n.paradoxa Booklist
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Notes: Monographs and individual artists' exhibition catalogues are not included in this list, except where they are explicitly feminist and provide a key role model for feminist art practice. You can look at exhibitions and anthologies separately by moving to those pages.
For authors' last names use capital letter first. For those beginning with "A", type "A" or use the first 3 letters of their last name.
The country search uses full English names, e.g. The Netherlands, except for USA and UK. "International" (use Capital "I") is the category used for projects where artists from more than 3 countries are involved. Books and exhibitions under "International" are in addition to those listed as individual countries. New sections have been added for geographical regions/ continents: Asia, Africa, Pacific, Middle East, South America, Scandanavia. These categories are in addition to individual countries listed. So, for searches in Africa, look also in Nigeria and Egypt.
The title search is limited to words used in the title, it does not provide a keyword or subject search facility. This search is for one word only, no boolean (multiple) searches are supported. Artists' last names can also be searched in the title section, if they are in a book or exhibition title.
All n.paradoxa articles are listed separately. To search these, Click here
This results of this search will give all books, exhibition catalogues, magazines and special issues, blogs, websites and women's art organisations for a country, including places of exhibition and publication and is compiled from n.paradoxa's database.
The results list is organised with links to organisations/websites first, then journals, then books and exhibition catalogues by date (with most recent first):
2024 Eleanor Heartney, Helaine Posner, Nancy Princenthal and Sue Scott
Mothers of Invention: The Feminist Roots of Contemporary Art
(London: Lund Humphries)
2024 Christian LiClair
Sexually Explicit Art, Feminist Theory, and Gender in the 1970s
(Routledge)
2024 outofsite_chi and Alice Bell and Carron Little
8 Acts of Love
(UK: University of Lincoln)
2024 Judith K. Brodsky, Diane Burko, Marsha Moss
(re)FOCUS 2024 (27 Jan-31 May) program of 150 exhibitions in Philadelphia
()
2023 Andrea Giunta
The Political Body: Stories on Art, Feminism, and Emancipation in Latin America
(Oakland : University of California Press)
2023 Chérie N. Rivers
To Be Nsala's Daughter: Decomposing the Colonial Gaze
(Duke University Press)
2023 Erin Silver
Taking place: Building histories of queer and feminist art in North America
(Manchester University Press)
2023 Jacqueline Francis, Jeanne Gerrity (Eds.)
Is Now the Time for Joyous Rage?
(A Series of Open Questions, vol. 4)
(Sternberg and CCA Wattis Institute for Contemporary Arts )
2023 Lauren Elkin
Art Monsters: Unruly Bodies in Feminist Art
(Chatto and Windus)
2023 Lorraine O'Grady and Amanda Gilvin
Teaching and Learning with Lorraine O'Grady: Both/And
(USA: Davis Museum at Wellesley College)
2023 Jennifer Higgie
The Other Side: A Journey into Women, Art and the Spirit World
(W & N)
2022 Erika Balsom and Hila Peleg
Feminist Worldmaking and the Moving Image
(MIT press)
2022 Rosalyn Deutsche
Not-Forgetting: Contemporary Art and the Interrogation of Mastry
(University of Chicago Press)
2022 Lex Morgan Lancaster
Dragging Away: Queer Abstraction in Contemporary Art
(Duke University Press)
2022 Megan Sweeney
Mendings
(Duke University Press)
2022 Rachel Warriner
Pain and Politics in Postwar Feminist Art:
Activism in the Work of Nancy Spero
(Bloomsbury publishing)
2022 Mindy Seu ed
Cyberfeminism Index, book
(Inventory press)
2022 Emily Elizabeth Goodman
Food, Feminism, and Women’s Art in 1970s Southern California
(Routledge)
2022 Kenza Oumlil
North American Muslim Women Artists Talk Back: Assertions of Unintelligibility
(Routledge)
2022 Lex Morgan Lancaster
Dragging Away: Queer Abstraction in Contemporary Art
(Duke University Press)
2022 Rosalyn Deutsche
Not-Forgetting Contemporary Art and the Interrogation of Mastery
(University of Chicago Press)
2022 Catherine Grant
A Time of One's Own: Histories of Feminism in Contemporary Art
(Duke University Press)
2021 Catherine McCormack
Women in the Picture: Women, Art and the Power of Looking
(Icon Books)
2021 Connie H. Choi, Amanda Donnan, and David Strand
Black Refractions: Highlights from The Studio Museum in Harlem (May 22–August 15, 2021)
(Washington: Frye Museum)
2021 Lauren Fournier
Autotheory as Feminist Practice in Art, Writing, and Criticism
(MIT)
2021 Anna Katz
With Pleasure: Pattern and Decoration in American Art 1972–1985 (June 26 – November 28, 2021)
(Hessel Museum)
2021 Amelia Jones
In Between Subjects: A Critical Genealogy of Queer Performance
(Routledge)
2021 Apsara DiQuinzio
New Time: Art and Feminisms in the 21st Century (August 25, 2021–January 30, 2022)
(Berkeley: )
2021 Janell Hobson
When God lost her tongue : historical consciousness and the black feminist imagination
(Routledge)
2021 Judith Brodsky
Dismantling the Patriarchy, Bit by Bit: Art, Feminism, and Digital Technology
(Bloomsbury publishing)
2021 Eva Rossetti, Valentina Grande
The Women who changed art forever: Feminist art - the Graphic novel
(Lawrence King)
2021 Jodi Throckmorton and Brittany Webb
Taking Space: Contemporary Women Artists and the Politics of Scale (Pennsylvania Academy of Fine Arts, January 7, 2021–April 11, 2021)
(Philadelphia: Pennsylvania Academy of Fine Arts)
2021 Frima Fox Hofrichter, Midori Yoshimoto eds
Women, Aging, and Art: A Crosscultural Anthology
(Bloomsbury publishing)
2020 Aída Hurtado
Intersectional chicana feminisms : sitios y lenguas
(Tucson : The University of Arizona Press)
2020 Jennie Klein, Natalie Loveless eds
Responding to site : the performance work of Marilyn Arsem
(Bristol: Intellect Books)
2020 Rachel Seligman and Minita Sanghvi
Never Done: 100 Years of Women in Politics and Beyond (Sep 17, 2020 - Jun 6, 2021)
(Frances Young Tang Teaching Museum and Art Gallery at Skidmore College)
2020 Rebecca DiGiovanna
Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present (Touring exhibition, South Bend Museum, October 17, 2020 – January 3, 2021)
(Sound Bend Museum)
2020 Karsten Lund and Caroline Picard
Nine Lives (Sep 12–Nov 15, 2020)
(Renaissance Society, Chicago)
2020 Jillian Hernandez
Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment
(Duke University Press)
2020 Amy Galpin
House to House: Women, Politics, and Place (Florida International University: Patricia & Phillip Frost Art Museum)(September 26, 2020 — February 7, 2021)
(Florida International University: Patricia & Phillip Frost Art Museum)
2020 Betty LaDuke
Migrants, Border Lands, And Social Justice
(Trenton, N.J. : Africa World Press)
2020 Feminist Art Coalition
Feminist Art Coalition (2020 Season of feminist art exhibitions across USA, many solo and group exhibitions on this list were postponed into 2021 due to Covid-19 closures)
(Feminist Art Coalition)
2020 Meg Duguid ed
Where the Future Came From: A Collective Research Project on the Integral Role of Feminism in Chicago's Artists-Run Culture from the nineteenth century to the present.
(USA: Soberscove Press)
More
'The book documents a 2018-2019 open-source participatory exhibition, symposium, and series of accompanying programs at Columbia College Chicago that explored the roles of feminism and intersectionality in approaching this history. The edited volume features a detailed chronology of almost 50 alternative spaces and projects spanning from 1880 to 2018, transcripts and related material from 18 presentations by artists, organizers, curators, and historians offer personal as well as scholarly accounts of feminist cultural work. About the Editor: Meg Duguid, director of exhibitions for Columbia College’s Department of Exhibitions, Performance, and Student Spaces (DEPS). This program is a part of an extended series: the 2020 Hull-House Museums and Social Justice series.'
With contributions by Tracey Jean Boisseau, Estelle Carol, Daisy Yessenia Zamora Centeno, Carol Crandall, Mary Ellen Croteau, Jory Drew, Meg Duguid, Courtney Fink, Luz Magdaleno Flores, Jeffreen M Hayes, Tempestt Hazel, Joanna Gardner-Huggett, Sam Kirk, Rana Liu, Sharmili Majmudar, Nicole Marroquin, Meida McNeal, Beate Minkovski, Lani Montreal, Neysa Page-Lieberman, Melissa Potter, Amina Ross, Jennifer Scott, Kate Sierzputowski, Jennifer Sova, Gloria Talamantes, Kate Hadley Toftness, Arlene Turner-Crawford, and Lynne Warren
2020 Bolton Colburn
Women, Surrealism, and Abstraction (Nora Eccles Harrison Museum of Art: August 25, 2020 - July 31, 2021)
(Utah University: Nora Eccles Harrison Museum of Art)
2020 Sarah Vargas
Here She Stands: Women Artists from the Permanent Collection (Fresno Art Museum)(August 2020-June 2021)
(Fresno Art Museum)
2020 Marisa Sage and Laurel Nakadate
Labor: Motherhood & Art in 2020 (University Art Museum (UAM) at New Mexico State University (NMSU), February 28–December 6, 2020) Virtual tour
(University Art Museum (UAM) at New Mexico State University (NMSU))
2020 Jennifer Inacio
MY BODY, MY RULES (Perez Art Museum, Miami, Nov. 19, 2020 – Sept. 5, 2021)
(Miami, Perez Art Museum)
2020 Deborah Yasinsky
Beasts Like Me: Feminism and Fantasy (October 22-November 21)
(Bronx Art Space)
2020 Karen Meninno and Carolyn Wirth
FeministFuturist
(Boston Center for the Arts)
2020 Barbara Kutis
Artist-Parents in Contemporary Art: Gender, Identity, and Domesticity
(Routledge)
2020 Cressida J. Heyes
Anaesthetics of Existence: Essays on Experience at the Edge
(Duke University Press)
2020 Emily L. Newman
Female Body Image in Contemporary Art: Dieting, Eating Disorders, Self-Harm, and Fatness
(Routledge)
2020
positions
() '(En)gendering: Chinese Women’s Art in the Making' Vol 28, no 1. (2020)
2020 Susie Hodge
The Short Story of Women Artists: A Pocket Guide to Key Breakthroughs, Movements, Works and Themes
(Laurence King)
2019 Sophie Yadong Hao ed
Of Other Spaces: Where Does Gesture Become Event?
(Sternberg)
2019 Genevieve Hyacinthe
Radical Virtuosity: Ana Mendieta and the Black Atlantic
(MIT press)
2019 Gabriela Aceves Sepúlveda
Women Made Visible: Feminist Art and Media in Post-1968 Mexico City
(USA: University of Nebraska Press)
2019 John Corso Esquivel
Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect
(Routledge)
2019 Alice Wexler, Vida Sabbaghi
Bridging Communities through Socially Engaged Art
(Routledge)
2019 Elena Marchevska and Valerie Walkerdine eds
The Maternal in Creative Work: Intergenerational Discussions on Motherhood and Art
(Routledge)
2019 Laura E. Perez
Eros Ideologies: Writings on Art, Spirituality, and the Decolonial.
(Duke University Press)
2019 Natasha Hoare
Sexual Warfare: Alexis Hunter
(MIT press)
2019 Hilary Robinson and Maria Elena Buscek eds
A Companion to Feminist Art
(Wiley Blackwells Companions to Art History series)
2019
Women Take the Floor (Museum of Fine Arts, Boston, September 13, 2019–November 14, 2021)
(Boston: Museum of Fine Arts)
2019 Jill Johnston, Axel Wieder, Fiona McGovern, Megan Francis Sullivan
The Disintegration of a Critic
(Sternberg)
2019 Shannon R. Stratton with Faith Wilding eds
Faith Wilding's Fearful Symmetries
(Bristol: Intellect)
2019 Annette Jael Lehmann, Verena Kittel
Tacit Knowledge Feminism – California Institute of the Arts 1970-1977
(Leipziz : Spector Books)
2019 Nancy Princenthal
Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s
(Thames and Hudson)
2019 Flavia Frigeri
Women Artists: Art Essentials
(Thames and Hudson)
2019 Na'ama Klorman-Eraqi
The visual is political : feminist photography and countercultural activity in 1970s Britain
(New Brunswick : Rutgers University Press)
2019 Kathy Battista
New York, New Wave: The Legacy of Feminist Artists in Emerging Practices
(IB Tauris)
2019
VoCA Journal
() (Spring)Women in Media Arts
2019 Jools Gilson, Nicola Moffat eds
Textiles, Community and Controversy : The Knitting Map
(Bloomsbury Visual Arts)
2018 Laura Fantone
Local Invisibility, Postcolonial Feminisms: Asian American Contemporary Artists in California
(Palgrave Macmillan)
2018 Kimberley Lamm
Addressing the Other Woman: Textual Correspondences in Feminist Art & Writing
(Manchester University Press)
2018 Sasha Su-Ling Welland
Experimental Beijing : gender and globalization in Chinese contemporary art
(Durham: Duke University Press)
2018 Rachel Middleman
Radical Eroticism: Women, Art, and Sex in the 1960s
(University of California Press)
2018 Kate Mondloch
A Capsule Aesthetic: Feminist Materialisms in New Media Art
(University of Minnesota Press)
2018
e-flux journal #92 (June 2018) and #93 (Sept 2018)
()
2018
Mfon: Women Photographers of the African Diaspora
(USA: Eye & I Inc.)
2018 Monika Fabijanska
The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S.(September 4–November 3, 2018)
(Anya and Andrew Shiva Gallery at John Jay College of Criminal Justice, New York)
2018 Helena Reckitt
The Art of Feminism:Images that Shaped the Fight for Equality, 1857–2017
(Chronicle Books)
2018 Lisa Ryan Musgrave ed
Feminist Aesthetics and Philosophy of Art: The Power of Critical Visions and Creative Engagement
(New York: Springer)
2017 Elin Diamond, Denise Varney, Candice Amich eds
Performance, Feminism and Affect in Neoliberal Times
(Palgrave MacMillan)
2017 Catherine Morris and Rujeko Hockley
We Wanted a Revolution: Black Radical Women, 1965–85
(April 21–September 17, 2017)
(Brooklyn Museum: Elizabeth Sackler Center)
2017 Michael Darling
Riot Grrrls (Dec 15, 2016–Jun 18, 2017)
(Museum of Contemporary Art, Chicago)
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The exhibition presents ten pioneering painters, including Mary Heilmann and subsequent leaders Charline von Heyl, Judy Ledgerwood, and Joyce Pensato, along with a younger group of rebels including Molly Zuckerman-Hartung and Amy Feldman. As with the feminist hardcore punk movement that gives the exhibition its title, these painters have influenced each other and the next generation of emerging artists.
Tomma Abts (German, b. 1967)
Ellen Berkenblit (American, b. 1958)
Amy Feldman (American, b. 1981)
Mary Heilmann (American, b. 1940)
Judy Ledgerwood (American, b. 1959)
Ree Morton (American, 1936–1977)
Joyce Pensato (American, b. 1941)
Jackie Saccoccio (American-Italian, b. 1963)
Charline von Heyl (German, b. 1960)
Molly Zuckerman-Hartung (American, b. 1975)
2017 Quinn Latimer
Like a Woman: Essays, Readings, Poems
(Sternberg Press)
2017 Greg Gurley ed
Art and Gender: An Intersexual Reader
(USA: Cognella Inc.)
2017 Nizan Shaked
The synthetic proposition: Conceptualism as political art
(Manchester University Press)
2017 Julia Bryan-Wilson
Fray: Art and Textile Politics
(University of Chicago Press)
2017 Grace Banks
Play With Me: Dolls, Women and Art
(Lawrence King)
2017 Richard Grusin ed
Anthropocene Feminism
(University of Minnesota Press)
2017 Amanda Ravetz, Alice Kettle, Helen Felcey eds
Collaboration Through Craft
(Bloomsbury)
2017 Julia Skelly
Radical Decadence: Excess in Contemporary Feminist Textiles and Craft
(Bloomsbury)
2017
Art as Caribbean Feminist Practice, Small Axe, Vol 21, 1 (March)
(Duke University Press)
2017 Donna Seaman
Identity Unknown: Rediscovering Seven American Women Artists
(Bloomsbury publishing)
2017 Whitney Chadwick
The Militant Muse: Love, War and the Women of Surrealism
(Thames and Hudson)
2016 Katherine Behar ed
Object-Oriented Feminism
(University of Minnesota Press)
2016 Karen Gonzalez Rice
Long Suffering: American Endurance Art as Prophetic Witness
(University of Michigan Press)
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This book contains a detailed analysis of Linda Montano's work.
2016 Amelia Jones and Erin Silver eds
Otherwise : imagining queer feminist art histories
(Manchester: Manchester University Press)
2016 Olga Kopenkina
Feminism is Politics! (Sept 28-Nov 23 2016)
(New York: Pratt Manhattan Gallery)
2016 Jo-Anne Reske Kirkman and Laura Mayo
WARM Guerrillas: Feminist Visions (February 26th – March 12, 2016)
(Minneapolis: The Grain Belt Bottling House Gallery)
2016 Lynn Hershman Leeson and Peter Weibel ed
Lynn Hershman Leeson: Civic Radar
(Hatje Cantz / ZKM)
2016 Sabra Moore
Openings: A Memoir from the Women's Art Movement, New York City 1970-1992 ( forewords by Lucy Lippard and Margaret Randall)
(New York: New Village Press)
2016 Alison Gingeras
Black Sheep Feminism: The Art of Sexual Politics (17 Jan-March 20)
(Dallas Contemporary)
2015 Astria Suparak and Ceci Moss
Alien She (Riot Grrrl Movement)(Sep 3, 2015 – Jan 9, 2016)
(Miller Gallery, Carnegie Mellon and PNCA)
2015 Christine Gledhill and Julia Knight eds
Doing Women's Film History
(University of Illinois Press)
2015
ARTnews (June) vol. 114 issue 6
() Special issue on sexism, situation of the woman artist.
2015 Nadya Burton ed
Natal Signs: Cultural Representations of Pregnancy, Birth and Parenting
(Ontario: Demeter Press)
2015 Guerrilla Girls
Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond (1-17 May)
(New York: Abrons Arts Center )
2015 Charmaine A. Nelson
Representing the Black Female Subject in Western Art
(Routledge)
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Introduction Part I: From Girls to Women: Locating Black Female Subjects in Western Art 1. Through An-Other’s Eyes: White Canadian Artists – Black Female Subjects 2. Racing Childhood: Representations of Black Girls in Canadian Art Part II: Slavery and Portraiture: Agency, Resistance and Art as Colonial Discourse 3. Slavery, Portraiture and the Colonial Limits of Canadian Art History 4. The Fruits of Resistance: Reading Portrait of a Negro Slave on the Sly 5. Tying the Knot: Black Female Slave Dress in Canada Part III: The Nude and the Naked: Black Women, White Ideals and the Racialization of Sexuality 6. Coloured Nude: Fetishization, Disguise, Dichotomy 7. The "Hottentot Venus" in Canada: Modernism, Censorship and the Racial Limits of Female Sexuality Part IV: From White Marble to Coloured Stone: Aesthetics, Materiality and Degrees of Blackness 8. White Marble, Black Bodies and the Fear of the Invisible Negro: Signifying Blackness in Mid-Nineteenth-Century Neoclassical Sculpture 9. Vénus Africaine: Race, Beauty and African-ness 10. Allegory, Race and the Four Continents: Jean-Baptiste Carpeaux’s Les quatre parties du monde soutenant la sphere céleste. Conclusion: Whiteness as Collective Narcissism, Towards a New Vision
2015 Uri McMillan
Embodied Avatars: Genealogies of Black Feminist Art and Performance
(New York University Press)
2014 Andrew D. Hottle
The art of the Sister chapel : exemplary women, visionary creators, and feminist collaboration
(Ashgate)
2014 Jennifer C. Nash
The Black Body in Ecstasy
(Duke University Press)
2014
Brooklyn Rail (online)
() 2014 (4 Sept) (New York) edited by Kara L. Rooney
2014 Natalie Loveless
New Maternalisms: Maternidades y Nuevos Feminismos (26 June-31 August)
(Museo de Arte Contemporaneo, Museo Nacional de Bellas Artes)
2013
Women in Art 278 Magazine
(Girona Consulting) 2018 published on issuu as a quarterly visual profiling of selected women artists and their work.
Last volume, Jan 2018.
2013 Lisa Darms ed
The Riot Grrrl Collection
(Feminist Press)
2013 Jaishri Abichandani and Josheen Oberoi
Her Stories: Fifteen Years of the South Asian Women's Creative Collective (Taubman Museum, Roanoke, VA, May 28- August 24, 2013)
(Taubman Museum)
2013 Kate Eichhorn
The Archival Turn in Feminism: Outrage in Order (Riot Grrrls)
(Temple University Press)
2013 Eleanor Heartney, Helaine Posner, Nancy Princenthal, Sue Scott
The Reckoning: Women Artists of the New Millennium
(Prestel)
2013 Tal Dekel
Gendered: Art and Feminist Theory
(Cambridge: Cambridge Scholars Publishing)
2013 Helen Molesworth and Taylor Walsh
Louise Lawler
(MIT Press (October Files))
2013 Isabelle Thuy Pelaud, Lan Duong, Mariam B. Lam and Kathy L. Nguyen eds
Troubling Borders: An Anthology of Art and Literature by Southeast Asian Women in the Diaspora
(USA: University of Washington Press)
2013 Diana Almeida eds
Women and the Arts Dialogues in Female Creativity
(Blackwells)
2013 Clare Johnson
Femininity, Time and Feminist Art
(Palgrave)
2012- Lenka Clayton
An Artist Residency in Motherhood
() A self-directed, open-source artist residency to empower and inspire artists who are also mothers. Kit available (mentoring programme in operation). 1,200 Artists-in-Residence-in Motherhood have occurred with residents are now in all 50 US states and 70 countries. Established by Lenka Clayton.
