“Our Toil Doth Sweeten Others”: Processional Banners and the Artists’ Campaign to Repeal the Eighth Amendment Brandi S. Goddard (bio) Click for larger view View full resolution Figure 1. The Repeal! Procession, organized by the Artists’ Campaign to Repeal the Eighth Amendment, April 13, 2018, Limerick City, Ireland. Photograph © Dierdre Power. Banners in view: Respect My Decision (right), The Journey (left), and the Eye Bannerettes (back). Click for larger view View full resolution Figure 2. The Repeal! Procession, organized by the Artists’ Campaign to Repeal the Eighth Amendment, April 13, 2018, Limerick City, Ireland. Photograph © Dierdre Power. Left to right: Eye Bannerettes, Dragon Slayer, and The Journey. [End Page 108] on april 13, 2018, over two hundred women and men departed on foot from the Limerick School of Art and Design—the site of the Good Shepherd Magdalen Laundry from 1848 to 1990—and solemnly marched through the city center and across the River Shannon to the former site of the Cleeve’s Condensed Milk Factory, the location of EVA International, Ireland’s biennial art exhibition that was due to open the following day. The Repeal! Procession, organized by the Artists’ Campaign to Repeal the Eighth Amendment, included dancers, musicians, artists, and supporters carrying dozens of placards bearing the Repeal movement’s symbol.1 The most visually affective element of the procession was a series of colorful handmade textile banners that bore evocative images relating to the bodies of women and their experiences under the oppressive Eighth Amendment, as well as powerful allusions to the agency, strength, and victory of the movement, and therefore of Irish women. This article argues that the processional banners are material manifestations of a collaborative and feminist art practice that functions to subvert the repression and oppression of women’s bodies under the Eighth Amendment. The affectivity of the Repeal! Procession, as explored through the processional banners, is realized through the form of the female body, through the creative labor of textile production, and through the public visibility of the female body in an activated and agential manner. Conceived in 2015 during “a drink among friends,” the Artists’ Campaign to [End Page 109] Repeal the Eighth Amendment was founded as a grassroots activist collective that sought to use the visual arts to draw attention to, and garner support for, the growing movement to repeal Ireland’s constitutional Eighth Amendment.2 The group was established by visual artists Cecily Brennan, Alice Maher, and Eithne Jordan and poet/playwright Paula Meehan. Initially the movement was largely organized online and aimed to garner support among artists, writers, musicians, and actors for a Citizens’ Assembly on the Eighth Amendment.3 The group’s online petition garnered signatures from many of Ireland’s well-known literary and cultural celebrities, including John Banville, Edna O’Brien, Christy Moore, Anne Enright, Colm Tóibín, Cillian Murphy, and Neil Jordan.4 The campaign emerged as one of several artistic responses to the Repeal movement. In her article on abortion rights campaigns, Niamh NicGhabhann foregrounds the work of organizations that mobilize the visual arts—especially the use of legible, visible, and highly memorable imagery—in the service of public political protest.5 As she notes, the Repeal! Procession—similar to groups such as Speaking of IMELDA and the Sligo Handmaid’s Tale protest in 2017—emphasizes the individual and personal on a tangible physical level rather than at the level of ideology or philosophy. Similarly, Sydney Calkin argues that the very public nature of much of the art relating to the Repeal movement “disrupts the [End Page 110] narrative of an abortion-free Ireland” by bringing abortion travel to the United Kingdom into scrutiny within an Irish context.6 Through performative artworks that reproduce the travel experiences of women going abroad to access abortion services, the issue becomes re-situated within Irish borders. Despite a huge increase in artists addressing abortion issues in the period 2012–18, Suzanna Chan looks back in time to note that abortion has frequently been a topic of interest in the work of Irish feminist artists.7 She cites in particular Pauline Cummins and Louise Walsh’s Sounding the Depths: A Collaborative Installation (1992) and Shelagh Honan’s...