| Phyllis Yes | |
| Honorific Suffix: | Artist and playwright |
| Birth Name: | Phyllis Dankers |
| Birth Date: | 1941 |
| Birth Place: | Red Wing, Minnesota, United States |
| Nationality: | American |
Phyllis Yes (born 1941) is an Oregon-based artist and playwright. Her artistic media range from works on painted canvas to furniture, clothing, and jewelry. She is known for her works that “feminize” objects usually associated with a stereotypically male domain, such as machine guns, hard hats, and hammers.[1] Among her best-known artworks are “Paint Can with Brush,” which appears in Tools as Art, a book about the Hechinger Collection, published in 1996[2] and her epaulette jewelry, which applies “feminine” lace details to the epaulette, a shoulder adornment that traditionally symbolizes military prowess.[3] In 1984 she produced her controversial and widely noted “Por She,” a silver 1967 Porsche 911-S, whose body she painstakingly painted in highly tactile pink and flesh-toned lace rosettes. She exhibited it at the Bernice Steinbaum Gallery in New York in 1984 and drove it across the United States as a traveling exhibition in 1985.[4] [5] In 2016, she wrote her first play, Good Morning Miss America, which began its first theatrical run at CoHo Theatre in Portland, Oregon in March 2018.[6]
Phyllis Yes’s interest in socially prescribed gender roles dates to her youth, when she realized that her elderly neighbor was helpless to care for himself after his wife died. She noted, “He didn’t know how to use the dishwasher, the can opener...If it had been the wife who had survived, she probably wouldn’t have known how to find the fuse box.”[7] In her mid-20s, when she was a U.S. Peace Corps volunteer teaching art in northeastern Brazil, she encountered Brazilian gender roles that were different from those she grew up with, such as women who smoked pipes and men who sold fabrics. The experience heightened her awareness that cultures vary widely in their perceptions of “feminine” and “masculine” traits and artifacts. Yes’s key artistic influences include the sculptor Louise Nevelson, as well as feminist artists Judy Chicago and Miriam Schapiro, who urged other women artists “to discover personal imagery and imagery that might honor the neglected and unfairly denigrated women’s decorative and domestic arts of the past.”[8] This impulse influenced Yes’s “highly praised” paintings of lace in the 1970s and 1980s.[9]
Phyllis Yes was born in Red Wing, Minnesota, in 1941 and grew up in Austin, Minnesota. She earned a B.A. in art from Luther College in Decorah, Iowa.[10] She earned an M.A. in art from the University of Minnesota and a Ph.D. in art from the University of Oregon in 1978. Upon earning her Ph.D. she dropped her former husband’s surname and replaced it with “Yes” so that she might be addressed as “Dr. Yes.”[11]
Phyllis Yes taught art at Federal University of Ceará, Brazil, the Oregon College of Education (now Western Oregon University) in Monmouth, Oregon, and Oregon State University in Corvallis, Oregon, before becoming a professor of art at Lewis & Clark College in Portland, Oregon, in 1978. In 1987 she traveled to Bali and New Guinea on a National Endowment for the Arts grant to study gender-related art forms. She served as Chair of the Art Department and Dean of Arts & Humanities at Lewis & Clark College and became a professor emerita of art, painting, and drawing in 1998. Her work has appeared in more than 130 exhibitions. In 2016, at age 75, she wrote her first play, Good Morning Miss America, which had its theatrical debut in Portland, Oregon in 2018. She lives in Portland, Oregon.