‘Soemtimes the Best Feminism is No Feminisim’ is a passage of text written by Carissa DiGiovanni. In this text, she addresses how successful Kushner and MacConnel have been in their career through the use of feminine domestic skills.
“Some may conclude that these men must be, because of their involvement with this female-dominated movement, high-profile political participants in the feminist movement. This conclusion, however, would be erroneous: neither claimed to be participating in the feminist movement. Instead, they explained that they merely wanted to work in a medium that they felt had value, despite its being devalued by the male Western art world. However, their insistence upon regarding their (Western male) participation in this movement as not a feminist political act, but rather an artistic one, aided the process of de-marginalization of this art that was traditionally female and non-Western.”
She continues to state “In other words, MacConnel and other Western male artists like him merely wanted to acknowledge the ridiculousness of Pattern and Decoration’s marginalization, given its usefulness and worldwide importance, especially since Western male kind of art, which was neither useful nor globally important, was so valued. They acknowledged this movement’s artistic rather than political worth.”