2012 Judith Brodsky and Ferris Olin ed.
The fertile crescent : gender, art, and society
(New Brunswick, N.J. : Rutgers University Institute for Women and Art ; New York, N.Y. : Distributed by D.A.P./Distributed Art Publishers)
2012 Robert Cozzolino ed
The female gaze : women artists making their world (November 17, 2012-April 7, 2013, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania)
(Pennsylvania Academy of the Fine Arts)
2012 Catherine Morris and Vincent Bonin eds
Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art
(Boston: MIT Press)
2012
Frontiers: A Journal of Women's Studies
() 2012 Special issue on Feminist Art and Social Movements: Beyond NY/LA (vol 33, no.2)
2012 Leila Pourtavaf ed
Féminismes Électriques
(Montreal: La Centrale and Les Éditions du rémue-ménage)
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Feminismes Electriques documents the evolution of feminist artistic practices over the last decade at La Centrale Galerie Powerhouse, a feminist artist-run center in Montreal, with a 40 year history of exhibiting local, national and international feminist and women artists.
Additional information: Essays by Helena Reckitt, Therese St-Gelais, Trish Salah, Bernadette Houde, and Aneessa Hashmi, as well as a series of artist texts: Manon Tourigny in conversation with Stephanie Chabot and Dominique Petrin, Reena Katz with Jumana Manna and Onya Hogan-Finlay with Chris Kraus. The publication includes an artist poster by G.B. Jones as well a detailed programming history of a decade of the La Centrale's programming by Roxanne Arsenault. Book design by Cecilia Berkovic.
2012 Hye-Seong Tak Lee and Sherri Cornett eds
Woman + Body
(Gwangju Cultural Foundation)
2012 Andrew Mazzaschi
Signs: Virtual issue on Visibility and Visuality: Reframing Gender in the Middle East, North Africa, and Their Diasporas
() organised in conjunction with 'The Fertile Crescent: Gender, Art and Society' Rutgers Institute for Women and Art, mid-August 2012-Jan 2013
2012 Jill Fields ed
Entering the Picture: Judy Chicago, The Fresno Feminist Art Program and the Collective Visions of Women Artists.
(New York: Routledge)
2012 Rachel Epp Buller ed
Reconciling Art and Mothering
(UK; Ashgate Publishing)
2012 Cornelia Butler
From Conceptualism to Feminism: Lucy Lippard's Numbers shows, 1969-1974
(London: Afterall Books)
2012 Joani Blank ed
Femalia
(Last Gasp, San Francisco)
2012 Meg Linton and Sue Maberry eds
Doing it in Public: Feminism and Art at the Woman's Building
(Los Angeles: Ben Maltz Gallery, Otis College of Art and Design)
2012 Cheri Gaulke and Laurel Klick eds
Feminist Art Workers: A History
(LA: Otis College of Art and Design)
2012
Etheria Film Festival (Boston)
() Etheria selects and screens the best new short fantasy and science fiction films directed by women from all over the world. It will take place in September 2012 for the first time.
Information link only, current website was hacked.
2012 Amelia Jones
Seeing Differently: A History and Theory of Identification and the Visual Arts
(Routledge)
2011 Lisa Pearson ed
It is Almost That: A Collection of Image+Text Work by Women Artists and Writers
(Siglio)
2011 Sondra Hale and Terry Wolverton eds
From Site to Vision: The Woman's Building in Contemporary Culture
(Los Angeles: Ben Maltz Gallery, Otis College of Art and Design)
2011 Maria Elena Buszek ed
Extra/Ordinary: Craft and Contemporary Art
(Duke University Press)
2011
Women Art Revolution (!WAR) collection: Voices of a Movement
() Transcripts and video footage by Lynn Hershman Leeson, used in Women, Art and Revolution
2011 Kristine Stiles ed
Correspondence Course: An
Epistolary History of Carolee
Schneemann and Her Circle
(Duke University Press)
2011 Jennifer Banta ed
Cultural Confluences:
The Art of Lenore Chinn
(San Francisco: APICC)
2011 Martha Wilson
Martha Wilson Sourcebook: 40 years of reconsidering performance, feminism, alternative spaces
(Independent Curators International)
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Foreword: Kate Fowle. Introduction by Moira Roth. Text by Martha Wilson.
2011
Bluestockings Film Series (Portland, Maine)
() The Bluestocking Film Series is a bi-annual (May/October) screening series committed to finding and showing short works by women directors but with a unique twist as all films must "pass" the Bechdel Test for Women in Movies. The Bechdel Test, Bechdel-Wallace Test, or the Mo Movie Measure, is a sort of litmus test for female presence in movies and TV. The test is named after Alison Bechdel, creator of the comic strip 'Dykes To Watch Out For'.
In order to pass, the film or show must meet the following criteria: it includes at least two women... who have at least one conversation... about something other than a man or men.
2011 Courtney Lee Weida
Artistic ambivalence in clay : portraits of pottery, ceramics and gender
(Newcastle upon Tyne : Cambridge Scholars)
2011 Nancy Princenthal ed
The deconstructive impulse : women artists reconfigure the signs of power, 1973-1991
(New York : Munich ; New York : Neuberger Museum of Art , DelMonico Books/Prestel)
2011 Marta Zarzycka and Bettina Papenburg eds
Carnal Aesthetics: Trangressive Imagery and Feminist Politics
(London: IB Tauris)
2011 Julia Bryan-Wilson
Art Workers: Radical Practice in the Vietnam War Era
(University of California Press)
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This book has a chapter on Lucy Lippard's conception of Feminist labour
2011 Myrel Chernick and Jennie Klein
The M Word: Real Mothers in Contemporary Art
(Ontario: Demeter Press)
2011 Alicia Gaspar de Alba, Alma López eds.
Our Lady of Controversy (Alma Lopez)
(University of Texas)
2010 Marcia Tucker, Liza Lou (Editor) ed
A Short Life of Trouble: Forty Years in the New York Art World
(University of California Press)
2010 Amanda Lock Swarr and Richa Nagar eds
Critical transnational feminist praxis
(Albany : State University of New York Press)
2010 Deborah Willis
Black Venus 2010: They Called Her "Hottentot"
(Temple University Press)
2010 Sid Sid Sachs and Kalliopi Minioudaki eds
Seductive subversion : women pop artists, 1958-1968
(University of the Arts ; Abbeville Publishers)
2010 James Martin Harding
Cutting performances: collage events, feminist artists, and the American avant-garde
(Ann Arbor : University of Michigan Press)
2010 Suzanne Lacy
Leaving Art: Writings on Performance, Politics and Publics, 1974-2007
(Duke University Press)
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Review reproduced from Volume 27, n.paradoxa, Jan 2011. Katy Deepwell 'Short Book Reviews'
Suzanne Lacy Leaving Art: Writings on Performance, Politics and Publics, 1974-2007 Duke University Press, 2010 ISBN: 978-0-8223-4569-5
This new anthology of 30 texts by Suzanne Lacy written since 1974 will become an important point of reference to contemporary artists and theorists engaged in considering public art projects with social and political commitment. Her work for a long time has stood as an exemplar of strategies for worthwhile and productive forms of social engagement through art with a wide range of local community groups: as summarised in her book Mapping the Terrain: New Genre Public Art (Bay press, 1995).
This new book offers insights into her own theorisation of events and works and the contexts which produced and framed her work. It will provoke new scholarship on her work and act as an ideal complement to the new monograph on her work which has just been produced.
2010 Vanessa Corby
Eva Hesse: longing,belonging and displacement
(London: IB Tauris)
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Review reproduced from Volume 27, n.paradoxa, Jan 2011. Katy Deepwell 'Short Book Reviews'
Vanessa Corby Eva Hesse: longing,belonging and displacement London: IB Tauris, 2010 ISBN: 978-1-84511-544-9
Taking as its point of departure two drawings from 1960/1961, Corby seeks to explore their role as 'bearers of subjectivity' and develop a new reading of Hesse against the climate of her time and the impact of the Holocaust.
2010 Kelly Clark Keefe
Invoking Mnemosyne: art, memory and the uncertain emergence of a feminist embodied mythology
(Rotterdam: Sense Publishers)
2010 Olga M. Mesropova and Stacey Weber-Feve eds
Being and becoming visible: women performance and visual culture
(Baltimore and London: John Hopkins University Press)
2010 Laura Hein and Rebecca Jennison eds
Imagination without Borders: Feminist Artist Tomiyama Taeko and Social Responsibility
(Ann Arbor: Center for Japanese Studies, University of Michigan)
2010 Whitney Chadwick, Bia Markel, Alexandra Reiff eds
Contemporary feminist studies and its relation to art history and visual studies (conference papers, 2007)
(Goteborg: Goteborg Universitet)
2010 Kirsten Pail Buick
Child of the Fire: Mary Edmonia
Lewis and the Problem of Art
History's Black and Indian Subject
(Durham: Duke University Press)
2010 Sharon Irish
Suzanne Lacy: spaces between
(University of Minnesota Press)
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Review reproduced from Volume 27, n.paradoxa, Jan 2011. Katy Deepwell 'Short Book Reviews'
Sharon Irish Suzanne Lacy: Spaces Between University of Minnesota Press, 2010 ISBN: 978-0-8186-6096-4
Offering a strong chronological overview of the different projects which Suzanne Lacy has made since 1972, this book is the first, apart from discussion in exhibition catalogues, to offer an extended insight into Lacy's work in the last forty years. It summarises how Lacy's work has resisted racism, promoted feminism and explored human relationships in her development of new genre public art.
2010 Angela Steif ed
Power Up: Female Pop Art
(DuMont Literatur und Kunst Verlag GmbH & Co KG)
2010 Barbara Matilsky
Show of Hands: Northwest Women Artists 1880-2010
(Whatcom Museum, Bellingham)
2010
Portland Women's Film Festival (Portland, Oregon)
() The Portland Oregon Women's Film Festival (POWFest) places a spotlight on women directors by showcasing their work and strengthening the community of women in film. It occurs for three days every March. In addition to films there are also numerous lectures and seminars to support young women in film.
2010 Fabienne Dumont ed
La rebellion du deuxieme sexe - L'histoire de l'art au crible des theories feministes anglo-americaines (1970-2000)
(Dijon: Les presses du reel)
2009 Mira Schor
A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life
(USA: Duke University Press)
2009 Mary Schoeser
Rozanne Hawksley: Offerings
(Lund Humphries and Ruthin Craft Centre, Wales)
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Review reproduced from Volume 24, n.paradoxa, July 2009. Katy Deepwell 'Short Book Reviews'
Mary Schoeser Rozanne Hawksley: Offerings
USA: Lund Humphries and Ruthin Craft Centre, Wales,2009 ISBN: 978-1-84822-026-3
Offering a chronological picture of the life and art of Rozanne Hawksley, each chapter in this book offers insights into either a different time period or group of works. The front cover reproduces a fragment of her most well-known work Pale Armistice, made from a circle of white leather gloves and shown in the exhibition The Subversive Stitch (1988) before being purchased for the Imperial War Museum in London. The reproductions document Hawksley's work in objects/sculptures and installations often using fabric, embroidery or textiles and examining, in more recent times, her family histories, memento mori and human suffering.
2009 Andrea Liss
Feminist Art and the Maternal
(University of Minnesota Press)
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Review reproduced from Volume 24, n.paradoxa, July 2009. Katy Deepwell 'Short Book Reviews'
Andrea Liss Feminist Art and the Maternal University of Minnesota Press, 2009
ISBN: 978-0-8166-4623-4
I am certain this book will become a valuable "must-read" for students and artists to break down the mythology of the separation between art and motherhood. Liss' book focuses on the very different models of motherhood projected in the work of some contemporary women artists from its repetitions in numerous chores and labour in Mierle Ukeles' Maintenance Art pieces to the poignancy of two mothers' grief in the collaboration between May Stevens and Civia Rosenberg. Laura Mulvey and Peter Wollen's Riddles of the Sphinx and Mary Kelly's Post-Partum Document are considered as well as work by Ellen McMahon, Gail Rebhan, M.A.M.A., Catherine Opie, Renee Cox, Susan Hiller and Ngozi Onwurah. The book's strength is its attempt to diversify "motherhood" into a plethora of attitudes to "good-enough mothers", embracing the ambivalences between mothers and their daughters and sons, the stresses, pains and pleasures, while all the time mixing in the text the biographical with the analytical. This is a thoughtful exploration of what feminists have brought to this question over several generations of art production.
2009
Lady Filmmaker's Festival (California)
() Lady Filmmakers aims to celebrate women in key leadership roles in the making of short and feature length films. A woman must fill the role of Writer, Director, Cinematographer, Editor, Producer, or Production Designer to be eligible. The festival promotes and screens collaborations between men and women filmmakers. The festival takes place every annually October.
2009 Sue-Ellen Case
Feminist and Queer Performance: Critical Strategies
(Palgrave Macmillan)
2009 Jane Blocker
Seeing Witness: Visuality and the Ethics of Testimony
(University of Minnesota Press)
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Review reproduced from Volume 24, n.paradoxa, July 2009. Katy Deepwell 'Short Book Reviews'
Jane Blocker Seeing Witness: Visuality and the Ethics of Testimony
University of Minnesota Press, 2009 ISBN: 978-0-8166-5477-2
This book is a very valuable contribution to debates about how the visual constructs knowledge and at the same time how problematic is the interpretation of what we see. The subject of the discussion is focused on what happens when we witness performance and installation artists' work as well as what it means to bear witness. Works discussed include: James Luna, Marina Abramovic/Ulay, Alfredo Jaar, Eduardo Kac, Christine Borland, Ann Hamilton to Feliz Gonzalez-Torres. In consdering how testimony figures in their work, Blocker is concerned to analyse how art has the capacity to challenge dominant accounts of events and question knowledge of the "real" in art's diverse production of representations and differences in regimes of representation.
2009 Midori Yoshimoto ed
Women & Performance: a journal of feminist theory
() vol. 19, no. 3 (2009).
Women & Fluxus: Toward a feminist archive of Fluxus, Special issue. guest editor, Midori Yoshimoto
2008 Joanna Frueh
Clairvoyance (for those in the desert) Performance Pieces, 1979-2004
(Durham and London: duke University Press)
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Review reproduced from Volume 22, n.paradoxa, July 2008. Katy Deepwell 'Short Book Reviews'
Joanna Frueh Clairvoyance (for those in the desert) Performance Pieces, 1979-2004 Duke University Press, 2008 ISBN: 978-0-8223-4040-9
This new book by Joanna Frueh republishes her performance scripts, spanning twenty-five years. An extensive introduction is included by JillO'Bryan exploring the major concerns in her writing and in her performances as well as her intellectual contribution to feminism. The book is illustrated by images of Joanna Frueh in performance but also by their joint photography project: Joanna in the Desert (2006).
2008 Carol Mavor
Reading Boyishly: Roland Barthes, J M Barrie, Jacques Henri Lartique, Marcel Proust and DW Winnicott.
(Durham and London: Duke
University Press)
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Review reproduced from Volume 22, n.paradoxa, July 2008. Katy Deepwell 'Short Book Reviews'
Carol Mavor Reading Boyishly: Roland Barthes, J M Barrie, Jacques Henri Lartique, Marcel Proust and DW Winnicott. Duke University Press, 2008. ISBN: 978-0-8223-3962-5
Described on the bookjacket as a 'meditation on the threads that unite mothers and sons' this book looks again at four key writers and their self- representation, bringing to light the idea of reading boyishly as a means to examine again their approaches and how mother-child relationships function and figure in their work. The writing style is elliptical, playful - even hedonistic - and full of associative leaps while trying to reveal the pleasures mined genealogically within the text.
2008 Margo Machida
Unsettled Visions: Contemporary Asian American artists and the social imaginary
(Durham : Duke University Press)
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Review reproduced from Volume 24, n.paradoxa, July 2009. Katy Deepwell 'Short Book Reviews'
Margo Machida Unsettled Visions: Contemporary Asian American artists and the social imaginary Durham and London: Duke University Press, 2008 ISBN: 978-0822-342-45
This is a fascinating and remarkable collection of essays documenting the work of Asian American artists since the 1990s - with a strong focus on women artists. Machida analyses and unpicks the shifting meanings of 'Asian ' identities in and through her discussion of contemporary American art practices focusing on key themes: questions of position/positionality in identity politics; representations of the Other; social memory and trauma, and migration, diaspora and sense of place. Ten interviews are the focus of the book's research. Women artists featured in depth include: Tommie Arai, Kristine Aono, Yong Soon Min, Hanh Thi Pham, Ming Fay and Zarina.
2008 Karen Mary Davalos
Yolanda M. Lopez
(Los Angeles: UCLA Chicano
Studies Research Center
Press)
2008 Nancy Prinsenthal and Phillip Earenflight eds
Joyce Kozloff: Co+ordinates
(Pennsylvania: Carlisle, Trout Gallery)
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Review reproduced from Volume 24, n.paradoxa, July 2009. Katy Deepwell 'Short Book Reviews'
Nancy Prinsenthal and Phillip Earenflight (ed.) Joyce Kozloff: Co+ordinates
Pennsylvania: Carlisle, Trout Gallery, 2008 ISBN: 978-0-9768488-8-2
Beautifully illustrated, this book and exhibition catalogue surveys Joyce Kozloff's rich and decorative series of works in the last decade. The essays compare and consider these works in relation to her last two decades of work of public art, her feminist and anti-war protests from the 1970s to the present and her role in the pattern and decoration movement in the USA. Works discussed like Targets, Rocking the Cradle, Knowledge and Boy's Art are particularly striking for the ways in which they overlay and juxtapose maps to reimagine the complexities of geo-political conflicts as a clash of cultural forms and knowledge constructions.
2008 Zdenek Felix and Martina Pachmanova eds
Martha Rosler: Photographic Works, 1965-2008
(Prague: Langhams Galerie)
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Review reproduced from Volume 24, n.paradoxa, July 2009. Katy Deepwell 'Short Book Reviews'
Martha Rosler: Photographic Works, 1965-2008
Essays by Zdenek Felix, Martina Pachmanova (Prague: Langhans Galerie, 2008)
ISBN: 978080-902816-5-3
This catalogue surveying forty years of Rosler's practice in photography is the first exhibition of the artist in the Czech Republic. Martina Pachmanova, whose two anthologies in Czech have done much to introduce ideas about feminist art to the local scene, wrote the introductory essay offering an overveiw of her practices and her feminism. Text is in Czech and English.
2008 Yvonne Rainer, Carrie Lambert, Catherine Lord, Catherine Queloz (editor) ed
Une femme qui...Ecrits, entretiens, essais critiques (French edition)
(JRP Ringier)
2008 Debra J. Blake
Chicana sexuality and gender: cultural refiguring in literature, oral history, and art
(Durham : Duke University Press)
2007 Judy Chicago
The Dinner Party: From Creation to Preservation
(London: Merrell)
2007 Graciele Iturbide
Eyes to Fly With: Portraits, Self-
Portraits, and other photographs
(USA: University of Texas Press)
2007 Matthew Knagas
Camille Patha: Geography of Desire
(Oregon: Halie Ford Museum of Art, Williamette University)
2007 Terry R. Meyers
Mary Heilmann: Save the Last Dance for Me
(London: Afterall Books)
2007 Linda Nochlin and Maura Reilly
Global Feminisms
(London and New York: Merrell and Brooklyn Museum)
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Review reproduced from Volume 20, n.paradoxa, July 2007. Katy Deepwell 'Short Book Reviews'
Linda Nochlin and Maura Reilly Global Feminisms London & New York, Merrell and Brooklyn Museum, 2007 ISBN: 978-1-8589-4390-9
The exhibition which launched the Elizabeth Sackler Center for Feminist Art at the Brooklyn Musuem is described by its curators as an example of 'intergenerational feminist approaches'. Thirty years on from Nochlin's and Ann Sutherland Harris' exhibition Women Artists 1550-1950 , Nochlin collaborates with a former student on an international contemporary art show in which none of the selected artists were born before 1960. While transnationalism - understood as post-colonial, anti-racist and feminist - is the stated aim of Reilly's introduction, the selection emerged in a dialogue between the two curators about feminist work as critique and this has informed the result. The four sections of the exhibition, Life Cycles, Identities, Politics and Emotions, are not mirrored in the catalogue. A decision which tends to reinforce the idea that feminism is solely centred in a nuanced "differentiated" body politics about representation of women bodies (rather than particular ideological-social-cultural politics to change women's situation). Essays offering an overview of the show by the curators Linda Nochlin and Maura Reilly are presented alongside some very general assessments of different "regions" in the world: N'Gone Fall (on women artists from Africa), Michiko Kasahara (women artists from Japan), Joan Kee (Asian women artists), Virginia Perez-Ratton (Central American women artists), Elisabeth Lebovici (Western European women), Charlotte Kotik (Eastern and Central European women) and Geeta Kapur (whose essay's focus on five women artists in India escapes this level of generality). Significantly the curatorial argument stresses the 'new global imperative' for feminist curating to encourage the inclusion of non-Western and "minority" women's voices. The disconnect within the catalogue from references to the emergence of feminist art practices in the 1960s in many parts of the world might encourage the rather lazy assumption that feminism did not operate prior to the 1980s or 1990s in many of the regions discussed. But also, the "absent centre", the US, needs its own explanation. Perhaps a clearer comparative account of what "minority" means in America is needed and the recognition that the multicultural politics practiced there is different in kind from those in operation in Japan, Australia or different parts of Europe and Africa or Latin America, where different configurations and histories of racial, ethnic and religious groups have been constructed into either "marginal" or "mainstream" . Feminism's role as a discourse against power, as Geeta Kapur suggests, will then start to frame the effectiveness of feminist interventions in the discourses of art, art history, the museum and cultural politics.
2007 Laura Elisa Perez
Chicana art : the politics of spiritual and aesthetic altarities
(Durham, N.C. : Duke University Press ; Chesham)
2007 Victoria Vesna ed
Database Aesthetics: Art in the Age
of Information Overflow
(Minneapolis: University of
Minnesota Press)
2007 Catherine Wood
Yvonne Rainer: The Mind is a
Muscle
(Massachusetts and London: MIT
Press)
2007 Anna Brzyski ed
Partisan Canons
(Durham and London: Duke
University Press)
2007 Wong Gina See-Yuen
Global feminisms in feminist art and their new challenges
(Hong Kong University, PhD)
2007 Nadine Käthe Monem
Riot grrrl: revolution girl style now!
