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Gallery ‘goose

"Art of the Wayzgoose" exhibition flyer featuring artwork by Chandler O'Leary and Jessica Spring

This year marks the 10th Anniversary of the Tacoma Wayzgoose! The festival isn’t until the end of April, but we’re celebrating early with an exhibit of all the giant steamroller prints created over the years at the Pacific Lutheran University Gallery. It’s going to be a doozy!

And I’m honored to see that the artwork I created with Jessica Spring is gracing all the promo materials for the exhibit! (Thanks, PLU.) If you’re in the Seattle-Tacoma area this Wednesday, stop by for the opening, won’t you?

In the meantime, we’re about to get crackin’ on this year’s steamroller print…look for a teaser soon.

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Hand-lettered holidays

"Deck the Halls" holiday card by Chandler O'Leary

Even though it’s nearly as late as it could possibly be, here I am thinking, “Already?!?” But it’s true—even if you don’t do Black Friday (as you can probably guess, I’m partial to Small Business Saturday myself), today’s the “official” opener of the holiday season. And for perhaps the first time ever, I’m actually ready for it! (Well, mostly.) This year I’ve got new stuff in three different online shops—in honor of the three arms of my little business (though of course, if you ever want to combine items into one order, just drop me a line and I’ll make it happen).

First up is my Anagram Press shop, where you’ll find two new holiday cards, inspired by mid-century vintage kitsch.

"Wagon in a Winter Wonderland" holiday card by Chandler O'Leary

(One has just a touch of Griswold-y goodness…)

iPop "Clicks" magnets illustrated by Chandler O'Leary

Also in there are my new bird magnets by Seattle’s own iPop! I’m so proud and excited to have these that I’m tempted to plaster every metal surface in my studio with them. (You can read my post about them here.)

Washington State illustration by Chandler O'Leary

Next up, a little holiday travel: I’m pleased to announce the Souvenir Shop is now open on Drawn the Road Again, my new travel blog! You’ll find a big array of prints available there—

Oregon State illustration by Chandler O'Leary

from the first installments of my new 50 States Series

San Francisco illustration by Chandler O'Leary

—to original illustrations inspired by travel destinations.

Paul Bunyan sketchbook print by Chandler O'Leary

And because enough people have asked for it, there are even prints of some of my sketchbook drawings—including a Pick-a-Sketch custom order option.

"Dome-inatrix" letterpress print by Chandler O'Leary and Jessica Spring

Last but not least, the Dead Feminists shop has some new additions as well—starting with a small letterpress keepsake version of the Birth of Venus steamroller print Jessica and I did earlier this year.

"Dead Feminists" letterpress journal by Chandler O'Leary and Jessica Spring

And we’ve finally restocked our supply of mini letterpress journals (you folks cleaned us out last time we had them in the shop, and it took quite awhile to make and photograph more!). We call ’em “Lemonade Journals,” because we made them from the “lemons” that crop up during printing—misregistered prints and tiny flaws that otherwise would have ended up in the recycling bin. But with some cute stitching and fun colored paper on the inside, Jessica turned them into perfect little stocking stuffers.

"Dead Feminists" letterpress journal by Chandler O'Leary and Jessica Spring

Whew! That’s the whole kit n’ kaboodle. Keep in mind that some of the travel and sketchbook prints require a lead time to produce, so be sure to get any made-to-order requests in early! I’ll be shipping holiday orders daily until 4 pm PST on Tuesday, December 17 (when the shops will close for the holiday break).

In the meantime, I’m raising a virtual glass of eggnog to you: happy holidays!

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Nightsong

"NIghtsong" letterpress broadside by Chandler O'Leary and Jessica Spring

As the school year begins again and the pace of life quickens, the easy pace of summer has made way for a season of bustling, planning, and dreaming of times ahead. Yet worldwide, over and over again, the plans and dreams of so many women and girls are cut short by violence. In light of recent high-profile crimes halfway around the world, Jessica and I though it was high time we spoke up. This time we drew inspiration from the Nightingale of India:

What hope shall we gather, what dreams shall we sow?  — Sarojini Naidu

“Nightsong” honors the hopes and dreams of women and girls in every culture—in defiance of the world’s dangers. The illustration depicts a lush dream menagerie printed in bright, exotic hues. Tigers, peacocks, elephants and nightingales stand sentinel around our heroine, surrounded by detailed paisleys and florals drawn in the style of Indian mehndi designs.

