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Using black-and-white film, she would take portraits, mostly of her daughter and her young friends (though an occasional likeness of a cat sometimes crops up), and also images of the surrounding California landscape. Perhaps to signify leaving her old life behind, and in keeping with the era’s burgeoning curiosity about and appropriation of Eastern culture, she changed her name to the mononym “Kali,” the name of the Hindu goddess of death and time.īoth the exhibition and the book are mostly focussed on pictures that Kali made between 19 by employing a technique that she named Artography. By 1964, she had moved to Palm Springs, purchasing the former house of Bobby Darin and Sandra Dee, where her children joined her each summer. She filed for divorce, sent her kids to live with her mother, and hit the road, ending up across the country, in Malibu, where, still young and attractive and often bikini-clad, she threw herself into the beach-party scene. It was 1962, a year before the publication of “ The Feminine Mystique,” Betty Friedan’s groundbreaking feminist study, in which she gave a name to housewifely ennui, arguing that “it is no longer possible to ignore that voice, to dismiss the desperation of so many American women,” but Archibald was ahead of the curve.
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Joan Archibald, a Long Island wife and mother of two, was tired of her life as a suburban homemaker.