(London: Black Dog)
2007
Art News
((USA))
2007
Strategies for contemporary feminism: Exquisite Acts and Everyday Rebellions
() conference papers from California Institute for Arts in Valencia, 2007
2007 Eleanor Heartney, Helaine
Posner, Nancy Princenthal
and Sue Scott
After the Revolution: Women Who
Transformed Contemporary Art
(Munich, Berlin, London and New
York: Prestel)
2007 Joanna Inglot
WARM: A Feminist Art Collective in Minnesota
(Minneapolis: University of Minnesota Press, Weisman Art Museum)
2007 Karen Frostig and Kathy A. Halainka eds
Blaze: Discourse on Art, Women and Feminism
(US: Cambridge Scholar)
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Review reproduced from Volume 27, n.paradoxa, Jan 2011. Katy Deepwell 'Short Book Reviews'
Karen Frostig and Kathy A. Halamka (eds.) Blaze: Discourse on Art, Women and Feminism Cambridge Scholars Publishing, 2007 ISBN: 9781847183767
Although published several years ago, this anthology of American authors deserves some attention. Divided into four sections on Leadership, Criticism, Collaboration and The Work, its 32 essays cover a broad spectrum of debates across second-wave and third-wave US art world politics. Many of the contributions in the anthology arose from the 2006 Women's Caucus for Art conference in Boston, called Digging Deeper to Build New Paradigms. Patricia Hills and Eleanor Dickinson reflect on the history of WCA and throughout there is much discussion of the inclusions/ exclusions within different generations; different groups within the feminist movement and different attempts to act in an activist inclusive and open manner, while establishing new collaborations or opportunities for different groups of women. Personal stories are a strong part of the contributions as the writers speak largely from their own experience, about their own work and often as representatives of particular groups or institutions. Some of the contributions are very short, some quite anecdotal. As Jennifer Colby remarks 'the true test of good scholarship is whether it informs praxis'. (p.298)
2007 Cornelia Butler
WACK! Art and the Feminist Revolution
(Massachussetts: MIT and Los Angeles: MOCA)
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Review reproduced from Volume 20, n.paradoxa, July 2007. Katy Deepwell 'Short Book Reviews'
Cornelia Butler WACK! Art and the Feminist Revolution Massachussetts: MIT and Los Angeles: MOCA, 2007 ISBN: 978-0-914357-99-5
Like the previous book, this large and well-illustrated exhibition catalogue is destined to become a classic reference point for feminist art histories as it too attempts to establish a new view of feminism's impact in relation to existing literature in the field (from the 1960s to 1984) by placing the American "power of feminist art" (of Broude and Garrard) in relation to some (mainly)Western European, South American and Asian counterparts. (Canadian and Australian trajectories of feminism are not well represented in its chronology of women's exhibitions or its histories). Contributors include: Marsha Meskimmon (on 'Chronology through Cartography'), Abigail Solomon-Godeau (on Self-Representation in first-wave feminist photographic practice), Peggy Phelan (on feminist performance art, 1960-1980), Richard Meyer (on male bodies and Censorship in the 1970s), Judith Russi Kirshner (on Italian feminists), Valerie Smith (on Black Women Artists), Nelly Richard (on women artists under Chile's dictatorship), Helen Molesworth (on painting), Catherine Lord (on a calligraphy of rage: lesbian/feminist culture 1965-1980) and Jenni Sorkin (on all-women group shows). The catalogue contains short critical essays on all the women artists selected as well as the standard short CV and bibliography one might expect and sections dividing the works, into exhibition displays such as Body Trauma or Pattern and Assemblage.
2007 Rhea Anastas, Michael Brenson eds
Witness to Her Art: Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne
(Bard College)
2007 Elinor Gadon, Wendy Tarlow Kaplan, Roobina Karode
Tiger by the Tail! Women Artists of India Transforming Culture
(Massachusetts: Women's Studies Research Center - Brandeis University; New Delhi: Indian Council for Cultural Relations )
2007 Alison Rowley
Helen Frankenthaler: Painting History, Writing Painting
(London: IB Tauris)
2007 Susan Kozel
Closer: Performance, Technologies,Phenomenology
(Boston: MIT, Leonardo series)
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Review reproduced from Volume 22, n.paradoxa, July 2008. Katy Deepwell 'Short Book Reviews'
Susan Kozel Closer: Performance, Technologies, Phenomenology
MIT: Leonardo series, 2007 ISBN: 978-0-262-11310-6
Part academic treatise, part documentation of a ten years of practice, Kozel analyses Merleau-Ponty's theory of phenomenology in relationship to approaches and methods she has developed in dance, performance and to the applications both real and virtual of wearable technologies in performances. The book represents an interesting approach because it mirrors the processes currently conducted by a considerable number of PhD students in the UK as practice-based research but this does not seem to have been the impetus behind the book, rather the establishment of a new form of interdisciplinary discourse.
2007 Zoe Leonard (Intro: Helen Molesworth)
Analogue
(MIT, Wexner Center for the Arts)
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Review reproduced from Volume 22, n.paradoxa, July 2008. Katy Deepwell 'Short Book Reviews'
Zoe Leonard: Analogue Exhibition catalogue MIT/Wexner Center for the Arts, 2007. Curator: Helen Molesworth
ISBN: 978-0-262-12295-5
This book publishes some of the 400 photographs within this epic series (produced between 1998-2007) part-shown at documenta XII (2007), of shop fronts and displays of goods in mainly the streets of New York but expanded over the years to other cities in the world, Warsaw, Kampala, Jerusalem. The book contains an interesting essay of excerpts and quotations from other photographers, philosophers and writers, assembled by the artist, as an indication of her philosophy and approach.
2007 American Asian Women Artists Association (AAWAA)
Cheers to Muses: Contemporary Works by Asian American Women
(American Asian Women Artists Association)
2007
NSWA Journal
() Vol. 19, No. 1, Spring, 2007. Special issue on Feminist Activist Art
2006 Sarah Nuttal ed
Beautiful/Ugly: African and Diaspora Aesthetics
(Durham, North Carolina & London: Duke University Press)
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Review reproduced from Volume 20, n.paradoxa, July 2007. Katy Deepwell 'Short Book Reviews'
Sarah Nuttal (ed) Beautiful/Ugly: African and Diaspora Aesthetics
Durham, North Carolina & London: Duke University Press, 2006 ISBN: 0-8223-3918-8
This book is one of the projects on definitions of beauty supported by the Prince Claus Foundation which draws the perspectives of writers, critics and artists, largely from Africa, on the question of African and Diasporan aesthetics. While there are many interesting arguments about beauty (in public art, posters, literature, sculpture and children's projects and cooking) and many women writers, cultural theorists and art historians within the book, women's cultural production as artists, literary figures, the makers of music and dance in Africa are not discussed. The book leaves the impression that their absence might be due to the presence of their bodies as a topic for discussion but the book also shifts the gaze to queer politics and to looking at representations of African men as much as women.
2006 Helen Molesworth ed
Twice Untitled and Other Pictures (looking back) Louise Lawler
(London: MIT Press and Wexner Art Centre, Ohio)
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Review reproduced from Volume 19, n.paradoxa, Jan 2007. Katy Deepwell 'Short Book Reviews'
Helen Molesworth (ed) Twice Untitled and Other Pictures (looking back) Louise Lawler London, The MIT Press, 2006. Wexner Art Centre, Ohio ISBN: 978-0-262-62206-6
With essays by Rosalyn Deutsche, Ann Goldstein and Helen Molesworth, this catalogue from a survey exhibition presents a reconsideration of Lawler's method of appropriation: literally, photographing the work of others. Deutsche outlines and attempts to situate her feminist politics, while Molesworth emphasises Lawler's pointed institutional critique, partic-ularly how the art world treats art, identifying its photographic poignancy through the framing of the small details of power, ownership and display. Goldstein considers Lawler's feminist critique of authorship and her collaborations with other artists.
2006 Carol Armstrong and Catherine de Zegher eds
Women Artists at the Millennium
(Cambridge: MIT Press)
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Review reproduced from Volume 19, n.paradoxa, Jan 2007. Katy Deepwell 'Short Book Reviews'
Carol Armstrong and Catherine de Zegher (eds) Women Artists at the Millennium Cambridge, Massachusetts: MIT Press, 2006. ISBN: 978-0-262-01226-3
The 16 contributors to this volume took part in a conference of the same name in 2001, re-examining the legacy of Nochlin's 1971 essay 'Why Have There Been No Great Women Artists?' and the relationship between "women", "artists" and the "milennium". Yvonne Rainer, Martha Rosler, Ann Hamilton and Mary Kelly were invited to speak about their own practice. Art historians and writers offer readings of many more women artists: Louise Bourgeois, Lygia Clark, Ellen Gallagher, Agnes Martin, Mona Hatoum, Bracha Ettinger, Carrie Mae Weems, Anna Maria Maiolino, Rosemarie Trockel, Sally Mann, and Francesca Woodman. de Zegher's introduction stresses how 'co-affectivity, transference, the relational and the transsubjective' all emerge as key themes, hopefully laying a foundation for a transformative politics in reading and understanding women artists.
2006 Annmarie Chandler and Norie Neumarkt eds
At a Distance: Precursors to Art and Activism on the Internet
(Boston: MIT Press)
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Review reproduced from Volume 17, n.paradoxa, Jan 2006. Katy Deepwell 'Short Book Reviews'
Annmarie Chandler and Norie Neumarkt (eds)
At a Distance: Precursors to Art and Activism on the Internet Boston: MIT, 2005 ISBN:0-262 03328-3
This major anthology of 20 essays includes writing by the editors, Johanna Brucker, Maria Fernandez, Heidi Grundmann amongst many others, exporing the roots/ routes of distribution and communication in new media, digital networks, mail art, music, radio and telematics. Linking developments in the 1970s with histories of futurism, the institutionalisation as well as histories of these developments is a major concern throughout.
2006 Jennifer Doyle
Sex objects : art and the dialectics of desire
(Minneapolis, Minn. ; London : University of Minnesota Press)
2006 Elvan Zabunyan, Valerie Mavridorakis, David Perreau
Martha Rosler sur|sous le pavé (exhibition catalogue)
(Universite de Rennes)
2006 Brian P. Kennedy and Britta Konau, Margo W. Smith
Dreaming Their Way: Australian Aboriginal Women Painters
(Washington DC: Museum of Women in the Arts)
2006 Lisa Bloom
Jewish Identities in American Feminist Art: Ghosts of Ethnicity
(London & New York: Routledge)
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Review reproduced from Volume 19, n.paradoxa, Jan 2007. Katy Deepwell 'Short Book Reviews'
Lisa E. Bloom Jewish Identities in American Feminist Art: Ghosts of Ethnicity
London & New York: Routledge, 2006 ISBN: 978-0-415-23221-0
Exploring both ' "an experience of marginality vis-a-vis whiteness and an experience of whiteness and belonging vis-a-vis blackness"', Bloom attempts to look at the contradictions and ambiguities of Jewishness as a secular form of ethnicity in American feminist art. Her book focuses on the contributions of Judy Chicago and Mierle Ukeles in the 1970s, Eleanor Antin and Martha Rosler but Bloom also discusses other contemporary feminist art practices in New York and California. Bloom takes great care to provide situated accounts of race, nationality and class in relation to American WASP identity and Jewish understandings of self in relation to this and anti-Semitism or stereotyping, while demonstrating how the contributions of earlier debates (Greenberg in particular) continue to haunt present attitudes.
2006 Amelia Jones
Self/Image: Technology, Representation and the Contemporary Subject
(London: Routledge)
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Review reproduced from Volume 20, n.paradoxa, July 2007. Katy Deepwell 'Short Book Reviews'
Amelia Jones Self/Image: Technology, Representation and the Contemporary Subject London: Routledge, 2006 ISBN: 978-0-415-34522-4
The contention of this book is that both ideas of a contemporary self and self-image have been reconfigured since the 1970s by the impact of new technologies in the consumer spectacle of late global capitalism. Jones reviews a wide range of film, performance, video and multi-media art projects drawing together her own experiences of the work and a larger conceptual framework about the shifting forms of "self" in post-post-modernist and philosophical terms. An interval in the book introduces the work of Asco, a Los-Angeles based 1970s activist art collective, while Pipilotti Rist, Cindy Sherman and Stellarc provide major case studies within the chapters to emphasise that the body, albeit reconfigured, is not obsolete.
2006 Hilary Robinson
Reading Art, Reading Irigaray: The Politics of Art by Women
(New York/London: I.B. Tauris)
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Review reproduced from Volume 19, n.paradoxa, Jan 2007. Katy Deepwell 'Short Book Reviews'
Hilary Robinson Reading Art, Reading Irigaray The Politics of Art by Women New York /London: I.B. Tauris, 2006 ISBN: 978-1-86064-953-0
This original and distinctive book outlines the contribution that Irigaray's analyses, structures and strategies can make to rethinking a feminist cultural criticism of contemporary women's art practices. Tropes and strategies from Irigaray's writing are redeployed as potential new frames for reading and understanding a relationship between the properties of physical matter and a sexualised subjective identity. Case studies of individual women artists are built into this analysis, divided as chapters into topics around mimesis; the critique of phallocentrism; morphology; gesture; divine beauty; and mother-daughter genealogies. Artists discussed include: Bridget Riley, Rachel Whiteread, Cynthia Mailman, Yolanda Lopez, Frances Hegarty, Hannah Wilke and Louise Bourgeois.
2006 Johanna Burton ed
Cindy Sherman
(October Files series
Cambridge, Massachusetts: MIT
Press)
2006 Susan Morgan
Joan Jonas: I Want to Live in the
Country (And Other Romances)
(London: Afterall Books)
2006 Johanna Demetrakas (Director)
Womanhouse [videorecording about the Feminist Art Program of the California Institute of the Arts] (originally made in 1974)
(New York: Women Make Movies)
2006
LA Femme International Film Festival
() LA Femme Film Festival is a festival that focuses on women's commercial films in order to broaden their audiences and recognise their work. Equal opportunity in commercial entertainment is the aim and for women to become leaders in the industry as Directors, Writers, Producers or Directors of Photography. This event takes place annually, every October.
2006 Yvonne Rainer
Feeling are Facts: A Life
(Cambridge: MIT Press)
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Review reproduced from Volume 18, n.paradoxa, July 2006. Caterina Nobiloni 'Short Book Reviews'
Yvonne Rainer Feeling are facts: a life Cambridge: MIT Press, 2006. ISBN: 0-262-18251-3
Having performed at the World Trade Centre just three days before 9/11, Yvonne Ranier was shocked at the events as they unfolded but then became involved campaigning against the war in Iraq, an indication of her strong political commitments have been centered in women's rights and feminist politics. This is how and why she began this highly introspective ironic and humorous memoir that covers her contradictory and difficult childhood, her personal and sentimental life and a successful career that spans from her studies with Merce Cunningham and Martha Graham to the creation of her own choreographies and dances.
In telling her story, Rainer recurs to every possible means of communication speaking not only throughout words but also through snapshots taken during rehearsals and performances, extracts from her diary, pictures of her family and friends, stills from her movies etc.
All these elements give the book great depth which allows the reader to follow a story that unravels on three different levels: her personal growth; her development as a talented and successful choreographer and dancer, and finally, how the USA has itself changed since the 1920s.
2005 Erica Rand
The Ellis Island Snow Globe
(Duke University Press)
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Review reproduced from Volume 17, n.paradoxa, Jan 2006. Katy Deepwell 'Short Book Reviews'
Erica Rand The Ellis Island Snow Globe Duke University Press, 2005 ISBN:0-8223-3591-3
Discovering a snow globe as a souvenir available from the Ellis Island gift shop is the trigger for this book's engaging analysis of sexual politics, cultural representations, notions of cultural diversity, history and heritage. Rand mixes biographical narratives with political analysis about histories, power and social representation, to explore the histories of immigration / deportation and the politics of "passing" in the legal and social processes of America in the early 20th century.
2005 C. Jill O'Bryan
Carnal Art: Orlan's Refacing
(University of Minnesota Press)
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Review reproduced from Volume 16, n.paradoxa, July 2005. Katy Deepwell 'Short Book Reviews'
C. Jill O'Bryan Carnal Art: Orlan's Refacing
University of Minnesota Press, 2005. ISBN: 0-8166-4323-7
Another study analysing the work of Orlan! This is not a token essay about feminist politics but a lengthy analysis, drawn from a PhD, which focuses on Orlan's writing as much as her oeuvre as a whole and her strategies as a postmodern feminist. C.Jill O'Bryan analyses and employs a wide range of tools from poststructuralist theory in her discussion, including Derrida's concept of auto-affection in which self-presence is lost; performativity; the carnivalesque and how Orlan's work negotiates, explodes and challenges binary oppositions of interiority/exteriority; self/other; beauty/monstrous femininity in her concept of 'woman-to-woman transsexuality'. The book concludes with a performative dialogue which draws on and amplifies interviews with the artist from 2000-2001 conducted with Tanya Augsburg. What is refreshing about O'Bryan's account is the priority given to the artist's voice and strategy as an artist in contrast to so many texts on Orlan which have emphasised the body (as if it were a generic category) or the author's direct reaction to the work as image alone.
2005 Mignon Nixon
Fantastic Reality: Louise Bourgeois and a Story of Modern Art
(Cambridge: Mass, MIT press, an October book)
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Review reproduced from Volume 16, n.paradoxa, July 2005. Katy Deepwell 'Short Book Reviews'
Mignon Nixon Fantastic Reality: Louise Bourgeois and a Story of Modern Art
Cambridge, Massachusetts: MIT Press, 2005. An October book ISBN: 0-262-14089-6
The author approaches the 'fantastic reality' (Bourgeois's own term) of this artist's work through psychoanalysis, unpicking her work through a critique of Freud and the embrace of Melanie Klein as well as the artist's articulation of female subjectivity, psycho-sexual conflicts and/or anxieties in her sculptures. Bourgeois's sculptures in this framework represent part-objects or an object of the drives. Nixon has published several significant essays on Bourgeois before but this book represents the larger part of her research on the artist and is a substantial and considered study. Given the all too frequent reading of Bourgeois through her biography, this book seeks to 'demonstrate that her challenge to the Oedipal narratives of late modernism is grounded in a distinctive psychoanalytic feminism - with its own historical bases', namely a dissident logic of both 'deference and difference' derived from art circles, including Surrealism, in Paris in the 1930s and New York in the 1940s-1970s.
2005 Midori Yoshimoto
Into Performance: Japanese Women Artists in New York
(Rutgers University Press)
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Review reproduced from Volume 17, n.paradoxa, Jan 2006. Katy Deepwell 'Short Book Reviews'
Midori Yoshimoto Into Performance:Japanese Women Artists in New York
Rutgers University Press, 2005 ISBN: 0-8135-3521-2
This impressive and scholarly book examines the work of Yoko Ono, Yayoi Kusama, Takako Saito, Mieko Shiomi and Shigeko Kubota while they were working in New York. However, it links their experiences in Japan with those in New York and examines the critical reception of their work in both contexts. Each artist's multi- and inter-disciplinary involvement in Fluxus, Happenings, New Dance, New Music, pop art, minimalism and performance is tracked and discussed in detail as part of their engagement with the New York art scene and developing careers as artists.
2005 Praba Pilar
Cyberlabia: Gendered Thoughts and Conversations on Cyberspace
(California: Tela Press)
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Review reproduced from Volume 18, n.paradoxa, July 2006. Katy Deepwell 'Short Book Reviews'
Praba Pilar Cyberlabia: Gendered Thoughts and Conversations on Cyberspace California: Tela Press, 2005 www.prabapilar.com
In this book and DVD, Praba Pilar, a performance artist based in California, profiles some of her own work, notably her rendition of Computers are a Girl's Best Friend, and discusses the place of women in cyberworld with four academics, cyberworkers and activists. The interviews examine how race and gender inequalities are Review reproduced in cyberspace not only through problems of access and literacy, but also through the control or monopolisation of software/hardware in corporations and government. Contesting the idea that cyberspace is neutral or individual, the discussions reference a wide range of different forms of collective activist interventions against capitalism, racism and patriarchy.
2005 Tey Diana Rebolledo
The Chronicles of Panchita Villa and other guerrilleras : essays on Chicana/Latina literature and criticism
(Austin, Tex. : University of Texas Press)
2005 Norma Broude and Mary Garrard eds
Reclaiming Female Agency: Feminist Art After Postmodernism
(University of California Press)
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Review reproduced from Volume 16, n.paradoxa, July 2005. Katy Deepwell 'Short Book Reviews'
Norma Broude and Mary D.Garrard (eds) Reclaiming Female Agency:Feminist Art After Postmodernism University of California Press, 2005 ISBN: 0-520 24252
This is the third anthology of feminist art historical research edited by Norma Broude and Mary Garrard. Arguing that their selection focuses on women's agency (as the first casualty of 'poststructuralist gender studies') and yet offers an engagement with ( potentially critique of) post-modern thought, they position the anthology against the 'narrow, self-limiting, and self-reflexive concerns of academic theory and [as] a desire to return to real-world issues.' Insisting on the importance of feminist scholarship as making a difference, the editors advocate a clearer analysis of the power and agency women have had and continue to exercise while at the same time using post-structuralist methods as a means to call into question the metanarratives of art history. The collection brings together North American scholars and the introduction makes distinctions about their own position largely by comparison with trends in UK-based scholarship. Sounding at times like they wish to hold on to a history of great women artists, but without prioritising women's cultural production in general, this anthology contains a mixture of analyses of women artists' work as well as feminist or gendered deconstructions of key works in the canon of great art: Rubens, David, Ingres, Daumier, Manet and Picasso. Essays on artists after 1945 include wiriting on Helen Frankenthaler (Lisa Saltzman); Louise Bourgeois's Femmes Maisons (Julie Nicoletta); Minimalism (Anna Chave); Judy Chicago's The Dinner Party (Amelia Jones), Hung Liu (Allison Arieff) and Shirin Neshat (John B.Ravenal).
2005 Nan Goldin
Nan Goldin : Ten Years After
(Scalo Publishers)
2005
Davis Feminist Film Festival (Davis, California)
() Their event in April 2012 marks seven years of this Festival "for under-represented artists - particularly women and people of color - to raise consciousness about gender, race, class, sexuality, and other dimensions of social inequality."
2005
Women's International Film Festival
() The festival takes place in April and includes; full-length features, documentaries, and shorts made by women directors and producers that reflect universal, gender-free themes in addition to women's issues and concerns. Mainly held in Florida, the 12th festival, 2018, will take place in New York.
2005 Irene von Hardenberg (Photos: Reto Guntli)
Künstlerinnen : Atelierbesuche in Berlin, Moskau, New York
(Hildesheim : Gerstenberg )
2005 Alexander Alberro ed
Andrea Fraser, Museum Highlights: The Writings of Andrea Fraser
(Boston: MIT)
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Review reproduced from Volume 17, n.paradoxa, Jan 2006. Katy Deepwell 'Short Book Reviews'
Andrea Fraser Museum Highlights: The Writings of Andrea Fraser
Alexander Alberro (ed. and intro.) Boston: MIT, 2005 ISBN:0-262-06244-5
MIT series of artist's writingscontinues with the collected performance scripts, lectures and published articles of Andrea Fraser bringing together her work in depth for the first time. A foreword from Pierre Bourdieu sets the tone for her critique of the museum as both knowledge-producing and status-conferring institutions. Her critique is carried through essays like 'Creativity= Capital?' and in her performance scripts in which she plays the various roles of autodidact, docent and provider of 'artistic services' to the public. Re-interpretation of assumed values and cultural rituals as a form of translation combined with mimicry and excess are the hallmarks of Fraser's determined sometimes ironic social analysis.