Detail of "NIghtsong" letterpress broadside by Chandler O'Leary and Jessica Spring

To make this print more dreamlike, we decided to throw a tricky technique called split-fountain printing into the mix—or “rainbow roll,” for short.

Split-fountain inking photo by Chandler O'Leary

A split fountain is extremely difficult to control (advanced Eagle Scout printing here, folks), but the results are so lovely that it’s absolutely worth the effort. As an added bonus, we were careful to keep our inks translucent—so when we registered the second color, that mixed the colors even further, giving us an entire rainbow spectrum with just two passes on press.

In-progress photo of "Nightsong" letterpress broadside by Chandler O'Leary and Jessica Spring

I should add, though, that while we love printing with a rainbow roll, the process is completely unpredictable, and the finished prints are far from uniform. So rather than an edition of absolutely identical broadsides, we ended up with a beautiful range of yellows, oranges, pinks and even reds, that vary from print to print. So my scans here are representative of the edition in general, but no two prints are exactly alike (so if you order a print, please allow for some slight variations from what you see here).

Detail of "NIghtsong" letterpress broadside by Chandler O'Leary and Jessica Spring

To help restore hope to victims and in honor of our dreams for the future, a portion of our proceeds will be donated to Take Back the Night. In order to create safe communities, Take Back the Night seeks to end sexual assault, domestic violence, dating violence, sexual abuse and all other forms of sexual violence.

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Nightsong: No. 18 in the Dead Feminists series
Edition size: 147
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

Colophon reads:
Sarojini Chattopadhyay Naidu (1879 – 1949) — also known as “The Nightingale of India” — was born in Hyderabad, the eldest of eight children. She was a gifted student, proficient in five languages, and by age 16 left the country to attend King’s College to pursue her interest in poetry. Inspired by the suffragist movement in England, she joined the struggle for Indian independence, traveling the country to lecture on social welfare, women’s rights and nationalism. Naidu played a leading role during the Civil Disobedience Movement and was jailed along with Gandhi. Naidu wrote beautiful lyrical poetry, focused on Indian themes, to inspire the nation. She was the first woman to serve as president of the Indian National Congress, and the first woman to become the Governor of the state of Uttar Pradesh. Though Naidu humbly claimed, “I am only a woman, only a poet,” her birthday is celebrated as Women’s Day throughout India.

Illustrated by Chandler O’Leary and printed by Jessica Spring, calling for an end to violence against women all over the world.

UPDATE: poster is sold out. Reproduction postcards available in the Dead Feminists shop!

Detail of "NIghtsong" letterpress broadside by Chandler O'Leary and Jessica Spring

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Seattle shenanigans

School of Visual Concepts Wayzgoose photo by Chandler O'Leary

Jessica and I (and our friend Caitlyn) were invited to have a table at this yesterday’s Wayzgoose at the School of Visual Concepts in Seattle. We didn’t contribute a steamroller print this time, so it was fun to just be part of the audience outside, and enjoy the show! I love the sort of mischief that happens when a bunch of letterpress printers get together for a day.

School of Visual Concepts Wayzgoose photo by Chandler O'Leary

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Lotus blooming

"Nightsong" process drawing by Chandler O'Leary

Jessica and I are hard at work on the next Dead Feminist poster—I’m inking flowers and separating colors this week, and then we’ll be on press before you know it. Look for more in the coming weeks…

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(New) Old Town Dock

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

It’s a little hard to believe that Old Town Dock is finally open, and up-and-running for good.

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

Photo by Naomi Strom-Avila

Technically, we had a little ribbon-cutting and “soft opening” (in which Deputy Mayor Campbell hilariously appeared to be attacking me with the giant ceremonial scissors—oh, heck yes, we used giant ceremonial scissors!)—

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

—but Sunday was the big party for everybody.

