For decades, Stanley's satirical practice has critiqued social roles revamping a centuries-old template of myth and allegory. Symbolic, colorfully animated lampoons of daily male privilege are voyeuristically depicted as the observation of a naive eyewitness, sometimes herself. Stanley has tried to balance the colloquial and the sublime with caustic humor, the bridge to darker injustices.
An under-recognized pioneer, her distorted technique now championed by figurative painters, she has clearly been inspirational to many figurative feminist artists in her irreverent repurposing of male-dominated Western Mythology.
Central to consciousness-raising feminist artist uprisings in California, Stanley helped compile the women artist slide registry housed at SF Art Institute and presented to the West Coast Womens' Artist Conference at Cal Arts in Valencia 1972. Through activism, the early years set a course and purpose for feminists, 'the personal is political'. Stanley's work continues in this vein.
Stanley is considered integral to the intentionally crude 'Bad Painting' that arose in the 70s.