2005 Faith Ringgold
we flew over the bridge: the memoirs of Faith Ringgold
(Durham: Duke University Press)
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Review reproduced from Volume 16, n.paradoxa, July 2005. Katy Deepwell 'Short Book Reviews'
Faith Ringgold we flew over the bridge: the memoirs of Faith Ringgold (Durham: Duke University Press, 2005) ISBN: 0-8223-3564-6
This is a frank, and sometimes lyrical, account of Faith Ringgold's life in her own words, focusing on her education, activism, the development of her work and her life as an artist, mother and teacher. She discusses her strategies for moving ahead as an ambitious young artist, making contacts with artists, gallery directors and curators and how she sought recognition for herself and others from the 1960s to 1990s in campaigns, protests and self-organised initiatives. She remarks on her own ambivalence towards the emerging (white) feminist art movement as well as the hostility to feminism from sections of the black community. Her activism, cultural politics and teaching have been a feminist re-negotiation of simultaneously anti-sexist and anti-racist positions as a black woman artist in America. Her transition as an artist producing figurative paintings then soft sculptures (drawing on African masks) to performance and story quilts is mapped and illustrated in this book. The book was edited by Moira Roth and first published by Bulfinch Press in 1995. This reprint of the original edition does not update the book and add in more reflections or work from the intervening 10 years but it remains an engaging autobiography of an important artist as well as a revealing slice of oral history.
2005 Meredith Tromble ed
The Art and Films of Lynn Hershman Leeson. Secret Agents, Private 1
(University of California Press,Henry Art Gallery, University of Washington)
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Review reproduced from Volume 18, n.paradoxa, July 2006. Katy Deepwell 'Short Book Reviews'
Meredith Tromble (ed) The Art and Films of Lynn Hershman Leeson
Secret Agents, Private 1 University of California Press,Henry Art Gallery, University of Washington, 2005 book and DVD ISBN: 0-520-23971-7
Produced to accompany the exhibition Hershmanlandia in Washington, this book documents 35 years of the artist's practice, largely in her own words. This is accompanied by a large number of different essays, some newly commissioned, others from catalogues or extended reviews and articles on her work. More are included along with video clips and reproductions on the accompanying DVD. Art critic, Pierre Restany first described her work in terms of 'Hershmanlandia' to convey her strategy of 'perpetual and infinite personality situations and frag-mentations': her creation of Roberta Breitmore in numerous works and performances is probably her most well-known example. Her analyses of identity have been designed to provoke reflection on culture and cultural-economic processes, and a sharp critique of the grounding of subjectivity. Hershman's work has been simultaneously innovative in the technologies she has used from interactive techniques to touch-screen video production, robotic dolls and computer-generated digital interfaces, as in her film, Conceiving Ada.
See also: Moira Roth's interview with Lynn Hershman in Vol.5 of n.paradoxa pp.17-21.
2005 Margrit Shildrick and Roxanne Mykitiuk eds
Ethics of the Body: Postconventional Challenges
(MIT press)
2005 Michael Blackwood (Director)
Reclaiming the body : feminist art in America (DVD recording, not book, of Bad Girls' exhibitions and artists)
(Michael Blackwood Productions in association with Saarlandischer Rundfunk)
2005 Lisa E. Farrington
Creating their Own Image: the history of African-Americam Women Artists
(Oxford: Oxford University Press)
2004 Josephine Penelope Collet
Women Contesting the Mainstream Discourses of the Art World
(New York: Lewiston: E Mellen Press)
2004 Carolyn Korsmeyer
Gender and Aesthetics: An Introduction
(Routledge)
2004 Jane Blocker
What the Body Cost: Desire, History, and Performance
(University of Minnesota Press)
2004 Diana Taylor and Roselyn Constantino ed
Holy Terrors: Latina American Women Perform
(Durham, NC: Duke University Press)
2004 Nelly Richard
Masculine/Feminine: Practices of Difference
(Durham, NC and London: Duke University Press,trans. Silvia R. Tandeciarz and Alice A Neilson.)
2004 Chris Kraus
Video Green: Los Angeles Art and The Triumph of Nothingness
(Mass: Cambridge, MIT/Semiotext(e) Active Agents Series)
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Review reproduced from Volume 15, n.paradoxa, Jan 2005. Katy Deepwell 'Short Book Reviews'
Chris Kraus Video Green: Los Angeles Art and The Triumph of Nothingness
Mass.: Cambridge, MIT/Semiotext(e) Active Agents Series, 2004 ISBN: 1 584 35022 9
The many short chapters of this book incorporate diary-writing, reflection on art, artists, the local architecture of LA and what it means to write and teach. Originally written as a column called 'Torpor' in Artext and then C Magazine International, the material is focused on LA in the late 1990s. Loaning money, S/M relationships, using phone sex and personal ads in a variety of sexual encounters and exchanges, and following other people's desparate stories of poverty, homelessness and inadequate access to health-care all emerge as part of the narrative in the reflections about the emptiness and potential of being creative in LA.
2004 Verena Kuni and Claudia Reiche eds
Cyberfeminism: Next Protocols
(New York: Autonomedia)
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Review reproduced from Volume 15, n.paradoxa, Jan 2005. Katy Deepwell 'Short Book Reviews'
Claudia Reiche and Verena Kuni (eds.) c y b e r f e m i n i s m: next protocols New York: Autonomedia, 2004 ISBN: 1 57027 149 6
A new production, originated through a call for contributions to the Old Boys Network,the first international cyberfeminist alliance. Their definition of cyberfeminism is that it 'carries the fem in its center - fem which hints politically at gender and the female sex, yet exceeds, enjoys, and remodels this relation.' This book contains protocols for the future in the sense that these are both documents and coded commands for digital and human procedures of communication. Contributors include: Marie-Luise Angerer 'Cyber@rexia. Anorexia and Cyberspace'; Irina Aristarkhova 'Femininity, Community, Hospitality: Towards a Cyberethics'; Andrea Sick 'Dream-Machine: Cyberfeminism'; Helene von Oldenburg 'IF [ x ] ... THEN [ y] ...ELSE [XXn]'; Ephemera/Discordia/ Liquid_Nation / Plastique /Efemera_Clone_2 'Thoughts on Submission: Glances from the Warriors of Perception';Yvonne Volkart 'The Cyberfeminist Fantasy of the Pleasure of the Cyborg'; Anne-Marie Schleiner 'Female-Bobs Arrive at Dusk'; Verena Kuni 'Frame/Work'; Shu Lea Cheang 'I.K.U. Seven Pages'; Claudia Reiche 'On/Off-scenity: Medical and Erotic Couplings in the Context of the Visible Human Project'; Julie Doyle/ Kate O'Riordan 'Virtual Ideals: Art, Science and Gendered Cyberbodies'; Prema Murthy 'Ito Ay Panaginip Sa Ibang Pangungusap'; Marina Grzinic 'Monstrous Bodies and Subversive Errors'; Ingeborg Reichle 'Remaking Eden: On the reproducibility of images and the body in the age of virtual reality and genetic engineering' ; Ulrike Bergermann 'Analogue Trees, Genetics, and Digital Diving. Pictures of Human and Reproduction'; Christina Goestl 'If Cyberfeminism is a Monster... then Clitoris Visibility = true'; and Elisabeth Strowick 'Cyberfeminist Rhetoric, or Digital Act and Interfaced Bodies'.
2004 Silvia Kolbowski
inadequate...Like...Power
(Cologne: Walter Konig)
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Review reproduced from Volume 16, n.paradoxa, July 2005. Katy Deepwell 'Short Book Reviews'
Silvia Kolbowski inadequate...Like...Power exhibition catalogue Vienna:
Secession, 17 Sept.-11 Nov. 2004: Koln: Verlag der Buchhandlung Walther Konig, 2004 ISBN: 3-88375-894-9
Three projects, as installations with video, form the basis of this artist's exhibition. The first, an inadequate history of conceptual art, offers a counter history to the re-evaluation of conceptual art in the 1990s and combines 22 recordings of artists discussing their experience of an exhibition or performance of conceptual art between 1965-1975. The soundtracks are accompanied by videos of the hands of the anonymous interviewees as they speak. The second work, Like Looking Away focuses on the experience of shopping as understood through 10 women aged 18-34. Their words are retold by one actress, imitating the timbre and accent of their different voices. Photos of the women themselves looking away were also shown.The final piece, Proximity to Power, juxtaposes interviews with men who support and work for "powerful" men - politicians, investors, or power brokers - as they analyse their relation to power with images based on the representation of power as understood from 40 boys aged 7-11. The catalogue contains analytical essays about these works by Rosalyn Deutsche, Mignon Nixon and Stephan Schmidt-Wulffen, and an interview between the artist and Hal Foster.
2004 Joanna Inglot
The Figurative Sculpture of Magadalena Abakanowicz: Bodies, Environments, and Myths
(University of California Press)
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Review reproduced from Volume 14, n.paradoxa, July 2004. Katy Deepwell 'Short Book Reviews'
Joanna Inglot The Figurative Sculpture of Magadalena Abakanowicz: Bodies, Environments, and Myths University of California Press, 2004 ISBN: 0-520-23125-2
While offering a critical perspective on Magdalena Abakanowicz which seeks to position her work in the context of Polish art developments and demythologise her reputation as the loner or outsider from Communist Poland, driven by intuition and imagination, in international circles, this book was nevertheless published without key reproductions or interviews. Permission for this was withheld by the artist in the final stages of its production in spite of her co-operation in the research. The tension in the book between the author's reading and the artist's perspective of herself is interesting here. Abakanowicz's early family life, her development as an artist are outlined as well as the shifts in cultural policy in Poland. Inglot also compares Abakanowicz with Alina Szapocznikow amongst her peers in Poland. However, more significant in the argument is how the author contrasts Abakanowicz's popular reception by many feminists in the US with the artist's own statements, in which she refuses to see equality as an issue (a common position in Eastern Europe where equality was official policy) combined with her refusal to acknowledge her perspective as gendered, while instead stressing its contribution to humanity, universal values and the importance of mystery in art.
2004 Suzanne Anker and Dorothy Nelkin
The Molecular Gaze: Art in the Genetic Age
(New York: Cold Spring Harbor Laboratory Press)
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Review reproduced from Volume 15, n.paradoxa, Jan 2005. Katy Deepwell 'Short Book Reviews'
Suzanne Anker and Dorothy Nelkin The Molecular Gaze: Art in the Genetic Age New York: Cold Spring Harbor Laboratory Press, 2004
ISBN: 0 87969 697 4
This engaging book examines the impact of DNA as a visual icon for modern biology in contemporary art since the 1980s. Divided into five sections, the authors explore the reduction of the body to a script of code in the information age; the blurring of boundaries between human and animal in transgenics; a new eugenics; the commodification of genes; and science as culture in artists' work. As a comment on the book jacket suggests the question is raised but not answered: whether the artist's engagement is fuelled by protest, explication or just fascination? A wide range of artists' work is discussed, from Boltanski to Marc Quinn, Hans Bellmer to Cindy Sherman, Matthew Barney to the Tissue Culture and Art project, Gunter van Hagens to Helen Chadwick. Women artists feature prominently in the discussion, including Faith Wilding, Ellen Levy, Christine Borland, the Storey Sisters, Orlan and Cornelia Hesse-Honegger.
2004 Martha Rosler
Decoys and Disruptions: Selected Writings, 1975-2001
(Cambridge, Massachusetts: MIT Press)
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Review reproduced from Volume 16, n.paradoxa, July 2005. Katy Deepwell 'Short Book Reviews'
Martha Rosler Decoys and Disruptions: Selected Writings, 1975-2001
Cambridge, Massachusetts: MIT Press, 2004. A co-publication with
International Center of Photography and October books ISBN: 0-262-18231-9
Bringing together many key essays/lectures produced since 1979, this book will be an invaluable resource for artists and photographers alike for its cogent and challenging analyses of art practices, documentary photography and art world vs. life world politics. As she writes in the introduction: 'collective transformation requires communication' and this has been central to Rosler's strategies as an artist, intellectual, activist and lecturer. The title aptly summaries her approach in essays like 'Theses on Defunding' or 'In, Around and Afterthoughts (on Documentary Photography)'.
2004
Girl Fest (Hawaii)
() Girl Fest's mission is to prevent violence against women and girls through education and art. Currently, Girl Fest is Hawaii's longest-running all-volunteer anti-violence multimedia festival. Girl Fest incorporates music, film, art, dance and spoken word to get its message out to the public. The festival ran every February. Site documents work, 2004-2012.
2004
San Francisco Women's Film Festival
() The festival was founded in 2004 as an affiliate of San Francisco State University, however afer the success of the first event, the festival spread beyond the limits of the campus. The SFWFF accepts films and video of all lengths and genres: narrative, documentary, experimental and animation. Films and videos must be directed by or co-directed by women. The festival takes place every Spring with a combination of low-fee or free screenings. Now running an online film festival, May 2018.
2003 Kristen Frederickson and Sarah Webb eds
Singular Woman: Writing the artist: the politics of rediscovery: the monograph and feminist art history
(University of California Press)
2003 Amelia Jones
The Feminism and Visual Culture Reader (2002, 2003, 2010 editions)
(London: Routledge)
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Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'
Amelia Jones (ed)
The Feminism and Visual Culture Reader London: Routledge, 2003
ISBN: 0-415-26706-4
Divided into seven parts with 62 essays or extracts from articles, this book aims to be another definitive reader for feminist teaching. The introduction and the first section Provocation offer six new essays which examine the current state of feminist scholarship for its biases and the relationship of feminism to visual culture. Amelia Jones insists on the intersecting nature of feminism and visual culture, positioning feminism as central rather than an adjunct or specialist area within visual culture. She also draws a distinction between visual culture and cultural studies based on the former's exclusive concern with visuality. Rosemary Betterton discusses the difficulties of students when faced with artworks from the past, in spite of their considerable skills in reading images from popular culture as part of the shift involved in visual culture when moving from a discipline-based study to interdisciplinary analysis. Jennifer Doyle analyses how homophobia and misogyny continue to structure the art world and our knowledge systems; Lisa Bloom considers how feminism must now attend to how (Western) feminist theories may and may not work in different trans-national locations and consider again their own regional context of operation. Judith Wilson considers the semantics involved in thinking about a black feminist visual theory: positioning the first as a social category; the second a political orientation;the third a mode of perception, a category of cultural phenomena. Interestingly, she positions black women artists as ahead of theoretical research in their practice. Faith Wilding discusses cyberfeminist debates and draws attention not only to the bio-tech industry but the pace of modern industrialised life globally. Meiling Chang concludes by discussing a metaphor for feminism as a pool of colours to which ever more pigments are being added.
The book then divides into parts titled: Representation; Difference; Disciplines/Strategies; Mass Culture/Media Interventions; Body; and Technology. In each section eight to ten essays, primarily from the last three decades are included. Amelia Jones based her selection of Anglophone texts (largely US/UK-based) on tracing a history of theory, selecting canonical articles which each represent a shift in methodology, while maintaining overall a heterodoxy of debates and ideas to reveal the intersection between feminist theory and visual culture.
2003 Susan R. Ressler ed
Women Artists of the American West
(Jefferson North Carolina & London, McFarland)
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Review reproduced from Volume 14, n.paradoxa, July 2004. Katy Deepwell 'Short Book Reviews'
Susan R. Ressler (ed.) Women Artists of the American West
Jefferson, North Carolina & London, McFarland, 2003 ISBN: 0-7864-1054-X
This book is presented in two parts, a diverse anthology of 15 essays, and an alphabetical directory of 150 women artists, from the nineteenth and twentieth century, who live or once lived west of the Mississippi River. As a resource book on women artists it will prove invaluable. The essays tend to focus on profiling the work and lives of the individuals and the communities they discuss but the range included is significant: from lesbian photography to the Pueblo Indian arts and crafts movement; from Asian American Women Artists to Quiltmaking; 100 years of Californian photography to Laura Gilpin and American landscape photography. Terri Cohn discusses contemporary art projects in public spaces; while Tiska Blankenship focuses on the relationship between Agnes Pelton and Florence Miller Pierce (1938-1945) and Betty LaDuke provides an autobiography.
Other contributors: Dorothy R. Zopf; Kate M. O'Neill; Susan R. Ressler; Margaret D. Jacobs, Susan Peterson; Tee A. Corinne; Gail E. Tremblay; Peter E. Palmquist; Martha A.Sandweiss; Joan M. Jensen; Corinne Whitaker and Phoebe Farris.
2003 Jill Scott
Coded Characters: Media Art by Jill Scott
(Germany: Hatje Cantz)
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Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'
Jill Scott Coded Characters: Media Art by Jill Scott
Germany: Hatje Cantz, 2003
Text in English and German.
Includes DVD.
ISBN 3-7757-1272-0
This major and beautifully produced catalogue provides an overview of 28 years of Jill Scott's art practice in new media, performance and installation tracing her movements from the Bay Area, San Francisco to Australia and then to the UK, Germany and Switzerland. Divided roughly into decades and documenting her early performance works from 1975 to her use of video installations using surveillance/interactivity in the 1980s and her move to fully interactive computerised multi-media installations in the 1990s, the artist's own commentaries are Review reproduced alongside new interviews and articles. Jill Scott is a pioneer in many techniques as well as a committed feminist who has produced some impressive interactive multi-media installations on women's historical role and changing lives in the twentieth century e.g. Machine Dreams (1991); Frontiers of Utopia (1995); Immortal Duality(1997); Beyond Heirarchy?(2000)
Introduction by Roy Ascott; Interview by Robert Atkins; Essays by Anne Marsh; Yvonne Spielmann and Robert Atkins.
2003 Sarah Rich, Joyce Henri Robinson eds
Through the Looking Glass: Women and Self-Representation in Contemporary Art (works in Palmer Museum of Art Collection)
(Pennsylvania State University Press)
2003 Judy Malloy ed
Women, Art and Technology
(Massachussetts: Cambridge, MIT Press)
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Review reproduced from Volume 13, n.paradoxa, Jan 2004. Katy Deepwell 'Short Book Reviews'
Judy Malloy (ed) Women, Art and Technology Foreword by Pat Bentson.
Massachusetts: Cambridge, MIT press, 2003. ISBN: 0-262-13424-1
This book is an invaluable compendium from Leonardo, whose project of the same name was designed to increase the contributions by women to the journal and to document women artists' long-standing involvement with new technologies/new media . Gendered differences to the dominant debates in this field and critiques of masculine biases are addressed but the book refreshingly focuses on women artists' production, offering overviews of genres, artists' perspectives and issue-based or region-based essays. New media embraces work which interfaces with science, computer art, telecommunications tools, video and new modes of interactivity in installations.
Contributors include: Patric D. Prince, Margaret Morse, Sheila Pinkel, Anna Couey, Kathy Brew, Steina, Joan Jonas, Dara Birnbaum, Jo Hanson, Helen Mayer/Newton Harrison, Sonya Rapoport, Lynn Hershman, Nancy Paterson, Pauline Oliveros, Rebecca Allen/Erkki Huhtamo, Donna J. Cox, Agnes Hegedis, Judith Barry, Jennifer Hall/Blyth Hazen, Brenda Laurel, Monika Flesichmann/Wolfgang Strauss, Char Davies, Cecile Le Pardo, Pamela Z, Nell Tenhaaf, Allucquere Rosanne Stone, Valerie Soe, Kathy Rae Huffman, Diane Fenster/ Celia Rabinovitch, Linda Austin/Leslie Ross,Dawn Stoppiello/Mark Coniglio, Jaishree K.Odin, Simone Oudhoff, Martha Burkle Bonecchi, Carol Stakenas and Zoe Sofia.
2003 María Ochoa Foreword by Amalia Mesa-Bains
Creative collectives : Chicana painters working in community
(Albuquerque, N.M. : University of New Mexico Press ; Lancaster : Gazelle)
2003 Joan Copjec
Imagine There's No Woman: Ethics and Sublimation
(Cambridge, Mass: MIT press)
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Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'
Joan Copjec Imagine There's No Woman:Ethics and Sublimation
Cambridge, Mass: MIT press, 2003 ISBN: 0-262-03299-6
Starting from Lacan's famous proposition about female sexuality ,'the Woman does not exist', Copjec demonstrates how Freud's attempts to define a theory of sublimation were restructured by Lacan as the key to his ethics. His ostensible negative proposition about women's existence, Copjec argues, is not to be taken as a nominalist denunciation of another universal but as an instance of how thought posits and creates difference. The difference she goes on to explore is between views of the same object but the split which structures the object to itself, an area she explorse especially well in the gap between the real and its representations.
This analysis Copjec pursues through a variety of case studies in film, contemporary art, and philosophical or psychoanalyical readings, interwoven as always with her detailed analysis of theoretical points drawn from psychoanalysis, analysis of tropes/metaphors and broader social and political concerns. Her reading of Kara Walker positions her beyond the negative press as a manipulator of stereotypes to an artist calculating offering a doubleplay of negation as the founding of a modern identity - critiquing her own "inner plantation" - yet very much attached to coming to terms with and distancing herself (and us) from a historical past through its nostalgic representations in Americana.
Other topics discussed in this book include: the figure of Antigone; Stella Dallas; Cindy Sherman's film stills; Kant's concept of radical evil; Pasolini's film Salo; the film noir classic Laura; and the Zapruder film of the Kennedy assassination.
2003
Hypatia
() (Fall/Winter) v.18, No.4 'Women, Art and Aesthetics'
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Review reproduced from Volume 15, n.paradoxa, Jan 2005. Katy Deepwell 'Short Book Reviews'
Peg Brand and Mary Deveraux 'Women, Art and Aesthetics issue'
Hypatia (USA) Vol 18, No.4, Fall/Winter 2003 ISSN: 0887-5367
The second only volume of Hypatia dedicated to Art and Aesthetics, this volume is organised through three thematic sections:- Recontextualizing Women Artists: with contributions from Patricia Locke (a poem tribute to Adrian Piper), Eleanor Hartney (on Catholicism, Renee Cox, Kiki Smith and Janine Antoni), and Michelle Meagher (on Jenny Saville); Bodies and Beauty - the issue of pleasure - with essays by Ann J. Cahill, Sheila Lintott, Janell Hobson (on aesthetics and the black female body), Richard Shusterman, and Joanna Frueh (on vaginal aesthetics); and Art, Ethics, Politics, Law with contributions from A.W.Eaton, Amy Mullin, L.Ryan Musgrave, Teresa Winterhalter, Joshua Shaw; and Book Reviews by Estella Lauter, Flo Leibowitz.