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

The Dock is still technically a work in progress, as Phase II of the project (including a restroom and permanent wayfinding signage) won’t be completed until late fall. So for the next few months we’ve got snazzy banners up instead—big thanks to the City and Metro Parks for letting me be a total control freak and design the banners and signage.

Letterpress promos for "Droplets" public artwork by Chandler O'Leary

And even more big thanks to Jessica, who whipped up these fabulous fluorescent letterpress coasters to give out at the event. It was fun to see a hundred people walking around carrying neon octopi with them.

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

Photos by Walter Smith

And even though I had to speak right after our lovely Mayor (left), having the audience packed with hollering friends made me forget how nervous I was. Thanks, guys.

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

The best part, though, was the people-watching. I can’t tell you how good it feels to see people responding to and interacting with your own artwork—

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

—and looking excited to do so.

Installation of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

In the two months since we installed the work, I’ve already lost count of the number of people (including the construction guys!) who have told me their own memories about Old Town Dock. Knowing that my little illustrations are triggering these stories is an incredible feeling.

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

I especially love catching folks in quiet moments, just exploring the Dock and discovering each Droplet for themselves.

"Droplets" public artwork by Chandler O'Leary

Photo by Sheree Trefry

It’s all I can do not to run up to total strangers and say, “I made that!”

Thank you to everyone to came to the dedication on Sunday; to everyone who’s spent a lunch hour or coffee break counting medallions (Ric, I’m looking at you; a bucket of gold stars for finding all 24 first!); to everyone who’s got a story to share about Old Town Dock. I’m still listening.

Dedication of "Droplets" public artwork by Chandler O'Leary at Old Town Dock, Tacoma, WA

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Steam punks

Steamroller print at the 2013 Tacoma Wayzgoose

2013 Tacoma Wayzgoose photo by Chandler O'Leary2013 Tacoma Wayzgoose photo by Chandler O'Leary2013 Tacoma Wayzgoose photo by Chandler O'Leary2013 Tacoma Wayzgoose photo by Chandler O'Leary2013 Tacoma Wayzgoose photo by Chandler O'Leary2013 Tacoma Wayzgoose photo by Chandler O'Leary2013 Tacoma Wayzgoose photo by Chandler O'Leary

Wayzgoose worked like a well-oiled machine this year—and that’s the way we like it.

2013 Tacoma Wayzgoose photo by Chandler O'Leary

(Even if we were just a little extra tired afterward.)

We were finally able to have the event in the parking lot next door, which allowed way more people to gather ’round the steamroller—and gave the artists more elbow room for spreading ink and chatting it up.

Steamroller prints at the 2013 Tacoma Wayzgoose

Steamroller prints by Ric Matthies (left) and Charles Wright Academy students (right)

The usual suspects were up to all kindsa good on Sunday—

"Dome-inatrix" steamroller print (piece on far left) by Chandler O'Leary and Jessica Spring

Our print (left), Beautiful Angle (center), Maggie Roberts (right)

—and it was fun for Jessica and me to come back after a year off.

Process photo of "Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

Photo by Victoria Bjorklund

This year, we added something a little different to the mix—just like we did in 2011 in San Francisco. After Jessica inked up the block…

Process photo of "Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

Photo by Victoria Bjorklund

…and the steamroller packed its punch…

Process photo of "Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

Photo by Victoria Bjorklund

…I set up shop across the parking lot, adding a few hand-colored touches to the piece.

"Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

Here’s the finished product—and for those of you who don’t happen to live in T-town, I’ll need to provide a little back-story. You probably recognize the reference to Botticelli’s Birth of Venus, but there’s a second tribute to pop artist Andy Warhol, as well. And I’m not just talking about Venus herself—to whom Warhol did pay homage in 1984.

Detail of "Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

You see, over thirty years ago now, Warhol was one of several artists to propose a permanent public artwork to adorn the roof of the Tacoma Dome. Not only was his proposal rejected at the time, but the whole project resulted in an enormous backlash of public opinion, insurance nightmares and political in-fighting—which literally derailed the city’s entire public art program for nearly two decades afterward. Fast-forward to today: not only is our public art program back in the saddle and going strong, but now there’s a growing movement to put Warhol’s flower on the Dome after all—which, in fact, would be the world’s largest Warhol original.

