Betty Tompkins

Alongside artists such as Carolee Schneemann, Yoko Ono, Valie Export, Joan Semmel, Lynda Benglis and Judy Chicago, Tompkins has been re-assessed as a pioneer of Feminist art. She is listed in The Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art's Feminist Art Base.

Betty Tompkins studied at Syracuse University. The field of work recorded is painting and printmaker. Employment is recorded with Central Washington University. Work by Betty Tompkins is recorded in the collections of Hessel Museum of Art and Photography Collection. Distinctions recorded are Anonymous Was A Woman Award.

• Name — Betty Tompkins • Born — 1945 • Birthplace — Washington, D.C., U.S. • Education — * Syracuse University • Central Washington State College • Known for — Painting • Movement — Photorealism, feminist art

Tompkins was born in 1945 in Washington, D.C. and grew up in Philadelphia, Pennsylvania. She received her B.F.A. degree from Syracuse University in the 1960s. She took a teaching job at Central Washington State College in Ellensburg, Washington shortly after marrying her first husband, Don Tompkins, who was one of her instructors at Syracuse University. She completed her graduate degree at Central Washington State College, traveling between Ellensburg and New York City.

At the time of their marriage, Don Tompkins had a collection of pornography had ordered from Asia in order to avoid US obscenity laws in the 1950s. These images influenced Betty's first body of work, Fuck Paintings. In 2002, Jerry Saltz shared an image of one of Tompkins' Fuck Paintings with gallery owner Michell Algus, who offered her a solo exhibition in his New York City gallery. It was Tompkins first solo exhibition in almost 15 years, and helped restart her art career. She was invited to the 7th Biennale d'Art Contemporain de Lyon in 2003, and a year later the Centre Pompidou purchased one of her works for their permanent collection. In 2019, Tompkins had her Instagram account deleted after she posted a photo of her Fuck Painting #1. A few months later in 2019, Instagram held a closed meeting to discuss censorship, art, and nudity on their software platform. Some artists joined the meeting, including Micol Hebron, Marilyn Minter, Joanne Leah, and Siddhant Talwar. Tompkins was unable to attend the meeting but shared a written statement. In 2018, she was the recipient of an Anonymous Was a Woman Award.

• Fuck Paintings (1969–1974, 2003–present) Tompkins first major body of work was a series of paintings depicting a male and female figure engaging in sexual intercourse. She elected to render the images in extreme close-up, using vintage pornography stills as her source material. Rather than idealizing the act of fornication by having one body or the other exude dominance or beauty above the other, she equalizes the figures by showing only their genitalia, in congress. The works were produced using hundreds of layers of spray paint, using a finely-calibrated airbrush to build from underdrawing to final image. These early works were made solely with black and white pigments, with extremely high contrasting tonality. Since returning to the series in 2003, Tompkins uses a base color combination to produce a more illuminated monochrome. She originally gave the series the more modest name Joined Forms, then later called the series Fuck Paintings. Within this first series, until 1976, Tompkins produced a sub-set of works entitled Cow Cunt Paintings. • Censored Grids (1974–present) In 1974, Tompkins was scheduled to show her work in Paris. When her art arrived, French customs officials seized it, declaring it obscene and unfit for public exhibition. It took Tompkins nearly a year to arrange its return, at great financial and emotional cost to her. In response to the ordeal, Tompkins began making paintings in the form of grids, where a set of white blocks with the word "censored" at the center blocked out all traces of genitalia or primary imagery in the composition. Tompkins said she would continue to make these paintings, as there was seemingly no end to government censorship of visual art. • WOMEN Words (2002 and 2013) In 2002 and 2013, Tompkins circulated the following email: “I am considering doing another series of pieces using images of women comprised of words. I would appreciate your help in developing the vocabulary. Please send me a list of words that describe women. They can be affectionate (honey), pejorative (bitch), slang, descriptive, etc. The words don’t have to be in English but I need as accurate a translation as possible. Many, many thanks, Betty Tompkins.” Over 3,500 words and phrases were submitted in seven languages, equally split between men and women. In 2012, Tompkins was invited to create a performance in Vienna where 500 of the words and phrases were read aloud. Inspired by that performance, the artist then set out to create 1,000 individual word paintings, intending the series to be presented en masse once complete. On January 1, 2013, Tompkins created the first painting SLUT (#1). In an interview with Art in America, Tompkins says, "People sent stories, too. They made comments. It was very personal. But the same four words were the most popular. Actually nothing has changed."

Tompkins work has been in many exhibitions, this is a select list: Exhibitions • Year — Name — Type — Location — Notes • 2016 — Sex Works/ WOMEN Words, Phrases, and Stories — Group exhibition — Gavlak Gallery, Los Angeles, California and Palm Beach, Florida • 2016 — The Female Gaze, Part Two: Women Look at Men — Group exhibition — Cheim & Read, New York City, New York • 2016 — WOMEN Words, Phrases, and Stories: 1,000 Paintings By Betty Tompkins — Group exhibition — FLAG Art Foundation, New York City, New York • 2016 — Black Sheep Feminism: The Art of Sexual Politics — Group exhibition — Dallas Contemporary, Dallas, Texas — curated by Alison Gingeras • 2015 — REAL ERSATZ — Group exhibition — Bruce High Quality Foundation (BHQFU), New York City, New York • 2014 — Betty Tompkins: Smooch, 55 Gansevoort — Solo exhibition — 55 Gansevoort, New York City, New York • 2014 — CORPUS — Group exhibition — Zachęta National Gallery of Art, Warsaw, Poland — curated by Maria Brewińska in collaboration with Katarzyna Stupnicka • 2014 — Inaugural Exhibition — Group exhibition — Gavlak Gallery, Los Angeles, California • 2009–2011 — elles@centrepompidou — Group exhibition — Centre Georges Pompidou, Paris, France — curated by Camille Morineau • 2010 — Lust and Vice: The 7 Deadly Sins from Dürer to Nauman — Group exhibition — Zentrum Paul Klee and the Museum of Fine Arts Bern, Bern, Switzerland • 2009 — Naked! — Group exhibition — Paul Kasmin Gallery, New York City, New York — curated by Adrian Danatt and Paul Kasmin • 2007 — La Plaisser au Dessin — Group exhibition — Musée des Beaux-Arts de Lyon, Lyon, France • 2006 — Uncertain States of America — Group exhibition — Serpentine Galleries, London, England — collaboration with Trisha Donnelly, Adam Putnam, and Shannon Ebner • 2004 — Acquisitions Récentes: Oeuvres contemporaines — Group exhibition — Centre Georges Pompidou, Paris, France • 2003 — Biennale de Lyon 2003, "C'est Arrive Demain" — Group exhibition — 7 Biennale d'Art Contemporain de Lyon — curated by Bob Nickas. • 2002 — Manhattan Skylines — Group exhibition — Museum of the City of New York, New York City, New York • 2002 — Solo exhibition — Mitchell Algus Gallery, New York City, New York — her first solo show in almost 15 years. • 1992 — The Living Object: The Art Collection of Ellen H. Johnson, — Group exhibition — Allen Memorial Art Museum, Oberlin, Ohio • 1986–1987 — 25 Years of Feminism (Year 16) — Group exhibition — Institute for Women and Art (The Mary H. Dana Women Artists Series) at Rutgers University, New Jersey