2003 Kara Walker eds Ian Berry,Darby English, Vivian Patterson, Mar
Narratives of a Negress
(Cambridge: Massachusetts: MIT press)
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Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'
Kara Walker Narratives of a Negress
Edited by Ian Berry, Darby English, Vivian Patterson, Mark Reinhardt.
Cambridge, Massachusetts: MIT press, 2003. ISBN: 0-262-02540-X
This catalogue/book was published for the exhibition at the Frances Young Tang Gallery Teaching Museum and Art Gallery at Skidmore College and Williams College Museum of Art, USA. Shots of the exhibition, pages from artist's books by Kara Walker (including Freedom: A Fable and Brown Follies) are interleaved through-out the book with photographs of a series of short texts, typed in 2001 on index cards by the artist. These and the essays consider the controversial reception of Kara Walker's playing with stereotypes of the Negress and its eighteenth/nineteenth century style presentation in terms of both images and silhouettes which she redeploys.
Essays by Darby English, Mark Reinhardt, Anne M.Wagner and Michele Wallace.
2003
Cinefemme
()
2003 María Ochoa ; foreword by Amalia Mesa-Bains
Creative collectives : Chicana painters working in community
(Albuquerque : University of New Mexico Press)
2003
Queer Women of Color Film Festival (San Francisco)
() The festival takes place annually around the second week of June. It features films that address the vital social justice issues that concern women of color, authentically reflect their life stories, and build community through art and activism. The Queer Women of Color Film Festival showcases new films created through Queer Women of Color Media Arts Project's free Filmmaker Training Program, as well as films created by other queer women of color around the world.
2002
International Black Women's Film Festival (San Francisco)
() Founded by Adrienne Anderson, IBWFF aims to show black women presented in film in strong roles and "to celebrate Black women filmmakers from around the world and to show audiences that there are films about Black women that do not involve negative stereotyping, violence toward Black women, and that don't show Black women being berated and exploited." Selected films include those made by Black women filmmakers as well as those where a strong black female performance is included. The festival takes place annually in June over two days.
2002 Catherine Morris and Ingrid Schaffner
Gloria: Another Look at feminist art of the 1970s
(New York : White Columns)
2002
M/E/A/N/I/N/G online (2002-
(University of Pennslyvania) Edited by Susan Bee and Mira Schor, the journal is a continuation in a different form of M/E/A/N/I/N/G: a journal of contemporary art issues, (1986-1996) and archived at Beinecke Library,Yale University
2002 Ida Applebroog Benjamin Lignel ed
Ida Applebroog Are You Bleeding Yet?
(New York: la maison Red)
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
Benjamin Lignet (ed.) Ida Applebroog Are You Bleeding Yet? New York: la maison Red ISBN: 1-56466-087-7
A comprehensive overview of the New York painter Ida Appelbroog presented through images of her work and edited quotations from essays, reviews and interviews. Introduced by Francine Prose, the book tracks her exhibition history from 1976 to the present day in a lavishly illustrated monograph.
2002 Diana Burgess Fuller and Daniela Salvioni eds
Art/Women/California: Parallels and Intersections, 1950-2000
(California: San Jose Museum of art)
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
Diana Burgess Fuller and Daniela Salvioni (eds.)
Art/Women/California: Parallels and Intersections, 1950-2000
California: San Jose Museum of Art, 2002. ISBN: 0-520-23065-5
This important catalogue looks again at the history of women's art practice in California, highlighting the work of women from its diverse communities, as well as women artists' engagement with new technologies including film,video and photography. The attempt is made to construct a broader, more inclusive view of work by women artists shown and produced in California in the last fifty years. The work of black women, Asian women, indigneous women and chicanas are seen in parallel to eachother and to their European counterparts: as Whitney Chadwick's essay suggests as intersecting histories and not as art history and its Others.There is a lot of valuable material here in the text and in the images for another picture of the last fifty years to emerge. Contributors include, amongst others: Angela Y.Davis, Amalia Mesa-Bains, Phyllis J. Jackson, Jolene Rickard, Moira Roth, Joann Hanley, Allucquere Rosanne Stone.
2002 Anette Kubitza
Fluxus, Flirt, Feminismus? : Carolee Schneemanns Körperkunst und die Avantgarde
(Berlin : Reimer)
2002 Joanna Zylinska ed
The Cyborg Experiments: The Extensions of the Body in the Media Age
(London: Continuum)
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
Joanna Zylinska (ed) The Cyborg Experiments:the Extensions of the Body in the Media Age London: Continuum, 2002 ISBN: 0-8264-5903-X
Focused on the work of Orlan and Stelarc, (with one essay dedicated to Gillian Wearing), this book offers thirteen different readings of these two artists' work, alongside some comparative analysis of the cyborg, the obsolete body, questions of aesthetics/ethics and self-hybridisation. A short statement on the 'Virtual And/Or Real' by Orlan is also included, alongside essays on her work by Rachel Armstrong, Fred Botting with Scott Wilson, Julie Clarke and Meridith Jones with Zoe Sofia.
2002 Mignon Nixon
Eva Hesse
(Cambridge: Massachusetts: MIT press, October books)
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
Mignon Nixon (ed) Eva Hesse
Boston: MIT press: October Files, 3 2002. ISBN 0-262-14080-2
This volume brings together several important interviews and essays on Eva Hesse already published elsewhere: e.g Cindy Nemser's 1970 interview with the artist in the year she died; Mel Bochner's retrospective discussion of her in 1992; two of Rosalind Krauss's essays on her work; an essay by Briony Fer from Art History and Anne Wagner's essay from her Three Artists (Three Women). Mignon Nixon's own essay 'Ringaround Arose: 2 in 1' represents the "new" scholarship and takes up the theme of the artist's self-representation in photographs posing with her artworks. Lucy Lippard's authoritative Eva Hesse (1976) as well as the value placed upon Hesse's own story of her life and work found in her journals emerge as repeated concerns throughout this volume, raising the question again of whether the facts of her biography have overshadowed discussion of her art. A new exhibition of her work at the Tate Modern alongside more scholarship presented through a conference at Leeds University in the UK will no doubt continue this debate.
2002
San Diego Women’s Film Festival
() Organised by the San Diego Women's Film Foundation. Last known to have taken place 2007 (5th festival) and 2008.
2002 Sidonie Smith and Julia Watson eds
Interfaces: Women/Autobiography/Image/Performance
(University of Michigan Press)
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Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'
Sidonie Smith and Julia Watson (eds) Interfaces: Women/Autobiography/Image/Performance University of Michigan Press, 2002. ISBN: 0-472-06814-8
This book was designed as a reader for teaching - albeit an impressive anthology of new writing about women artists - for it concludes with a syllabus outline for a course on 'narrative autobiography' in women's art practice. The introduction and the essays encourage analysis of the problematic category of autobiography as it might be read into and from women's art practice through the equally problematic notions of memory, experience, identity, embodiment and agency. Although they emphasise the contingency of the autobiographical act, the editors raise the thorny question of "narcissism" in criticism of women's self-portraiture and why women artists so frequently chose themselves as subjects of their work. However, the editors hold onto the older notion of a life narrative revealed in women's art practice, principally as a strong point of identification for the student in a liberal arts education with the artist's work, which oddly reinforces the paradigm they wish to move away from by attention to the visuality/textuality of the work of art. The volume ncludes essays on artists Jo Spence and Hannah Wilke by Jo Anna Isaak; on Cindy Sherman and Laura Aguilar by Amelia Jones; on Orlan by Linda S. Kauffman; on Jenny Saville, Faith Ringgold and Janine Antoni by Sidonie Smith; on Louise Bourgeois by Mieke Bal; on Bobby Baker and Blondell Cummings by Lesley Ferris; on Lorna Simpson and Adrian Piper by Jennifer Drake; on Lorie Novak by Marianne Hirsch; on Claude Cahun by Georgina MM Colville; on Elvira Bach and others by Irene Gammel; on Frida Kahlo by Mimi Y. Yang; on Charlotte Salomon by Julia Watson; on Laurie Anderson by Jessica Prinz; on Erika Lopez by Laura Laffrado; on Susan King and Joan Lyons by Renee Riese Hubert/ Judd D Hubert.
2002 Mary Flanagan and Austin Booth eds
Reload: Rethinking Women + Cyberculture
(MIT press)
2002 Terry Wolverton
Insurgent Muse: Life and Art at the Women's Building
(USA: City Lights)
2002 Maria Fernandez and Faith Wilding, Michelle M. Wright eds
Domain Errors! Cyberfeminist practices
(New York: Autonomedia)
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Review reproduced from Volume 13, n.paradoxa, Jan 2004. Katy Deepwell 'Short Book Reviews'
Maria Fernandez, Faith Wilding, Michelle M. Wright (eds) A SubRosa Project: Domain Errors New York: Autonomedia, 2002 ISBN: 1-57027-141-0
'Part performative intervention, part radical polemic and activist manifesto', this book examines the intersections between race, technology and cyberfeminism. Divided into 3 sections, 'Racism and cyberfeminism in the integrated circuit', 'The female flesh commodities Lab', and 'Research! Activism! Embodiment! Conviviality!', the book aims to explore 'a contestational politics for cyberfeminism'. The international contributors include the editors, SubRosa, Lisa Nakamura, Irina Aristarkhova, Susanna Paasonen, Rhadika Gajjala/Annapurna Mami-dipudi, Lucia Sommer, Christina Hung, Emily de Araujo, Tania Kupczak, Amelia Jones, Terri Kapsalis, Nell Tenhaaf and Hyla Willis.
2002 Mary Beth Edelson
The Art of Mary Beth Edelson
(New York: Seven Cycles)
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
Mary Beth Edelson The Art of Mary Beth Edelson New York: Seven Cycles, 2002
ISBN: 0-9604650-6-5
Like her famous poster Some Living American Women Artists/Last Supper, this book is a rich, multilayered collage of critical essays; documentation of works; interviews by Edelson of other women artists about the changing face of feminism in the US and attempts to map her own history in a stylish and graphic manner. Designed by the artist herself, the book as a whole tracks many different phases and bodies of work in the artist's thirty, nearly forty, years of exhibitions and art production. These include her later works about women in film; her activist contribution to WAC, Heresies, Chrysalis, New York Soho Artists co-operatives; her poster series on women artists; her performance work; as well as her activist projects like Combat Zone (against violence against women) and StoryGatheringBoxes. E.Ann Kaplan , Laura Cottingham and Alissa Rame Friedman provide some of the short essays in this anthology of Edelson's life and her work.
2002
LTTR
() 2008
2001 Nicole Eisenman and Kristin Chambers, Ghada Amer, Shahzia Sikander, Lin Tianmiao, Fatimah Tuggar
Threads of vision : toward a new feminine poetics
(Cleveland, OH : Cleveland Center for Contemporary Art)
2001 Joanna Frueh
Monster Beauty: Building the Body of Love
(Berkeley:University of California Press)
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Review reproduced from Volume 8, n.paradoxa, July 2001. Katy Deepwell 'Short Book Reviews'
Joanna Frueh Monster Beauty: Building the Body of Love
Berkeley: University of California Press, 2001 ISBN 0 520 22114 1
This anthology brings together performance lectures and writing largely written/published/performed since 1998. Divided into 3 sections, 'Erotic Weight', 'Pleasure and Pedagogy', 'Icons of Pleasure', Frueh discusses representations of eroticism in literature and art, bodybuilding, multiple ideals of beauty and bodily pleasure in a wide range of relationships and human encounters.
2001 Uta Grosenick ed
Women Artists in the 20th and 21st Centuries
(Germany and UK: Taschen Books. English and German editions)
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Review reproduced from Volume 9, n.paradoxa, Jan 2002. Katy Deepwell 'Short Book Reviews'
Uta Grosenick (ed) Women Artists in the 20th and 21st Century
(separate German and English editions) Koln & London: Taschen, 2001 3-8228-5854-4
93 women artists are featured in this book, each with a short profile, a photograph and four or five images of their work. The hidden selection criteria mirrors the other two anthologies discussed (Art and Feminism and Feminism-Art-Theory) in so far as 46 live or work in America, 10 in the UK, 14 in Germany, 17 in other European centres and a further 6 in total from South America, Australia and Japan. As a German book, the inclusion of more German women from both past and present should I hope underline the specific location and histories offered by all three anthologies. The book aims to negotiate the stereotypes of "feminist" and "feminine" and point to a wide-ranging cross-section of different art practices from women artists but does not identify the nature of the feminism in particular artists' projects. The majority of artists chosen have worked in the last twenty years of the twentieth century, with the notable exceptions of some "great women artists": Sonia Delaunay, Natalia Goncharova, Hannah Hoch, Barbara Hepworth, Georgia O'Keefe, Germaine Richier, Frida Kahlo and Lee Krasner. The selection appears premised on a museum and market-led assessment of the value of particular women artists currently. The relationship of their practice to any feminist legacy or art movement is played down. The introduction acknowledges dis-crimination through the last century but paints an uncritical picture of a triumphant chronological march towards increasing numbers of women artists and recognition of their strength and individualism in the twenty-first century.
2001 Carolee Schneemann
Imaging Her Erotics: Essays, Interviews, Projects
(London & Cambridge, Massachusetts)
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Review reproduced from Volume 11, n.paradoxa, Jan 2003. Katy Deepwell 'Short Book Reviews'
Carolee Schneemann Imaging Her Erotics:Essays, Interviews, Projects (London & Cambridge, Massachusetts: MIT, 2001) ISBN: 0-262-19459-7
Mapping four decades of work, this book presents a wide range of material from Carolee Schneemann's oeuvre dispersed across journals, magazines, artist's exhibition notes for projects, performance texts and lectures.
Like the other books produced by MIT on Adrian Piper and on Mary Kelly, this book functions both as a monograph and an anthology on the work of one artist. Interviews with Linda Montano, Aviva Rahmani, Carl Heyward, Willima Peterson, are Review reproduced alongside writing by Jay Murphy, Robert Riley and David Levi-Strauss, Eleanor Heartney, ND (Austin, Texas), Thomas McEvilley and Robert C. Morgan.
Kristine Stiles's introductory essay offers a new view of Schneemann's work, positioning the role of her painting in relation to her performance work and her installations.
The documentation of different projects and performances is extensive and the text by the artist as well as the other writers offers new insights into works like Sexual Parameters, Fuses, Eye Body, Vesper's Pool, Vulva's Morphia and Meat Joy to reveal the intelligence, philosophy and approach of this unique and highly significant artist.
2001 Helena Reckitt. Survey: Peggy Phelan ed
Art and Feminism
(London: Phaidon)
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Review reproduced from Volume 9, n.paradoxa, Jan 2002. Katy Deepwell 'Short Book Reviews'
Helen Reckitt (ed) Peggy Phelan (Survey) Art and Feminism Phaidon, 2001 0-7148-3529-3
This book is part of a series by Phaidon on themes and movements in contemporary art. The lavishly illustrated format includes a long introductory survey-type essay, accompanied by extracts from other writers which are designed to contextualise the assembled material in terms of feminist theory. Presenting itself as the first fully illustrated and comprehensive survey of art and feminism from the 1960s to the present (a highly dubious claim given the 1994 anthology by Norma Broude and Mary Garrard The Power of Feminist Art and many other catalogues of feminist art practices!) the book presents over 300 colour plates from 150 artists, including 'rarely published installation shots' and 'previously unpublished artists' statements' (Press Release). On closer examination, the previously unpublished material proves to be one statement by Coco Fusco - and possibly, a little-known pamphlet by Su Richardson, Monica Ross and Kate Walker.
Peggy Phelan's text, albeit enjoyable to read and skillfully crafted with numerous insights, concentrates on only the American version of feminist strategies, key works and models, with occasional nods towards Britain as 'the well-rehearsed plot' of the history and the rise of the women's art movement. This emphasis is further reinforced in the unannounced selection of works: 85 of the artists live/work in the US, 50 in Europe (22 of whom are in the UK) with a further 10 who live/work in Canada, South America, Japan and Australia. While the "image" of the woman artist and the role of re-presentational and aesthetic strategies is discussed in relation to the problems of essentialism, multi-cultural politics (in the US), queer theory and shifts in feminist art history and theory, Emily Kame Kngwarreye, Sophie Calle, Helen Chadwick, Cecile Edefalk, Jenny Saville and Denise Stoklos are the only artists living outside the US whose work is briefly discussed outside the "familiar"account of American feminism.
2001
Reel Sisters of the Diaspora (Long Island)
() The festival rigorously selects films made by women of colour which tell of the missing historical, psychological or political point of view of women. The film festival is accompanied by a lecture series each year and takes place in October. Among the many sections of the festival there is a teen genre.
2001 Aruna D'Souza ed
Self and History: A Tribute to Linda Nochlin
(London: Thames and Hudson)
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Review reproduced from Volume 7, n.paradoxa, Jan 2001. Katy Deepwell 'Short Book Reviews'
Aruna D'Souza (ed) Self and History: A Tribute to Linda Nochlin
Thames and Hudson, 2001 ISBN 0 500 28250 1
In this anthology, fellow art historians pay tribute to the full range of Nochlin's art historical scholarship by addressing and developing areas which her own work on sexual politics, realism, Impressionism has made possible. Very few works address her life and scholarship directly, Abigail Solomon-Godeau or Moira Roth's portrait/dialogue with her are exceptions.
2001
High Falls Film Festival (Rochester, NY)
() Founded in 2001, the High Falls Film Festival is one of the few film festivals worldwide that celebrates the work of women filmmakers, and is one of the longest running women’s film festivals on the East Coast.
2001 Jacqueline Bobo
Black feminist cultural criticism
(Malden, Mass. ; Oxford : Blackwell)
2001
Women in Film Dallas, formally Chick Flicks Festival (Dallas)
() Each year, Women in Film.Dallas organises the Chick Flicks Festival showcasing short films by female filmmakers. The festival is also an important fundraiser for WIF.D who provide scholarships for women and students in the film industry. Scholarship recipients for the year are presented their monetary award at the conclusion of the festival along with the filmmaker winners.
2001 Martina Pachmanova
Virnost v pohybu / Mobile Fidelity
(Prague: One Woman Press)
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Review reproduced from Volume 9, n.paradoxa, Jan 2002. reviewed by 'Short Book Reviews'
Martina Pachmanova Vìrnost v pohybu / Mobile Fidelity (text in Czech only)
Prague, One Woman Press, 2001 ISBN 80-86356-10-8 A feminist viewpoint is still not frequently used in the Czech art criticism. Martina Pachmanova, a major supporter of feminist approaches in the field of art history, has decided to provide especially the younger generation of both critics and artists with a dozen views on feminism and its role in art and visual culture.
Pachmanova's searching for a less academic form and a theoretically less structured interview seems to be an ideal vehicle for this purpose. The flow of spoken words makes more visible the general fields of interest of the inteviewees who represent diverse branches of feminist cultural practice. Next to those who helped to shape feminism more than thirty years ago (Linda Nochlin, Martha Rosler) there are the younger academicians or artists (Amelia Jones, Mira Schor) whose attitudes have refreshed feminism and adapted it to current developments in visual culture. The discussed topics are art history, subjectivity and identity, aesthetics, sexual politics, public space and art institutions, However, a thin red line links all the interviews and is formed by a few recurring questions: Is it possible to redefine feminist art history? If yes, then how? Should feminist artists work within or outside the current art institutional structures? How can women be represented in art? Is the social and political involvement of artists, a dated practice? And last but not least, is American feminist practice valid in the new democracies of the Central and Eastern Europe? The book does not provide the reader with clear answers but is definitely food for thought.
Martina interviews Linda Nochlin, Natalie Boymel Kampen, Kaja Silverman, Susan Rubin Suleiman, Amelia Jones, Mira Schor, Jo Anna Isaak, Janet Wolff, Martha Rosler, Marcia Tucker and Carol Duncan.
Editor's note: Martina Pachmanova's interview with Kaja Silverman was Review reproduced in English in n.paradoxa Vol. 6, July 2000.
2001 Debra Wacks
SMIRK: Women, Art and Humour
(New York: Firehouse Gallery Nassau)
2001 Mieke Bal
Louise Bourgeois' Spider: the Architecture of Art-Writing
(Chicago: University of Chicago Press)
2000 Susan Bee and Mira Schor eds
M/e/a/n/i/n/g : an anthology of artists' writings, theory, and criticism
(Durham, NC : Duke University Press)
2000 Christina Z. Anderson
Tutti Nudi: Reflections on the Nude from the Greeks to the Twenty-First Century
(New York: Midmarch)
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Review reproduced from Volume 7, n.paradoxa, Jan 2001. Katy Deepwell 'Short Book Reviews'
Christina Z. Anderson Tutti Nudi: Reflections on the Nude from the Greeks to the Twenty-First Century New York: Midmarch Arts press, 2000. ISBN 1 877675 34 2
A gentle introduction to this topic, highlighting the links between religious doctrine and the representation of the female nude over the last two millenium with some sharp and incisive comments to provoke a feminist consciousness in the reader.
2000 Amanda Cruz and Amelia Jones, Elizabeth A.T. Smith eds
Cindy Sherman: A Retrospective
(London: Thames and Hudson)
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Review reproduced from Volume 7, n.paradoxa, Jan 2001. Katy Deepwell 'Short Book Reviews'
Amanda Cruz, Amelia Jones, Elizabeth A.T.Smith
Cindy Sherman: Retrospective Thames and Hudson, 2000 ISBN 0 500 27987X
Published for the retrospective at LA MOCA and MCA, Chicago, as well as reproducing a huge cross-section of her work, and 3 new essays on her work, this volume aslo contains very revealing notes by the artist which outline some of her decision-making strategies in the numerous constructions of self and identity from 1975 to the present. Amada Cruz offers an overview of the different series Sherman has produced, Elizabeth AT Smith an art historical set of comparisons invoking parody as the principal strategy and Amelia Jones, a feminist reading, of the performative character of the work, given its attention to the construction of femininity as part of emerging postmodernist debates in the 1980s.