Whom do we have to thank for both the…uh…Renaissance of our public art program, and the push to bring Warhol back? Our wonderful City Arts Administrator, Amy McBride (click to see her talk about the Warhol story)—who, incidentally, drove the steamroller that printed our Venus linocut on Sunday.

Detail of "Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

How’s that for coming full-circle, huh?

Many thanks to everyone who stopped by on Sunday, and to Amy and the Tacoma Arts Commission for continuing to make art happen—both for Wayzgoose and for Tacoma.

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Chipping away

Process photo of "Dome-inatrix" steamroller print by Chandler O'Leary and Jessica Spring

It’s that time of year again: the trees are blooming outside, and inside we’re playing with knives. The ninth (!) annual Tacoma Wayzgoose is one week from today—and if we’re really lucky, Jessica and I might just finish carving our design by then. As usual, we’ll reveal the whole design that day, but until then, this little peek might look familiar…

If you’re new to my tiny u-bend of the Intertubes, you might ask: what the heck is a Wayzgoose? It’s a festival celebrating the art of printing, a tradition that goes back hundreds of years. Here in T-town, our party mobile is a steamroller—yes, ma’am—and we churn out giant-sized linocuts in the street to mark the occasion. If you’re local, come on by and get ink on your jeans:

9th Annual Tacoma Wayzgoose
Sunday, April 28, 2013
11 am to 4 pm, Free!
King’s Books
218 St. Helens Avenue, Tacoma, WA

In the meantime, you can whet your appetite with a stroll down Amnesia Lane—take a look at the ghosts of Wayzgeese past:

2009 (Tacoma)
2010 (Tacoma)
2011 (Tacoma)
2011 (San Francisco)
2012 (Tacoma)

See you next week, rain or shine!

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Gun Shy

"Gun Shy" letterpress broadside by Chandler O'Leary and Jessica Spring

This has not been an easy post to write—and yet in a way it’s been writing itself over and over again, for years now. To be honest, Jessica and I designed this broadside months ago, and planned to release it shortly after last year’s theater shooting in Aurora, CO. Other projects got in the way, and then the 2012 election persuaded us to table the piece for the time being.

We should have known: until there’s serious change in our society, this subject will always be hatefully relevant.

So here we are again, on the heels of yet another rash of terrible violence. But this time feels different—not only because of the sheer horror of the Newtown tragedy, but because at last, our country is having the conversation it needs to have.

At the center of the debate is the precarious balance of right and responsibility—and here’s where I need to keep from shooting my mouth off. I’ve written and deleted a hundred sentences about Jessica’s and my personal thoughts on the subject—but I have a feeling you can already guess what they are. And we also recognize that our beliefs represent just one side of our divided culture. So the thought of pontificating just wearies and saddens us; we’d much rather focus on how we might move forward, together.

"Gun Shy" hand-lettered process drawing by Chandler O'Leary

For us, that meant starting with an attempt to comprehend the other side of the debate. So in hoping to understand the love of guns many in our country share, we looked to legendary sharpshooter Annie Oakley, whose words pierce the heart of the matter:

Aim at a high mark, work for the future.

Detail of "Gun Shy" letterpress broadside by Chandler O'Leary and Jessica Spring

This piece is a stark, steely contrast to the bright colors and detailed embellishments of the rest of the series. Annie stands her ground beside a blazing metallic bullseye, representing the golden target of sanity amid the scatter-shot opinions and half-cocked sniping of those on the extremist fringes. And let me tell you: there’s real gold in that ink. Jessica mixes her own formula—maybe it’ll shine all the brighter, and help steady our collective aim.

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Gun Shy: No. 17 in the Dead Feminists series
Edition size: 151
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

The edition number we choose for each print in our series is always significant in some way—whether we call attention to it or not. In the case of Gun Shy, we’ve created an edition of 151 prints to represent each person injured or killed in a shooting rampage in 2012. In light of that sobering number, we’ve chosen to donate a portion of our proceeds to Demand A Plan. A campaign of Mayors Against Illegal Guns, Demand a Plan is a national, bipartisan coalition working to make America’s communities safer by keeping illegal guns out of dangerous hands.

