knowledge of Tompkins’ paintings immediately broadened the repertoire of first-generation feminist-identified imagery. More significantly, their materialization made manifest an unacknowledged precursor to contemporary involvement with explicit sexual and transgressive imagery. Shown at the Lyon Biennale in 2003 beside Steve Parrino’s equally wayward abstractions, Betty Tompkins’ work garnered extraordinary attention. The first painting in the series was acquired for the permanent collection of the Centre Pompidou/CNAC in Paris. Although Betty Tompkins’ work was not included in LA MOCA’s “Wack! Art and the Feminist Revolution” exhibition, it figures prominently in Richard Meyer’s essay for the show’s catalog, Hard Targets: Male bodies, Feminist Art and the Force of Censorship in the 1970s. Meyer notes the essentialist bent of much early feminist-associated art and outlines the marginalization melded the phalocentric or coitus-concerned work of heterosexual women artists. Given the context, Tompkins’ straightforwardness and refusal to moralize is bracing. This, coupled with a ferociously deadpan humor, makes the artist’s images iconic.
Betty Tompkins
Studios
Cheney
Betty Tompkins worked in the Cheney studio.
Cheney Studio was given to MacDowell by Mrs. Benjamin P. Cheney and Mrs. Karl Kauffman. Like Barnard Studio, Cheney is a low, broadly massed bungalow. Sited on a steep westward slope, its porches are supported on wooden posts and fieldstone with lattices. Although it still retains its appealing character, the original design of the shingled building…