2000 Laura Cottingham
Seeing Through the Seventies: Essays on Feminism and Art
(Amsterdam: G+B Arts International)
2000 Laura Cottingham Intro by Christine Bard
How many "bad" fcminists does it take to change a lightbulb? / Combien de "sales" feministes faut-il pour changer une ampoule? : antifeminisme et art contemporain
(Lyon : Tahin Party)
2000 Alicia Craig Faxon and Liana De Girolami Cheney, Kathleen Russo eds
Self-Portraits by Women Painters
(London: Ashgate)
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Review reproduced from Volume 7, n.paradoxa, Jan 2001. Katy Deepwell 'Short Book Reviews'
Liana de Girolami Cheney, Alicia Craig Faxon, Kathleen Russo Self-Portraits by Women Painters
London: Ashgate, 2000
ISBN 1 85928 424 8
The list of "most significant" or interesting women's self-portraits attended to in this book, overlaps the European/American story presented in Borzello's above. The 3 scholars' approach, while less passionate, examine questions of interpretation, identification and attribution in art history from antiquity to the present day.
2000 Peggy Z. Brand ed
Beauty Matters
(USA: Indiana University Press)
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Review reproduced from Volume 8, n.paradoxa, July 2001. Katy Deepwell 'Short Book Reviews'
Peg Zeglin Brand Beauty Matters
Bloomington & Indianapolis: Indiana University Press, 2000 ISBN 0 253 21375 4
There is an interesting tension in this book between the disciplines of philosophy/ aesthetics in Plato, Kant and Hegel and cultural studies attention to popular culture, social/political context and racial/sexual stereotypes, when it comes to defining the concept of beauty. The doubleplay in the title reinforces this: whose concept of beauty matters and which beauty matters are we discussing? Feminist essays include: Peg Brand discussion interview with Orlan; Hilary Robinson on the value of Irigaray for feminist discourse; Eva Kit Wah Man on ideals of beauty in China; and Susan Bordo (re) discovering the male body in Calvin Klein adverts.
2000 Harmony Hammond
Lesbian Art in America: A Contemporary History
(New York: Rizzoli International Publications Inc)
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Review reproduced from Volume 6, n.paradoxa, July 2000. Katy Deepwell 'Short Book Reviews'
Harmony Hammond Lesbian Art in America:A Contemporary History
New York: Rizzoli International Publications Inc, 2000
ISBN 0-8478-2248-6
Advertised as a 'history of which girls made and showed what, when and where', this volume promises to be the most comprehensive documentation of lesbian artists in America. The introduction makes it clear that the territory mapped contains many problematic definitions post-Stonewall of the terms, lesbian, lesbian artist, feminist lesbian artist. Taking Martha Gever's definition as a guide each definition is situated in relation to the 'complex, often treacherous, system of cultural identites, representations and institutions, and a history of sexual and social regulation.' Three hundred artists and thirty years of this story are included in this original and in-depth research developed alongside Harmony Hammond's own activism in this period with many feminist and lesbian artists in America as an organiser and artist.
2000
Lunafest (a US touring festival)
() Lunafest is a travelling film festival of award-winning short films by, for and about women. Organised by LUNA, the makers of a Whole Nutrition Bar for Women, the aim is to raise money for charity, notably Breast Cancer. In 2012, nine films, filled with stories of reflection, hope and humor, were toured to over 150 cities and screened in front of 20,000 people.
2000 Molly H. Mullin
Culture in the Marketplace: Gender, Art and Value in the American Southwest
(Duke University Press)
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Review reproduced from Volume 8, n.paradoxa, July 2001. Katy Deepwell 'Short Book Reviews'
Molly H. Mullin Culture in the Marketplace: Gender Art and Value in the American Southwest Durham: Duke University Press, 2001. ISBN 0 8223 2610 8
An in-depth analysis of a group of elite East Coast US women collectors and the influence of their work in generating a market for Native American art. An analysis of the redrawing of questions about "culture", "tourism" and "authenticity" in early 20th century and its impact today.
2000
Meridians
() current interdisciplinary journal that offers a forum for scholarship and creative work by and about women of color in United States and international contexts
1999-2000 Lucy Lippard
On the Beaten Track
(New Press/IB Tauris)
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Review reproduced from Volume 7, n.paradoxa, Jan 2001. Katy Deepwell 'Short Book Reviews'
Lucy Lippard On the Beaten Track: Tourism, Art and Place
New York: New Press/ London: IB Tauris, 2000. ISBN 1 56584 454 8
What turns the place where you live, into the place which other people travel to come to see? Tourism, perhaps. Lippard's attention to the local and how it is transformed into an object of tourism is combined with a close examination of artworks which critically examine these very processes in operation. With the exception of one section on the Holocaust Memorial sites, the tourism she explores in centred in the US's own tourist industry, colonisation and pioneer/settler culture, moving south to Mexico and north to Canada. Tourism's role as a cultural industry is analysed throughout in relation to fine art's attention to the contradictions and politics of tourism in objectifying the local people as "Others" - socially, culturally, or historically - to satisfy the consumerism of the tourist. In the process she raises many procative questions about how we look at the world around us.
1999
FEMSPEC
() current an interdisciplinary feminist journal dedicated to critical and creative works interrogating gender in the realms of science fiction, fantasy, surrealism, magical realism and the supernatural
1999 Daniela Salvioni and Vicki Logan and Kent Logan
Looking at ourselves : works by women artists from the Logan Collection
(San Francisco Museum of Modern Art, January 09-April 20)
1999 Coco Fusco ed
Corpus Delecti: Performance Art in the Americas
(Routledge)
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Review reproduced from Volume 5, n.paradoxa, Jan 2000. Katy Deepwell 'Book Reviews'
Coco Fusco (ed) Corpus Delecti: Performance Art in the Americas Routledge, 1999. ISBN 0-415-19454-7
A wide cross-section of Latino performance art is discussed, documented and presented in this volume which highlights both trans-national and feminist viewpoints in Chile, Mexico, Cuba, Venezuela and Brazil as part of a general picture and the work of many women artists, including: Maris Bustamente; Lygia Clark; Ana Mendieta; Neo Bustamente; Marta Minujin; Tania Bruguera; Lotty Rosenfeld and Coco Fusco's own. This book has much to offer in its analyses of the relationships between per-formance art, theatre and cabaret; the role performance can play in political activism and transforming cultural stereotypes; and the debates around performance art, the legacy of dada in performance and its reinvention under the title 'non-objectual' art. The book contains scripts as well as documentation of work from the 1980s and 1990s.
1999 Lisa Bloom ed
With Other Eyes: Looking at Race and Gender in Visual Culture
(Minneapolis: University of Minnesota Press)
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Review reproduced from Volume 6, n.paradoxa, July 2000. Katy Deepwell 'Short Book Reviews'
Lisa Bloom (ed.) With Other Eyes Looking at Race and Gender in Visual Culture
Minneapolis: University of Minnesota Press,1999
ISBN 0-8166-3223-5
This anthology is offered as a course reader for an expanded notion of a feminist visual cultural studies within the academy. Essays from the 1990s by Inderpal Grewal, Francette Pacteau, Caren Kaplan, Ann Pellagrini, Irit Rogoff are republished alongside new work by Shawn Michelle Smith, Griselda Pollock, Aida Mancillas/Ruth Wallen/Marguerite R. Waller, Zoe Leonard/Cheryl Dunye, and Jennifer A. Gonzalez. This outlines a field in which gender,race and nationalism is explored alongside postnational aesthetics in a range of subjects from British Museum guide books to the Body Shop, to the work of Sutapa Biswas and Sandra Bernhard. Feminist methodology acts as the umbrella for these seemingly diverse explorations and as Lisa Bloom suggests in the introduction feminist readings of visual culture have tended to oscillate between two positions which she defines in terms of bell hooks's notion of 'oppositional looks' where the gaze functions as a site of resistance and the use of parody and imitation to provide a challenge to existing racist and sexist stereotypes. The essays go on provide more possibilities.
1999 Shelley Rice
Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman
(MIT press)
1998 Ida Applebroog
Nothing Personal: Paintings, 1987-1997
(USA: DAP/Corcoran Gallery of Art)
1998 Jane Blocker
Where is Ana Mendieta? Identity, Performance and Exile
(USA: Duke University Press)
1998 Katy Deepwell ed
Nuevo Critica Feminista de Arte
(Ediciones Cathedra,Universitat de Valencia/Instituto de la Mujer)
1998 Whitney Chadwick ed
Mirror Images: Women, Surrealism and Self-Representation
(Boston: MIT Press)
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Review reproduced from Volume 4, n.paradoxa, July 1999. Katy Deepwell 'Book Reviews'
Whitney Chadwick (ed) Mirror Images: Women, Surrealism, and Self-Representation (Massachusetts, MIT press, 1998, USA touring exhibition catalogue)
ISBN 9-780262-531573
The exhibition, for which this book acted as a catalogue, displayed visually the parallels between women artists in Surrealist movement of the 1930s and 1940s and contemporary women artists, e.g. Cindy Sherman and Claude Cahun, or Paula Santiago and Meret Oppenheim or Unica Zurn and Francesca Woodman. The essays themselves seeks to problematise these relationships. How does the Surrealist negotiation of the femme-enfant, of Women's position as both Other and Muse sit next to the cultural mediations of subjectivity and identity politics in contemporary work? The question is not one simply one of drawing lines of influence historically in terms of precedents but an analysis of representational strategies and points of contact. How does Joan Riviere's idea of Womanliness as masquerade continue to haunt the self-portraits of women artists? This book is a stimulating contribution to the debate about women's self-representations and Surrealist legacies. Essays by Whitney Chadwick, Dickran Tashjian, Katy Kline, Salomon Grimberg, Dawn Ades, Susan Rubin Suleiman, Helaine Posner.
1998
Everett Women's Film Festival (Washington)
() Everett film festival is an annual festival in Washington presenting films written, produced or directed by women.
1998 Whitney Chadwick
Framed
(London: Macmillan)
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Review reproduced from Volume 2, n.paradoxa, July 1998. Hilary Robinson 'Book Reviews'
Whitney Chadwick Framed (London: Macmillan, 1998) ISBN 0-353-71950-6
If there are aspects of Art History which are akin to crime solving - trying to see with fresh eyes, collating evidence, and resolving questions through interpretation - then there are aspects of feminism which resemble a never-ending thriller - the frequent twists of the plot, the need to find out why all this outrageous stuff is happening, and the desire to see wrongs righted. It is hardly surprising, then, that most of the feminist art historians I know confess to loving thrillers with female protagonists. The sites of identification and fantasy are not hard to find: good woman finds bad mess, is jeopardised by bad men, and triumphantly restores order through her own wit and tenacity.
No wonder, then, that Framed by art historian Whitney Chadwick hits all the right buttons. Chadwick has created in Charlotte Whyte a character who is a nice mixture of independence, snottiness, and vulnerability. An art historian working in San Francisco, she is invited to hear a gay male colleague, Michael, lecture on David. The lecture never happens: Michael is murdered minutes before he is due to start. The grieving Charlotte is invited to finish Michael's work on a David catalogue, and manages to piece together not only the art history but also the murder mystery. Lacking the all-singing, all dancing scientific talents of Dr Kay Scarpetta (Patricia Cornwell's heroine), and the reams of accident-prone or conveniently employed relatives of V I Warschawski (in Sara Peretsky's books), Charlotte Whyte is a believable woman in a believable setting. Framed is marred in places by clumsy editing (it gives nothing away to say that the penultimate paragraph implies that the Arena chapel is in Tuscany), but would make a great holiday read.
1998 Judith Fryer Davidov
Women's Camera Work : Self/Body/Other in American Visual Culture
(Duke University Press)
1998 Karen Finley
Shut Up and Love Me
(Artspace Books)
1998 Ella Shohat ed
Talking Visions: Multicultural Feminism in a Transnational Age
(Cambridge, Mass: MIT)
1998 Coco Fusco et al
The Latina Artist: The Response of the Creative Mind to Gender, Race, Class and Identity
(New Brunswick, NJ: Rutgers Univ Press)
1998 B. Ruby Rich
Chick Flicks: Theories and Memories of the Feminist Film Movement
(Duke University Press)
1998 Amelia Jones
Body Art - Performing the Subject
(University of Minnesota)
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Review reproduced from Volume 2, n.paradoxa, July 1998. Hilary Robinson 'Book Reviews'
Amelia Jones Body Art: Performing the Subject (Minneapolis: University of Minnesota Press, 1998) ISBN 0 8166 2773 8
This is a book which, I feel, will have a far-reaching effect upon the development of the theoretical discourses around performance, representations of the body, and body art in particular. Amelia Jones develops models for thinking through the representation of the artist's body/self in artworks and the associated problematics of the mediation of subjectivity between artist and audience. Using a phenomenological basis for developing understanding of body art as intersubjective (rather than subject/object), Jones traces body art's disruption of the normative values of the modernist art world. The significance of the particularity of the body used is demonstrated through close readings of certain works: any artist's body/self used in an artwork becomes explicitly non-universal, non-transcendent. In this lies body art's potential for radical (including feminist) practices. Works by Vito Acconci and Hannah Wilke are analyzed in depth against this background, enriched by readings across a host of works by other artists, demonstrating the delicate but insistent play of intersubjectivity.
This is not a book 'about' body art, then (and still less is it one 'about' particular artists), so much as one which aims to develop the critical vocabulary and shape the discourses of body art, opening spaces for gender-aware and anti-racist practices. This it does productively and provocatively. Its language is rich and challenging (if with a decided American accent - many nouns extended into adjectives and verbs). Its main fault for the researcher-reader is its lack of separate bibliography: one has to trace back through the notes, which is frustrating, as they take up over a quarter of its pages.
My main problem with the book's argument is tangential to its aim: it lies with one of Jones's definitions of "body art", which I feel is an over-protective handling of a methodological problem. Early on, Jones stresses that body art is dependent upon photographic documentation (p.13), later adding that it [depends] on documentation to attain symbolic status within the realm of culture (p.33). While photographic documentation is crucial for the retrospective researcher, it is important to distinguish between body art intended to be mediated in photographic format (like some of Wilke's work under discussion), and that which is documented through photographs - in which case the photographic evidence remains highly contingent and partial, and the structures of discourse around them differ. A few photographs taken during (say) a 12-hour non-stop body art work can only be understood as a trace record, rather than privileged access to the artist/subject; the most reductive critic would at this point mourn the loss of such access, deeming it only possible through attending/participating in the performance itself. The significance of this distinction is not clear in the book (indeed, the import of time in the processes of body art is notably absent from the discussion). This point (and my terminology) cut across Amelia Jones's intentions of elucidating the intersubjective nature of body art, but it is crucial in the thorny debate about the representation of body art and the possibility not only for adequate documentation but also for a radical (feminist) retrospective critical analysis. Jones positions the reading by Alan Kaprow of Hans Namuth's photographs of Jackson Pollock as crucial to the development of Happenings; but this could only happen with the imaginative leap from reading those photographs as indexical of the (unmediated) subject 'behind' the paintings, to reading them as indexical of a possible repertoire of gestures of mediation. Only then can the subjectivity of the artist be constructed as particular and contingent. What is indicated here is that the strategic reading of the documentary photograph is at stake. This could, I think, have been explored in the book; however, this removes little from Jones's overall, and considerable, achievement of shifting the models of thinking about body art away from the prevalent idealist notions of unmediated access to the artist/subject and into a more radical realm which can only be of benefit to developing feminist critical thought.
1998 Lorna Simpson
Interior/Exterior, Full/ Empty
(USA : Wexner Center, February)
1998 Moira Roth
Rachel Rosenthal
(USA: John Hopkins University)
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Review reproduced from Volume 1, n.paradoxa, Jan 1998. Katy Deepwell 'Short Reviews of New Publications'
Moira Roth (ed) Rachel Rosenthal ( PAJ Books ,Art + Performance: John Hopkins University Press, 1997) ISBN 0-8018-5629-9
The introductory essay to this collection of material by and about the performance artist Rachel Rosenthal offers an artistic autobiography. Roth traces events in Rachel Rosenthal's life from her childhood to the present day and draws out their significance for recurrent themes in her performances. She outlines Rosenthal's work in Instant Theatre, the importance of Antonin Artaud to her devlepoment and the unusual letters with Barbara T.Smith which prompted a change in direction for Rosenthal in 1975/6. The book also includes transcripts of interviews, a cross-section of reviews of performances by a wide rang eof authors, extracts from the artist's writings and the script for Rachel's Brain.
1998 Martha Rosler
Martha Rosler: Positions in the Life World
(Massachussetts/MIT press, Birmingham/Ikon Gallery, Vienna/Generali Foundation)
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Review reproduced from Volume 4, n.paradoxa, July 1999. Katy Deepwell 'Book Reviews'
Martha Rosler Martha Rosler: Positions in the Life World Massachusetts MIT press/ Ikon Gallery, Birmingham/Generali Foundation, Vienna,1998. ISBN 0-262-04174-X
This book offers the most comprehensive view of Rosler's work, accompanied by an interview with Benjamin Buchloh, and stimulating essays by Alexander Alberro, Silvia Eiblmayr, Annette Michelson, Jodi Hauptman and Catherine de Zegher. Its publication accompanies the international touring exhibition of Rosler's work, culminating in the USA in 2000.
1998 Moira Roth
Difference Indifference : essays, interviews & performances
(G & B Arts International, June)
1998 Lydia Lunch
Paradoxia: A Predator's Diary
(London: Creation Books)
1998 Essay: Dr Ieva Kuiziniene
Lithuanian Art / Women Experience
(Washington DC: Contemporary Art Centre, October)
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Review reproduced from Volume 3, n.paradoxa, Jan 1999. Katy Deepwell 'Book Reviews'
Lithuanian Art / Women Experience
Contemporary Art Centre, Vilnius, published on the occasion of the Lithuanian Women Art Exhibition at the National Museum of Women in the Arts, Washington DC
October 1998. Essay: Dr. Ieva Kuiziniene.
This catalogue represents and documents over 40 women artists from Lithuania through a single photograph of a piece of their work and a CV. It was produced with the assistance of the Soros Centre of Contemporary Arts Archives in Vilnius of over 300 Lithuanian artists. The work is wide-ranging in media and approach but it documents many artists marginalised in the offical Communist art world in the middle of the 20C (Jusefa Ceicyte, Kazimera Zimblyte) as well as those whose careers have started since post-Glasnost independence and exhibit abroad (Egla Rakauskaite, Nomeda Urboniene, Elena Urbaitis).
1998 Katy Deepwell ed
Nuevo Critica Feminista de Arte
(Ediciones Cathedra,Universitat de Valencia/Instituto de la Mujer)
1997, 2013 Margot Mifflin
Bodies of Subversion: A Secret History of Women and Tattoo
(Random House)
1997, 1998 Arlene Raven
JUNE WAYNE
(USA: University of Washington Press)
1997 Mary Kelly. Curator: Judith Mastai
Social process--collaborative action : Mary Kelly 1970-75
(Vancouver : Charles H. Scott Gallery)
1997
Women's Arts News
() 2007 a monthly newsletter from Women's Studio Center Inc., New York
1997 Kyra Belan
Earth, Spirit and Gender: Visual Language for the New Reality
(American Heritage)
1997 Lucy Lippard, commentary by Laura Cottingham
Hot Potatoes: From Minimalism to Activism
(New York Critical Voices Series from G+B Arts international, May)
1997 Mary Kelly
Imaging Desire: Mary Kelly:Selected Writings
(MIT Press)
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Review reproduced from Volume 1, n.paradoxa, Jan 1998. Katy Deepwell 'Short Reviews of New Publications' - Divided into 5 sections, this volume reprints many of Kelly's published writings in a new context allowing a greater insight into her cultural, critical and artistic projects over the last two decades. Her reflections on the direction of feminist art practice since the 1970s; on the politics of modernism; on the representation of femininity in artistic practice ; and on the female/feminist subject in history continue to inspire and provoke feminist debate in the UK and USA.
The 5 sections of the book are :- I.Feminist Interventions; II Unspeakable Subjects; III Postmodern Oppositions ; IV Invisible Bodies; V Gender Hybrids.
1997
San Francisco Transgender Film Festival (San Francisco)
() The San Francisco Transgender Film Festival (SFTFF) screens films that promote the visibility of transgender and gender variant people and challenge the mainstream media's negative stereotypes of our communities. We provide opportunities for transgender and gender variant media artists, build community through our film and performance events, and engage our audiences in cross-community dialogue. The festival takes place in November.
1997 Mira Schor
Wet: On Painting, Feminism and Art Culture
(USA: Duke University Press)
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Review reproduced from Volume 2, n.paradoxa, July 1998. Katy Deepwell 'Book Reviews'
Mira Schor Wet, On Painting, Feminism and Art Culture USA: Durham, Duke University Press,1996. ISBN 0 8223 1915 2
This anthology of the New York critic artist and editor of M/E/A/N/I/N/G/S is a fascinating collection of her best writings. It includes her essay on Ida Applebroog,'Medusa Redux', which I have long admired for its arguments about postmodern possibilities in painting which retain a historical and critical edge. Reading her work together puts these arguments into context as they focus on her analyses of masculinity and power; teaching practice and an attempt to extend the discussion of what painting is, does and what it can signify away from the narrow definitions of modernism which have for several decades dominated Anglo-American teaching practice.
Her essay 'From Liberation to Lack' 'Patrilineage' and her proposals for new approaches to teaching painting provide valuable food for thought. Her description of the power politics between teacher and student are pertinent to many women's experience of art school, including my own nearly a decade after hers. Her questioning of the relationships between authority and learning and the approaches within feminist art theory will continue to provide salutory warnings and a necessary problematisation of the field for those wishing to argue for a contemporary feminist art practice in which painting plays some role amongst other media.