Detail of "Gun Shy" letterpress broadside by Chandler O'Leary and Jessica Spring

Colophon reads:
Annie Oakley (1860 – 1926) was born Phoebe Ann Mosey (or Moses) near Greenville, Ohio. Her Quaker parents raised seven children on their farm until Annie’s father was caught in a blizzard and succumbed to pneumonia. By age ten, Annie was sent to the poor farm, then to live with an abusive family for several years. She escaped back to her mother’s home, taught herself to shoot a rifle, and quickly paid off their mortgage by selling game. In 1875 Annie defeated well-known marksman Frank Butler in a shooting contest — and married him shortly afterward. Annie became Butler’s assistant in his sharp shooting show, but as audiences clearly preferred Annie, the two soon switched roles. Annie was a curiosity, dressed in a homemade costume that modestly covered her petite frame but also allowed her to shoot with athletic grace. The couple joined Buffalo Bill Cody’s Wild West show, where Annie performed for 17 years, traveling to New York, Paris and London. Upon seeing her shoot the wick off a burning candle, the famous Chief Sitting Bull adopted Annie, bestowing the nickname “Watanya Cicilla” (Little Sure-Shot). In 1894 Thomas Edison captured her performance on film at his studio in New Jersey, making her the first cowgirl to appear in a motion picture.

Despite not being from the West, Annie defined our notion of a cowgirl as a self-reliant, strong woman. She advocated for equal pay, and went to great lengths to defend her reputation. She challenged William Randolph Hearst in a series of libel lawsuits over a false newspaper story, winning 54 of 55 cases at great personal expense. After her retirement in 1913, Annie continued to tour the country, teaching over 15,000 women how to use firearms responsibly.

Illustrated by Chandler O’Leary and printed by Jessica Spring, demanding that our federal government enact strict controls to end gun violence.

Available now in the Dead Feminists shop.

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Keep the Change

"Keep the Change" letterpress broadside by Chandler O'Leary and Jessica Spring

If you have any sort of link to the outside world (television, radio, internet access, newspaper, mailbox), chances are you’ve been unable to escape this year’s deluge of advertising, chatter and glossy-printed recycling fodder—all centered around this coming Tuesday. It’s enough to have even four-year-olds throwing up their hands in frustration. Jessica and I, however, have spent many hours sifting through election material—1972 election material, I mean. To remind us of what’s really important this year (and every year), we turned to the woman who help paved the way for our current President.

The one thing you’ve got going: your one vote.  —Shirley Chisholm

Shirley Chisholm

Shirley Chisholm was one of fifteen Presidential candidates in 1972. It was a volatile time: the Vietnam War was the center of public discord; movements for civil rights and gender equality were major issues around the western world; and the race came on the heels of the 1968 race—one of the bloodiest election years in American history.

Shirley knew she was a long shot; she even referred to herself as “literally and figuratively the dark horse.” Yet she also knew that to run for President, all that was required was to be a natural-born U.S. citizen of at least 35 years of age. There was nothing in there about being male or Caucasian—and as a member of the U.S. House of Representatives, she was at least as qualified as her fellow candidates. So she ran, because it was her right, and because she knew that if she played it smart and started winning delegates, she’d have some power to leverage.

Shirley sought to create a truly representative government. Rather than a cookie-cutter set of interchangeable politicians running the country, she envisioned an America where each region, economic sector and ethnic group elected one of its own to office. She wanted to see a woman heading the Department of Education & Welfare; a Native American in charge of the Department of the Interior. And as a freshman Congresswoman she was assigned to the House Forestry Committee but refused to serve—how would forest stewardship or agricultural bills represent New York’s inner-city 12th Congressional District?