1997
New Art Examiner
((USA)) March v.24
1997 Carl Haenlein ed
Rebecca Horn: The Glance of Infinity
(USA, Scalo; Germany, Kestner Gessellschaft)
1997 Salah Hassan ed
Gendered Visions: the Art of Contemporary Africana Women Artists
(Trenton, NJ: Africa World Press)
1997 McMullen Museum of Art
Re/Dressing Cathleen: contemporary works from Irish Women Artists
(Boston: McMullen Museum of Art, Boston College, Oct 5-Dec 7)
1996 National Museum of Women in the Arts
Virgin Territory: Women, Gender and History in Contemporary Brazilian Art
(Washington, DC: National Museum of Women in the Arts)
1996 Catherine de Zegher
Inside the Visible
(Boston: ICA/ MIT: Kanaal Art Foundation)
1996 Bell Hooks
Art on My Mind:Visual Politics
(New York: New Press)
1996 Susan L. Stoops and Lynda Benglis, Whitney Chadwick
More than minimal : feminism and abstraction in the '70's
(Waltham. Mass.: Rose Art Museum, Brandeis University)
1996 Amelia Jones ed
Sexual Politics: Judy Chicago's The Dinner Party in Feminist Art History
(University of California Press)
1996 Francesca Hughes ed
The Architect: Reconstructing Her Practice
(Boston: MIT Press)
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Review first published in n.paradoxa online (May 1997) by Katy Deepwell -- This book addresses the question of gender in architectural practice. Touching on familiar questions for women practitioners : Do women design differently from men? Is there a feminine architecture? What does it look like? and at the same time trying to move beyond these into more complex questions of the problem of 'Woman' already-inscribed in language in its contradictory even opposition placement against the work of real women architects. The aim is to produce a collective autobiography of practice : one which multiplies that sense of possibility in gender beyond simple binary oppositions of male/female. As one reviewer put it, the book is collected 'with cunning and tact', essays are linked in a tangential but flowing manner.
Contents and Authors:
Beatriz Colomina discusses Eileen Gray's house E.1027 at Cap Martin and the contradictory place of Le Corbusier's gift mural within it. Martine De Maesener's essay plays on the conflicts in language and spatial design embodied in the notion of form and function : a play between up and side, 'Op-Zij' (in Dutch) inside/outside in 'Rear Window'. Francoise-Helene Jourda describes her architectural practice (and collaborations) in terms of principles specifically exploiting contradictory principles. Elizabeth Diller moves from an analysis of time-motion efficency in 1950s Taylorism to a clever pun on the pyschology of housewives dis-/mal-content in pressing the perfect shirt. Dagmar Richter, inspired by Cixous' challenge to put into words the unthinkable/unthought offers reflections on 'A Practice of One's Own' from building the Century City to using 'irony' as a method to redesign Beirut. Nasrine Seraji-Bozorgzad's reflections presented in image/text forms present reflections on territories and models of architectural practice in order to illuminate her own position. Catherine Ingraham takes up Francesca Hughes' suggestion of women operating as both insiders and outsiders in architecture language and its objects: as a site for a lament. Christine Hawley presents aspects of her own practice and offers ideas and salutary warnings about challenging the norms of architecture. Merrill Elam discusses some of her own projects and recollections ; Diana Agrest 'The Return of (the Repressed) Nature in the China Basin project; Magret Hargardottir discusses her design of City Hall, Reyjavick,Iceland and work in Wiesbaden; and Jennifer Bloomer the principles of composition and fascination in still life in her work.
1996 Jo Anna Isaak
Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter
(London: Routledge)
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Review first published in n.paradoxa online (May 1997) by Katy Deepwell -- Jo Anna Isaak analyses and presents the work of women artists from the U.S., the former Soviet Union; the United Kingdom and Canada in this book, beginning with the work from her 1982 exhibition 'The Revolutionary Power of Women's Laughter' and its 1992 sequel 'Laughter Ten Years After'. Two chapters engage with her work on Freud and feminist readings 'Art History and Its Discontents' and 'Encore'; and on Cixous in 'Mapping the Imaginary'. There are many insights and ideas presented for feminist analysis within this book. What is immediately striking is the move towards an international appraisal of parallels within feminism and the importance of 'heteroglossia'.
Chapters : The Revolutionary Power of Women's Laughter ; Art History and Its (Dis)Contents ; Reflections of Resistance: Women Artists on the Other Side of the Mir; Mothers of Invention ; Mapping the Imaginary ; Encore.
1996 Joanna Frueh
Erotic Faculties
(Berkeley: University of California Press)
1996 Lucy Lippard
The Pink Glass Swan: Selected Feminist Essays on Art
(New York: New Press )
1996 Adrian Piper
Out of Order,Out of Sight (2 Vols)
(Boston, Mass: MIT)
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Review reproduced from Volume 1, n.paradoxa, Jan 1998. Katy Deepwell 'Short Reviews of New Publications' - This collection of writings by Adrian Piper brings together what might first appear as the two divergent strands in her creative work: her art and her engagement with philosophy,specifically her writings on Kant. However her work in art criticism, on Xenophobia and on the concept of 'meta-art' has many direct links with her art production in performance, photography and installation since the late 1960s. This method of publication offers great insight into these connections and the overall approach in Piper's work. For these two volumes also form a beautifully produced documentation of over three decades of work and creative politcally-engaged thought : a body of work which was designed to challenge, to provoke and to question collective understandings of identity, of racist attitudes and Xenophobia in American society.
Vol 1 : Selected Writings in Meta-Art, 1968-1992 :
35 essays and statements divided into 4 Sections: 'The Metaphysics of Conceptual Art'; 'Performance Catalysis on the Street and in the World' ; 'Object Catalysis and Political Self-Awareness'; 'Racism, Racial Stereotyping and Xenophobia'.
Vol 2 : Selected Writings in Art Criticism 1967-1992 :
Twenty-Four essays divided into three Sections : 'Conceptualizing Conceptual Art'; 'Art-World Politics'; 'Art-World Practice and Real-World Politics'
1996 Cecilia Puerto
Latin American Women Artists,Kahlo & Look Who Else. A Selective Annotated Bibliography
(Westport, Connecticut & London, Art Reference Collection, No.21)
1996 O. Leroux and M Jackson
Inuit Women Artists
(San Francisco: Chronicle Books )
1996 Maya Angelou, Theresa Robinson et al ed
Bearing Witness: Contemporary Works by African American Women Artists
(New York, Rizzoli)
1996 Betty Ann Brown ed
Expanding Circles: Women, Art & Community
(New York: Midmarch Arts Press)
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Review reproduced from Volume 4, n.paradoxa, July 1999. Katy Deepwell 'Book Reviews'
Betty Ann Brown (ed.) Expanding Circles: Women Art and Community (New York: Midmarch Arts Press, 1996) ISBN 1-877675-21-0
This important anthology, which continues discussions of community-based activist work is divided into 4 sections which suggest the themes of the book: Women's Art Communities in Contemporary History; Identity in Community; Building Community; and Living in Community. Contributions include texts by: bell hooks, Lucy Lippard, Joanna Frueh, Betsy Damon, Suzanne Lacy, Ruth Weisberg, Lorraine Serena on Women/Beyond Borders, Frances K. Pohl and Betty Ann Brown who also interviews Judy Chicago, Arlene Raven, Cheri Gaulke, Rachel Rosenthal,and Suzanne Lacy. It is an ideal companion to earlier books like Lippard's Get the Message, Nina Felshin's But is it Art?, and Lacy's Mapping the Terrain.
1996 Susie Bright and Jill Posener
Nothing But the Girl: the Blatant Lesbian Image
(Cassell)
1996 Lynn Hershman Leeson
Clicking In: Hot Links to a Digital Culture
(Seattle,Bay Press)
1996 Georgia Collins and Renee Sandell eds
Gender issues in art education : content, contexts, and strategies
(Reston, Va. : National Art Education Association)
1996 Cherry Smyth
Damn Fine Art by New Lesbian Artists
(Cassell)
1995 Geraldine P. Biller ed
Latin American Women Artists,1915-1995
(USA:Milwaukee Art Museum)
1995 Whitney Chadwick ed
Confessions of the Guerilla Girls: How a Bunch of Masked Avengers Fight Sexism and Racism in the Art World with Facts, Humor and Fake Fur
(London: Harper Collins)
1995 Diane Apostolos-Cappadonna and Lucinda Ebersole eds
Women Creativity and the Arts: Critical & Autbiographical Perspectives
(New York: Continuum)
1995 Kathy Acker and Robin Kahn, Antal Ronell
Time Capsule: A Concise Encyclopedia by Women Artists
(Creative Time)
1995 Faith Ringgold
We flew over the Bridge: The Memoirs of Faith Ringgold
(USA: Little Brown)
1995 Diane Neumaier ed
Reframings: New American Feminist Photographers
(Philadelphia: Temple University Press)
1995 Peggy Z. Brand and Carolyn Korsmeyer eds
Feminism and Tradition in Aesthetics
(Pennsylvanian: Penn State Press)
1995 Leslie King-Hammond ed
Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists
(New York: Midmarch Press)
1995 Suzanne Lacy ed
Mapping the Terrain: New Genre Public Art
(Seattle: Bay Press)
1995 Candace Lee
A Gathering Place: Art-Making by Asian/Pacific Women
(Southern California, Pacific/Asia Museum)
1995
October
((USA)) (Winter) No.71 pp.103-19
1995 Lynn Zelevansky
Sense and Sensibility: Women Artists and Minimalism in the Nineties
(Thames and Hudson/New York:MOMA)
1995 Naomi Schor
Bad Objects
(USA: Duke University Press)
1995 Marcia Tucker
Bad Girls
(Boston,Mass: MIT)
1995
Southwest Art
((USA)) (November) Vol.25. No.6
1995 Coco Fusco
English is Broken Here: Notes on Cultural Fusion in the Americas
(New York)
1995 Nina Felshin
But is It Art? : The Spirit of Art as Activism
(Seattle,Bay Press)
1995 Lucinda Ebersole and Diane Apostolos-Cappadonna
Women Creativity and the Arts: Critical & Autbiographical Perspectives
(New York: Continuum)
1995 Jo Anna Isaak
Laughter Ten Years After
(USA: Hobart & William Smith Colleges Press)
1995 Natalie Harris Bluestone
Double vision : perspectives on gender and the visual arts
(Madison : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses)
1995 Carolyn Korsmeyer and Peggy Z. Brand eds
Feminism and Tradition in Aesthetics
(Pennsylvanian: Penn State Press)
1995
Art Journal
((USA)) (Spring) 'Clothing as subject'
1994, 1995 Mara Witzling
Voicing Todays Visions
(London: Women's Press)
1994 Joanna Frueh and C. Langer, A.Raven
Feminist Criticism: Art, Identity, Action
(Icon/Harper Collins)
1994 Abigail Solomon-Godeau
Photography at the Dock: Essays on Photographic History, Institutions, and Practices
(University of Minnesota Press)
1994 Elizabeth Shepherd
Secrets,Dialogues, Revelations: The Art of Betye and Alison Saar
(University of Washington Press)
1994 Paul Von Blum
Other visions, other voices : women political artists in greater Los Angeles
(Lanham, MD ; London : University Press of America)
1994 Anette Kubitza
Die Kunst, das Loch, die Frau : feministische Kontroversen um Judy Chicagos "Dinner Party"
(Pfaffenweiler : Centaurus)
1994 Salwa Mikdadi Nashashibi et al
Forces of change : artists of the Arab world
(Lafayette, Calif. : International Council for Women in the Arts, Also published by National Museum of Women in the Arts)
1994 Jane R. Glaser and Artemis A.Zentou eds
Gender Perspectives: Essays on Women in Museums
(Washington DC: Smithsonian Institution Press)
1994 Elizabeth Biasio
'The Burden of Women - Women Artists in Ethiopia' New Trends in Ethiopian Studies: Papers of the 12th International Conference of Ethiopian Studies
(New Brunswick: The Red Sea Press & Michigan State University)
1994
Art Papers
() Vol. 18 No. 6 special issue on Lesbian Artists
1994 Norma Broude and Mary Garrard
The Power of Feminist Art : Emergence,Impact and Triumph of the American Feminist Art Movement
(New York: Harry N. Abrams)
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This review by Katy Deepwell was first published in Oxford Art Journal 1995 Vol 18 No. 2 p.119-122
The beautiful colour reproductions and the substantial qualities of this new Broude and Garrard anthology (literally its size and weight) create a totality and 'seeming' coherence to art history about the feminist art movement and confirm its importance as an object of study. There is no doubt that here, and not just within the pages of this book, is an important history which needs to be affirmed, celebrated, anthologised and documented. However, much as I and many others might wish to reiterate the importance of feminism, the question remains, what contribution will this book make to shifting the study of feminist art practice from the margins to the centre: from its frequent position as an addendum or one-off topic, into a key subject of study?
A new wave of feminist publications has arrived both this year and last including, in addition to those reviewed here, two new anthologies from Harper Collins by Joanna Frueh, Arlene Raven, Cassandra Langer (Feminist Art Criticism and Feminist Criticism; Art, Identity,Action) and a continuing stream of publications from both Bay Press in Seattle (see below) and MidMarch Arts Press in New York (e.g. Leslie King-Hammond (ed) Gumbo ya ya: Anthology of African American Women Artists and Laura Brunsman and Ruth Askey (ed) Modernism and Beyond: Women Artists of the Northwest). Both Lucy Lippard and Mary Kelly are publishing new editions of collected writings in 1995. The first feminist anthology from Britain on the visual arts since 1987 has just been published containing contributions by 23 different women artists,curators and writers : Katy Deepwell (ed) New Feminist Art Criticism: Critical Strategies (Manchester University Press,1995). What, collectively, will the impact of this new wave of publications have on teaching about feminist art practice in art schools and art history departments, even in women's studies ? Will it offer a means to redefine the curriculum? And, by this I mean, moving the study of feminist theory, criticism and practice out from the occasional guest lecture or one-off seminar tagged on to the end of the programme, into the centre of issues and debates explored within programmes on contemporary art. Perhaps, here, is the other great problem that art history departments in Universities rather than art schools tend towards, the absence of taught programmes about contemporary art practice in the last twenty-five years. What impact also will such books have in redefining the teaching of what constitutes feminist art practice, beyond the often officially-unacknowledged reassurance that such publications, which are typically out from the library, provide for women students of role models or possibilities for a future as practicing artists, art critics and art historians. After twenty five years, it is very clear , if only to those who have been involved, that the feminist art movement is in the process of redefining its own legacy and redrawing the boundaries and emphases of its own history. Overcoming the incredible backlash of the mid-late 1980's, renewing internal debates and addressing the 'generation gap' amongst its practitioners have emerged as key issues. The longstanding questions of feminism's critique of Greenbergian modernism, its potential interventions in the art world and its new, if tentative, alliances with postmodernism (in addition to its use of post-structuralist theory) remain on the agenda in all the new publications discussed here. Such reassessment is taking place in the context of a renewed interest from a younger generation of women artists in the supposedly brash and deliberately lewd feminist transgressions of the early 1970's to parallel their own in the guise of postmodern 'Bad Girls' or 'Cyberchics'. The Power of Feminist Art ends , appropriately, with an essay by Laura Cottingham ( a contributor to the ICA's 1993/1994 Bad Girls catalogue) which stresses a continuum linking 'Bad Girls' like Sue Williams, Zoe Leonard or Lorna Simpson to a legacy of feminism dating from the early seventies. The point is reiterated, from a different angle in Mira Schor's essay on 'Backlash and Appropriation', the dual themes of a feminist legacy in postmodern times. Schor contrasts David Salle's painting 'Autopsy'(1981) with Kiki Smith's sculpture/installation 'Tale'(1992) amongst other examples to demonstrate the casual sexism and discrediting of any feminist critique by the repitition of images of abject, often deliberately humiliated, women in the work of some of the art world's currently most celebrated 'golden boys' and 'girls'.
Given the increasing number of substantial publications on feminist art practice, isn't it now time to reassess how feminist art practice since the 1970s is now taught or even communicated to succesively younger generations of art students ? Art school culture still does not seem to have updated its ideas of feminism from either the stigmatising of everything feminist (particularly from the 1970's) as essentialist, even more perversely as 'sexist', or the attempt to bury feminism under the prefix of 'post'-feminism by the lads of the new academy.
In this respect it is significant that feminist interventions in teaching form such a central part of the material discussed in The Power of Feminist Art, specifically the impact of Judy Chicago and Miriam Schapiro's feminist art program at Cal Arts and Fresno in the early 1970's (in interviews with both artists) and Linda Nochlin's own recollections of her early feminist teaching programs at Vassar and the vast expansion of work on women artists since the early 1970's. These women's interventions as teachers have had a significant impact as feminist role models, the former in a new focus on women's experience and perspectives as subject matter for works of art; the latter in switching the emphasis away from studying women as bearers of man's meaning into their significant contribution as makers of meaning. Nochlin's emphasis upon analyses of the representations of women ( coupled with developments in cultural studies) have achieved a limited orthodoxy as an appropriate 'academic' approach in many art history departments though they are not always accompanied by the groundswell of research into the work of women artists which developed from this work. I am still amazed at how few students have actually read her pioneering essay 'Why have there Been No Great Women Artists?' and been encouraged to apply her insights to new research on women artists.(The project of recovery is far from exhausted, even as methodologies change). The description of the feminist art program by former students, in Faith Wilding's account, and of the significance of the Womanhouse project which emerged from the work (Arlene Raven) , make exceptionally interesting reading for lecturers. Chicago and Schapiro's use of both a separate teaching space for women students and the intensive use of consciousness-raising techniques as the basis for issue-based work continue to inspire as well as suggest ways to problematise feminist approaches and methodologies.
To a British audience, clear theoretical differences remain in the reception of this American re-assessment of its own legacy. Firstly, the emphasis upon celebration. This appears as an, at times, uncritical celebration of women's creativity and connections within the mainstream, an 'art-world feminism' , which the British art scene has until recently apparently lacked. For we too, now have 'Bad Girls' and a new generation of women sculptors 'making it in the mainstream', e.g. Rachel Whiteread, Rose Finn-Kelcey, Helen Chadwick. What this celebratory element provides cannot be too quickly dismissed , however critical we might remain of the terms of some affirmations of all women's work as feminist statements , particularly those working within mainstream and well-established practices. Affirmation, at least, has the advantage of providing important documentation of works which have rarely been seen over here and a large number of extremely useful descriptive passages about the staging or content of the individual artworks, even while it provides little analytical commentary about the context in which such works were produced or received. It may appear to a more sceptical British audience, that the affirmation of women artist's activities per se is equivalent to all or any feminism, but what is actually being presented in this anthology is a quite well established canon of feminist practitioners, a great and good accounting of the visibility of feminism in the art world since the seventies. This is not to dismiss the usual complaints about the selection of writers and artists represented and its resulting exclusions and emphases. The book has provoked complaints in America because of its lack of representation of certain sections of the feminist art movement (literally its heterodoxy and its East coast/West coast emphasis) but it is certainly no less than the complaints of British feminist practitioners on the publication of Rosika Parker and Griselda Pollock's Framing Feminism: the Women's Art Movement 1970-1985 for its inclusions, exclusions and emphases. The mistake is in assuming that either book is definitive, the only possible account , and that the presentation consists of only those artists worth studying or even, in these cynical times, worth knowing about . For those who have well-established collections of feminist magazines or who have followed the major feminist exhibitions in America, there are no new surprises in this book , but what there is is a vast array of photographs reproduced in colour which had previously only been frequently known in black and white. The documentation of the Womanhouse project and photographs of early performance work are but two good examples.
Much of 'The Power' in the title brings into view the activism of American feminists in the art world, both protests against the status quo from Whitney demos to Guerilla Girls to Women's Art Coalition (WAC) as well as the more organised side of the women's art movement through the Women's Caucus for Arts (WCA) and the Coalition of Women's Organisations and the establishment of a variety of feminist publications and exhibition spaces for women. The broader picture of women artists' activism in terms of political engagement from street theatre to large scale collaborative projects enable links to be seen between the women's movement and content-based work. Overall the book stresses the centrality of activism to the individual and general level of public consciousness-raising about issues like violence against women, the peace movement, enviromental and health issues, the Equal Rights Amendment (ERA), levels of institutionalised discrimination in the art world , analysis of attitudes towards women's bodies and change for women in the workplace. The Power of Feminist Art also supports and enables connections to be seen between feminist practice over the last twenty five years and its centrality to the emergence of 'New Genre Public Art' which form the subject of both Suzanne Lacy's Mapping the Terrain: New Genre Public Art and Nina Felshin's But Is It Art?: The Spirit of Art as Activism (both titles from Bay Press,1995). Activism within a recognised community in these three books provides an argument for overcoming standard oppositional definitions of public art as 'the turd in the plaza' and the incredibly diverse category called 'community arts' by foregrounding a definition of socially engaged and committed practice outside conventional gallery spaces with a specific constituency as both audience and participants. Collaboration (between artists and co-workers as much as the use of non-art audiences as participants in public artworks) becomes the key to challenging modernism's emhpasis on individualism and models of isolated art production as artworks travel from studio to gallery.
Underlying these comments about activism , however, is an important issue which the book does seek to address in a variety of ways, namely the question of the exclusions within feminism and whether or not feminism can be all-inclusive. This debate has a particular character in America which complaints about exclusivity, particularly debates about racism or the Eurocentrism of white feminists here, only superficially share. Firstly, this is because the make-up of constituencies in terms of ethnic and racial backgrounds and their colonial inheritances amongst feminists is different on either side of the Atlantic (see,for example, Lucy Lippard's Mixed Blessings: Art in Multi-Cultural America Panetheon,New York,1990). Secondly, as a consequence, this produces a variety of different emphases in how these factors affect both what constitutes the areas of activism as well as the levels of recognition possible within particular constituencies, specifically feminist, black and hispanic, both inside and outside the art world. In stressing engagement, via consciousness-raising, collaboration, community and activism, Broude and Garrard's anthology presents in a new light what had become a dividing issue amongst feminist constituencies: the question of essentialism versus anti-essentialism. There are side-swipes at recognisably anti-essentialist practices which engage directly at the level of Theory and refutations of the attacks or identification of certain feminist positions as essentialist throughout the book. However, rather than adopting the theoretical ground for a discussion of these issues (a debate here which can be seen in the arguments presented by Barry / Flitterman-Lewis as opposed to A.Partington in Hilary Robinson's Visibly Female Camden Press,London, 1987), this book stresses activism as a means to re-read the question of what makes a work a feminist intervention. Suzanne Lacy, for example, argues that 'deconstruction was tied to an activist project of shifting power relationships in daily life, rather than a theoretical exercise in rarifed language addressed to an art-world viewership' (p.264) and Judy Chicago states that the essentialist/anti-essentialist debate closes down on the real project, feminism's ongoing critique of patriarchy : 'The thing about essentialism is that it's being used by women to attack women . . . and to discredit their foremothers' (p.71). While 'activism' has the effect of foregrounding feminist practice as diverse and manifest in different levels of practical engagement from teaching to participation in feminist publications, street demonstrations or work with particular constituencies and communities, it also short-circuits the much more difficult theoretical questions of 'Woman/women' and analyses of the complexities of racism and multi-culturalism in relation to gender (particularly given the enterprises of feminist post-structuralist approaches in criticism and practice).