Shirley Chisholm campaign materials

She also saw her office as an opportunity to encourage women—especially women of color—to get involved in politics. Every member of her staff was a woman, half of them African-American. To say the least, her very presence made her fellow legislators nervous—and on top of everything else, she was probably the only woman of color in the whole country who made the exact same salary as her white male colleagues. (Heck, for people like Yvette Clarke or Barbara Lee, that’s probably still true for the most part. How depressing is that?)

On the national political stage, however, her race and gender were two strikes against her. She gathered support from the National Organization for Women, but when the time came for NOW to officially endorse a candidate, their squeamishness over the possibility of a black nominee overcame their lip service. And the Black Congressional Caucus, of which Shirley was a founding member, threw her under a bus because they couldn’t bring themselves to support a female candidate. To me, that’s the most interesting thing—Shirley Chisholm always said she faced far more discrimination over her gender than the color of her skin.

Still, though she had to battle opposition and prejudice from all sides, she worked to bring people of all stripes together. When her opponent George Wallace (yes, that George Wallace—Mr. “Segregation Now, Segregation Tomorrow, Segregation Forever”) was wounded in an assassination attempt, Shirley visited him in the hospital. They were the ultimate Odd Couple: years later Wallace used his clout among Southern congressmen to help Shirley pass a bill giving domestic workers the right to a minimum wage.

In the end, though she gathered 152 delegates, she knew she’d never snag the Democratic nomination. So she conceded to George McGovern—who went on to win just one state (Massachusetts) in the 1972 Presidential election. Take a look at the electoral college map for that year:

1972 electoral map

That’s a whole lotta red.

Detail of "Keep the Change" letterpress broadside by Chandler O'Leary and Jessica Spring

And since this election season marks the fourth anniversary of our series, that map was the starting point for Keep the Change, our new Dead Feminist broadside. I redrew the map in blue, and from there we crafted a period homage to Shirley’s impeccable style and substance.

Detail of "Keep the Change" letterpress broadside by Chandler O'Leary and Jessica Spring

The 12th Congressional District was one of the areas hardest hit last week by Hurricane Sandy. While the immediate recovery efforts in the city are crucial, we also recognize the importance of serving a community long after the disaster relief efforts have ended. So to help continue Shirley’s long-term service to her home city, we’ll be donating a portion of our proceeds  to Bedford Stuyvesant Restoration, the nation’s first non-profit community development corporation. Restoration partners with residents and businesses to improve the quality of life of Central Brooklyn by fostering economic self sufficiency, enhancing family stability, promoting the arts and culture and transforming the neighborhood into a safe, vibrant place to live and work.

In the meantime, let’s do what Shirley did best—cast our vote, and keep fighting the good fight.

Detail of "Keep the Change" letterpress broadside by Chandler O'Leary and Jessica Spring

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Keep the Change: No. 16 in the Dead Feminists series
Edition size: 152
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

Colophon reads:
Shirley Anita St. Hill Chisholm (1924–2005) was born in Bedford-Stuyvesant, New York — though she spent her early years growing up in Barbados with her grandmother and younger sisters. She earned a master’s degree from Columbia University and moved on to teach, becoming an authority on early education. After working as a consultant to the Bureau of Child Welfare, Chisholm won a seat in the New York State Assembly in 1964. She ran for the House of Representatives in 1968 under the slogan “Unbought and Unbossed,” and was the first African-American woman elected to Congress. As a junior member, she was assigned to the House Forestry Committee but demanded reassignment on the grounds that she couldn’t effectively represent her inner-city constituency. A founding member of the Congressional Black Caucus, she served seven terms in Congress.

In 1972 Chisholm ran for U.S. President, the first woman and African American on a major party ticket. She fiercely supported the rights of women and people of color, and opposed the Vietnam War. She was “literally and figuratively the dark horse”— women voters limited their support based on race, and the Congressional Black Caucus backed off because of her gender. Though she didn’t win a single primary, she proved “a catalyst for change,” gathering 152 delegates and demonstrating that women could compete nationally. Chisholm ended her campaign at the Convention, releasing her delegates to George McGovern — who lost in a landslide to Richard Nixon.

Illustrated by Chandler O’Leary and printed by Jessica Spring. Please vote to keep women moving forward.

Available now in the Dead Feminists shop!