Overall The Power of Feminist Art maintains a vital emphasis upon the diversity of positions and perspectives in two and a half decades of feminist art practice but this diversity is stressed in and through a representational politics of identity rather than by sustained argument or dialogue. Two artists quoted within the book show the difficulty of arguing for the centrality of their own position in terms of identity politics which may leave different constitutencies isolated and without dialogue between them. Judith Baca states that feminism (since the 1970's) remains an important body of knowledge and a resource, but that 'Ethnicity won't join a white feminist agenda. It will transform it. It will become the central agenda of feminism, as rightly it should, because we are the majority'(p.274). While Ruth Iskin, in a different essay, argues equally for the centrality of a lesbian perspective, 'The lesbian relationship as metaphor stands at the heart of feminist art and has on some level affected every feminist's work' (p.202), thus echoing Adrienne Rich's arguments prioritising a lesbian continuum precisely for the importance attached to all woman-to-woman relationships. While critiques of the ethnocentrism and the 'invisibility' of lesbian perspectives are acknowledged by this approach which seeks to represent constituencies with equal weight, the arguments are rarely made in full, which may lead toonly tokenistic acknowledgement of their importance for all women.
This model of cultural diversity is, however, extremely useful precisely because it is so easily assimilable into teaching practice, providing a great number of examples for discussion while it at the same time leaving a lot of questions unanswered and a great number of future possibilities to be explored. Certainly this is the important challenge that a book like this offers readers and lecturers who adopt it as core teaching material and it underlines the importance of feminism as a politics and not an artworld style or art historical movement . While The Power of Feminist Art possesses the authority of grounding a potential field it also begs for further research to be undertaken. Hopefully, this publication will go a long way to overcoming the repetitive foregrounding of only Cindy Sherman, Barbara Kruger or Mary Kelly as worthy objects of study, (often as the acceptable face of anti-essentialist feminism in the postmodern art world via Craig Owens essay 'The Discourse of Others: Feminists and Postmodernism ') and the positioning of Judy Chicago as representative of the 'bad' essentialist camp because of her revival of craft or use of core imagery. For, in spite of its celebration of the latter's work, it at least foregrounds a large number of women artists as alternative objects of study and points again to the importance of performance work for feminists from the seventies. There are also frequent references to the use of masquerade and transformative performances and photowork in representation as 'forerunners' of Cindy Sherman. Miriam Schapiro suggests that it is an 'absence of representations, of icons, of memory' (a lack in education as much as in art historical and critical discussion ) which leads contemporary women artists to 'endlessly repeat' images and signs of 'the ills of survival in patriarchy' (p.83). However, as Griselda Pollock, pointed out in her review of the book in Women's Art Magazine (Jan/ Feb 1995) such comments continue to muddy the waters by inaccurately failing to acknowledge the significance of the attribution of feminist readings of images of women produced by Cindy Sherman's work as if that were either the politics of the artist or an internal quality of the work.
1993 Lynda Hart and Peggy Phelan eds
Acting out : feminist performances
(Ann Arbor : University of Michigan Press)
1993 Vera Norwood
Made From This Earth: American Women and Nature
(USA Chapel Hill: University of North Caroline Press)
1993 Robert Henkes
The Art of Black American Women: Works of 24 Artists of the Twentieth Century
(Jefferson:McFarland & Co)
1993 Aracy Amaral and Paulo Herkenhoff
UltraModern: The Art of Contemporary Brazil
(Washington DC: National Museum of Women in the Arts)
1993 Kathy Vargas and Connie Arismendi
Intimate Lives: Work by Ten Contemporary Women Latina Artists
(Austin, Texas: Women and their Work)
1993 Hilde Hein and Carolyn Korsmeyer eds
Aesthetics in Feminist Perspective
(Indiana University Press/Hypatia Inc.)
1993 Pamela Gruininger Perkins and S. Schwartz
The Subject of Rape
(New York: Whitney Museum)
1993 JoAnn Hanley and Ann-Sargent Wooster
The First Generation: Women and Video,1970-1975
(New York:Independent Curators Incorporated)
1993 Margarita Tupitsyn
After Perestroika : Kitchenmaids or Stateswomen
(New York : Independent Curators. Margarita Tupitsyn, curator; essays by Margarita Tupitsyn and Martha Rosler.)
1993 Carol Duncan
The aesthetics of power : essays in the critical art history
(Cambridge : Cambridge University Press)
1992 San Juan
Nuestro Autorretrato. La Mujer artista y la autoimagen en un contexto multicultural
(Puerto Rico, San Juan)
1992 Robert L. Hall
Gathered Visions: Selected Works by African American Women Artists
(Washington: Smithsonian Institution Press)
1992
International Review of African American Art
((USA)) v.9 No.2 'African American Women Artists: Another Generation'
1992 Judy Seigel
Mutiny and the Mainstream: Talk that Changed Art,1975-1990
(New York:Midmarsh Arts Press)
1992 Lynda Nead
The Female Nude: Art,Obscenity and Sexuality
(London: Routledge)
1992 Rosalind Krauss
The Optical Unconscious
(Boston: MIT Press)
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This review was first published by Katy Deepwell in Women's Art Magazine July/August 1993 No.53 --- This is a difficult, provocative and challenging book. Its central themes emerge slowly as one familiarises oneself with the subtle crosscutting of voices, diary quotations, anecdotes, theoretical explorations and close readings which it offers. This "polyvalence" is central to Krauss's project, opening up the possibilities for re-reading modernism "from the inside"
Krauss re-examines what is at stake in the claims and counterclaims concerning some of modernism's heroes and bête noires, its championing critics and dissenting figures. Krauss reads against the grain of Greenbergian modernism, juxtaposing readings of John Ruskin on nature to Mondrian's grid,; of Duchamp on and against Fry; Ernst in relation to Freud; Dali against Bataille and Caillois; Helene Parmelin on Picasso; Twombly, Warhol and Hesse on Pollock. Remapping the structuralist graph which she has previously used so effectively in "Sculpture in the Expanded Field" (reprinted in Hal Foster Postmodern Culture,1985), to delineate the modernist vision of figure against ground, across Lacan's L-schema of a psychoanalytic theory of the subject, with its imaginary relations in the real and the unconscious repression of the Other, Krauss begins to define modernism's optical unconscious. The term borrowed and redeployed from Walter Benjamin's Small History of Photography (1931) refers to that which is externalised within the visual field, not simply in terms of modernism's scientific-technological games with the visual, but what it can reveal of the unconscious conflicts of makers and readers. Sexuality, specifically the carnality of vision, emerges centre-stage disavowing modernism's claims for the visual as autonomous, disinterested and transcendent.
Krauss' writing problematises the relationships between theory and an object; the procedures of art-making and reading; post-structuralist thought, modernism and Lacanian forms of psychoanalysis As Krauss herself says of Eva Hesse's work, the process aims to sap "from its very centre" modernism's "bachelor machine", logic and law in her ambition, its high seriousness, its engagement with visual experience and insistent female "Other" voice, striking parallels are constructed between Virginia Woolf (whose observations of Roger Fry delivering a lecture are quoted) and Krauss' own style (specifically her recollections of audiences with Michael [Fried] and Clem [Greenberg] )
The feminism underlying such a perspective remains implicit . For Krauss, like Woolf has an insider's view of what it is to be an Outsider; as a professional woman in a male club. As young initiate, Krauss laughed complicitly at Greenberg's jokes about "nice Jewish girls with typewriters" as she worked to become a "Clemberger" ; now as a mature writer, she freezes the underlying logic within its problematic and clinically and revealingly examines what remains of the corpse
Unlike Lucy Lippard, Krauss' recognition of the sexism within modernism, has not led to determined rejection of its critical apparatus via new definitions of value and a deliberate engagement with the large constituencies of politically engaged practitioners which modernism's narrow perspective refused to acknowledge. Or should, I say, yet. For illuminating and original as this book is about the limitations of Greenbergian modernism's logic seen from a post-structuralist perspective and suggestive as it is about psychoanalytic perspectives, it begs the question, can these tools also prove useful in the examination of that which is still truly repressed within modernist discourse, the work of women artists?
1992 Betty La Duke
Women Artists:Multi-cultural visions
(USA: Red Sea Press)
1992 Norma Broude and Mary Garrard
The Expanding Discourse: Feminism and Art History
(New York: Icon Harper Collins)
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Norma Broude and Mary D Garrard The Expanding Discourse: Feminism and Art History(eds) IconHarperCollins, 1992 ISBN 0-060430391-8
This review was first published by Katy Deepwell in Women's Art Magazine Jan/Feb 1993 No.50
A decade ago Norma Broude and Mary Garrard published Feminism and Art History: Questioning the Litany (Icon,1982) one of the first anthologies of feminist art history in America. The Expanding Discourse maps the progress and diversity of feminist art history debates through 29 essays written in the 1980s.
In the introduction they outline how the encounter with post-modern Theory has literally expanded and diversified the discourses of feminist art historians producing what they define as 'neo-Marxist'; 'constructivist' and 'poststructuralist' accounts in addition to their own "liberal feminist" project. While they still maintain feminist art history should raise "fundamental questions for art history as a humanist discipline" they do not believe feminist art history should be confined to the documentation of women artists (as a form of additive history). Nor does their selection preclude the work of male writers eg Craig Owens whose classic essay "The Discourse Of Others Feminists and Postmodernism" is included.
The editors argue there are three dominant tropes in feminist an history in the first decade: the female body and the male gaze; femininity as a social construct ; and feminist critiques of essentialism, postmodemism and the woman artist. Under the first category come some trenchant analyses of images of women in "great" male artists' work including Leonardo da Vinci (Mary D Garrard's essay in the book) Botticelli (Lilian Zirpolo); Titian (Rona Goffen); Degas (Norma Broude); Matisse (Marilynn Lincoln Bernard); Renoir (Tamar Garb) and Gauguin exploring his "Invention of Primitivist Modernism'' (Abigail Solomon-Godeau) ; and constructions of a "Tahitian Body" (Peter Brooks)
Mary Ann Caws' illuminating essay on the depiction of women in Surrealist art "Ladies Shot and Painted" is also included. Yael Even examines the images of women's subjugation on the ''Loggia dei Lanzi" sculpture court in Florence. While Carol Duncan's "MoMa's Hot Mamas" explores how the modern (male artists heroic struggle over the body of woman structures the visitor's experience at New York's Museum of Modern Art).
Femininity as a social construct is explored through an analysis of largely 19th century themes - another feature of feminist an history in the 1980s. These include Griselda Pollock's essay which redefines "Modernity and the Spaces of Femininity" through an analysis of the spaces selected for representation in male/female Impressionists' works and Tamar Garb's analysis of a critical category "L'Art Feminin" used to pigeonhole women's work. Linda Nochlin argues that Berthe Morisot's "Wet Nurse" renegotiates the construction of work and leisure in impressionist painting while James Saslow's essay discusses the construction of a lesbian body in Rosa Bonheur's painting "The Horse Fair". Anne Higonnet's essay on 19th century women's "Secluded Vision'' in contrast with the former analyses of women's professional practice explores images of feminine experience in women's albums and "amateur" paintings.
Outside the research on the 19th century is Margaret Miles' study of the "Virgin's One Bare Breasts" which analyses nudity, gender and religion in Tuscan Early Renaissance culture and Natalie Kampen's "The Muted Other: Gender and Morality in Augustan Rome and 18th Century Europe". Helen Langa explores the work of women artists in America's New Deal arts projects of the 1930s. Langa contrasts the rhetoric of an "egalitarian vision" with the gendered experience of identity/difference across a male/public female/private political division.
The volume also includes some valuable studies of individual women artists which discuss the negotiation of feminine/ feminist identities and experiences Frida Kahlo (Janice Helland's essay); Lee Krasner as ''LK" (Anne M Wagner) and Georgia O'Keefe (Barbara Buhler Lynes). Explorations of contemporary feminist artists include Josephine Wither's on Judy Chicago's "Dinner Party" and two essays on Faith Ringgold on her observations of America in the 1960s (Lowery Sims) the other on Afrocentrism in Ringgold's and Elizabeth Catlett's work (Frieda Tesfagiorgis in line with poststructuralist debates about identity and subjectivity femininity is not assumed but explored as contradictory, strategic and fragmentary.
"Along with the dominance of a masculine value system in art and art history has often come a blindness to female existence even when the reality of women's roles is well documented by the art of a given place or period " (Broude and Garrard 1982)
Anyone involved with the teaching of art history today will understand the importance of Broude and Garrard's suggestion that feminist art history will continue to serve "a corrective need" in the next decade until the "values, categories and conceptual structures of our field" are profoundly rearranged.
1992
Heresies vol 26_IdiomA
() 1992 special issue collaboration in English (US) and Russian between these two journals
1992 Susan Bowers and Ronad DoHerer eds
Sexuality, the Female Gaze and the Arts: Women, the Arts & Society
(Selinsgrove, Susquehanna University Press)
1991
Hot Flashes
((New York: Guerrilla Girls)) 1993
1991
Art Journal
((USA)) Vol. 50, No. 2, Feminist Art Criticism (Summer, 1991)
1991 Gerald L . Belcher and Margaret L. Belcher eds
Collecting souls, gathering dust : the struggles of two American artists : Alice Neel and Rhoda Medary
(New York : Paragon House)
1991 Mary-Ann Milford-Lutzker
Women Artists of India: A Celebration of Independence
(Oakland, Mills College Art Museum)
1991
Women's Film Festival (Battleboro, Vermont)
() This festival shows films produced or directed by women. It occurs in mid-March for 10 days.
1991 S. Rubin Suleiman
'Feminism and Postmodernism: A Question of Politics' in C.Jencks A Postmodern Reader
(London: Academy Editions)
1991 Brian Wallis ed
If You Lived Here: The City in Art,Theory and Social Activism: A Project by Martha Rosler
(Seattle: Bay Press)
1991 Lucy Lim
Six Contemporary Chinese Women Artists
(San Francisco: Chinese Culture Center)
1991 Nancy Grove
Magical Mixtures - Marisol Portrait Sculpture
()
1991 Mary Jane Jacob
Shikego Kubota: Video Sculpture
(University of Washington Press)
1991 Joanna Frueh and C. Langer, A.Raven eds
Feminist Art Criticism: An Anthology
(Icon Edition)
1991
Antiquity
( (USA)) September, Vol.65
1990 Museo de Arte Contemporaneo de Puerto Rico
Mujeres Artistas: Protagonistas de los Ochenta
(Santo Domingo : Museo de Arte Contemporaneo de Puerto Rico; Museo de las Casas Reales, 7 March-6 April,1990: Puerto Rico, San Juan,Museo de Arte Contempraneo de Puerto Rico,18 May-9 July,1990)
1990 Patricia Mellencamp
Indiscretions: Avantgarde Film,Video & Feminisms
(USA, Indiana University Press)
1990
Hypatia
() v.5 n.2 'Feminist Aesthetics'
1990
Journal of Aesthetics and Art Criticism
((USA)) (Fall) v.48 n.4
1990 Edward Sullivan and Linda Nochlin
Women in Mexico/La Mujer en Mexico
(New York: National Academy of Design)
1990 L. Nicholson ed
Feminism/Postmodernism
(Routledge)
1990 Faith Ringgold, with essays by Eleanor Flomenhaft,Lowery S.Sims,Thalia Gouma-Peterson & Moira Roth
Odyssey of Faith : Faith Ringgold: A 25 Year Survey
(Fine Arts Museum of Long Island April-June)
1990
Artweek
((USA)) 8 Feb, v.21
1990 Janet Woolf
Feminine Sentences:Essays on Women and Culture
(Polity)
1990 Phoebe Farris ed
Women Artists of Colour: A bio-critical Sourcebook to 20th Century Artists in the Americas
(Westport, Conneticut: Greenwood Press)
1989 Betty Ann Brown and Arlene Raven, Kenna Love, Alessandra Comini
Exposures : women & their art
(Pasadena, Calif.: NewSage Press)
1989 Elizabeth Jessie Garber
Feminist polyphony : a conceptual understanding of feminist art criticism in the 1980s
(Ann Arbor, Mich. : UMI)
1989 Dale K. Haworth et al ed
What does she want? : current feminist art from the First Bank Collection (Carleton College Jan. 7-Mar. 12, 1989 ; Women's Art Registry of Minnesota Apr. 8-May 13, 1989)
(Minneapolis : First Bank System, Division of Visual Arts)
1989 R. Rosen and C. Brauer
Making their Mark:Women Artists Move into the Mainstream,1970-1985
(USA,Abbeville Press)
1989 Sylvia Moore ed
Yesterday & Tomorrow: California Women Artists
(New York: Midmarch Press)
1988, 1992 Ronald Dotterer, S. Kraft and S. Bowers eds
Politics, Gender and the Arts: Women, the Arts and Society
(Selingrove, Philadelphia: Susquehanna University Press)
1988 Arlene Raven
Crossing Over: Feminism and the Art of Social Concern
(USA: Ann Arbor,Michegan: U.M.I.)
1988 Susana Toruella Leval
Growing Beyond: Women Artists from Puerto Rico
(Museum of Modern Art of Latin America)
1988 Guerrilla Girls
The Guerrilla Girls' Bedside Companion to the History of Western Art
(UK,Harmondsworth,Penguin)
1988 Salah Hassan ed
Genders and Nations: Artistic Perspectives, Shirin Neshat and Chila Kumari Burman, with essays by Octavio Zaya and Katy Deepwell
(Ithaca, NY: Herbert F Johnson Museum of Art)
1987
Women's Studies Quarterly
((USA)) Vol.15. No.1-2
1987
Sage: A Scholarly Journal on Black Women
((USA)) (Spring) Vol.4.No.1
1987 Guerrilla Girls
The Banana Report: The Guerrilla Girls Review the Whitney
(exhibition catalogue, The Clocktower, New York)
1987 Hilary Robinson ed
Visibly Female
(Camden Press)
1987
Art Papers
() Feminist issue
1987
Connexions: An International Women's Quarterly
() (Fall) no.24
1986
Rocky Mountain Women's Film Festival, (Colorado)
() The Rocky Mountain Women's Film Festival is the longest continuous-running women's film festival in the US. It showcases documentary, feature, short and animated films that are thought-provoking and enriching, and that encourage global awareness and personal growth. The Rocky Mountain Women's Film Festival honors films and filmmakers that present the world as women experience it and that inspire curiosity, educate, entertain, and stimulate conversation. Founded by Donna Guthrie and Jerre Martin in 1986, the festival takes place every November.
1986 Judy Chicago
Through the Flower: My Struggle as a Woman Artist
(NY:Garden City/Doubleday/ Anchor)
1986 Judy Chicago
The Dinner Party: A Symbol of Our Heritage
(NY:Garden City/Doubleday/ Anchor)
1985 Judy Chicago
The Birth Project
(NY:Garden City/Doubleday)
1985
Through Women's Eyes (Sarasota, Florida)
() The festival aims to combine the work of domestic and international female filmmakers during a week-long festival in April. The festival is partnered by the film distributors Women Make Movies (WMM).
1985 Betty La Duke
Companeras: Women,Art & social Change in Latin America
(San Francisco)
1985 Craig Owens
'The Discourse of Others' in H.Foster Postmodern Culture
(Pluto, also reprinted as The Anti-Aesthetic)
1984 Cindy Lyle and Silvia Moore, Cynthia Navaretta eds
Women Artists of the World
(New York: Midmarch Arts Press)
1984 Lucy Lippard
Get the Message? A Decade of Art for Social Change
(New York: E.P.Dutton)
1984 Harmony Hammond
Wrappings : essays on feminism, art, and the martial arts
(New York, N.Y. : TSL Press)
1984 Diane L. Fowlkes and Charlotte S. McClure eds
Feminist visions : towards a transformation of the liberal arts curriculum (Papers from "A fabric of our own making" : southern scholars on women, held Mar. 4-7, 1981, at Georgia State University, Atlanta)
(University of Alabama Press)
1984 Georgia Collins and Renee Sandell
Women, Art and Education
((USA) National Art Education Association )
1983
The Journal of Women and Performance
((New York)) current
1983
Women in the Arts
( (National Museum of Women in the Arts,Washington)) -present quarterly from National Museum for Women in the Arts, (1983-present), now published on issuu
1983
Hurricane Alice
() 1985
1983 Mary Kelly
Post-Partum Document
(London: Routledge)
1983 Lucy Lippard
Overlay: Contemporary Art and the Art of PreHistory
(New York:Pantheon Press)
1983 Moira Roth
The Amazing Decade:Women & Performance Art in America,1970-1980
(Los Angeles: Astro Artz)
1982 Deborah Wye
Louise Bourgeois
(New York: MOMA)
1981
Southwest Art
((USA)) (April) Vol.10.No.11
1981 Linda Weintraub
Women Look at Women: Feminist Art for the 1980s
(USA: Allentown,PA: Center for the Arts,Muhlenberg College)
1981 Lynn F. Miller and Sally S. Swenson
Lives and Works: Talks with Women Artists
(New York,Metuchen, London: Scarecrow Press)
1981
The Blatant Image
((Wolfcreek,OR,USA)) 1983
1980
Women in Photography
((Los Angeles)) 2017 replaced by f2 eZine online
1980 Judy Chicago
Embroidering Our Heritage: The Dinner Party Needlework
(NY:Garden City/Doubleday/ Anchor)
1980
Women's Art Registry of Minnesota (WARM) Journal
((Minneapolis,USA)) 2010 now published online as a blog
1980
Woman's Art Journal
() current
1980 Arna Alexander Bontemps
Forever Free: Art by African-American Women
(Alexandria, Va.: Stephenson)
1980
Woman Tide
((USA: Boston Women's Art Alliance)) 1981
1980 Lucy Lippard
Issue: Social Strategies by Women Artists
(London: ICA)
1980
Art News
((USA)) October, Vol.70 No. 8
1980 Elaine Hedges and Ingrid Wendt
In Her Own Image: Women Working in the Arts
(New York:Feminist Press)
1980 Elaine Hedges and Ingrid Wendt eds
In Her Own Image: Women Working in the Arts
(New York: Feminist Press)
1979
The Southern Quarterly : A Journal of Arts in the South "Art & Feminism"
((USA)) (Winter) Vol.17 No.2
1979 Judy Loeb ed
Feminist Collage: Educating Women in the Visual Arts
(USA: Columbia University:Teachers College Press)
1979 Eleanor Munro
Originals: American Women Artists
(New York: Simon Schuster)
1979
New Art Examiner
( (USA)) (Summer) 'Sexuality in Art' issue
1979 Nancy Buchanan ed
Social Works
(Los Angeles: LA Institute of Contemporary Arts)
1979
Art Criticism
((USA)) Vol.1.No.2.
1979
Helicon Nine: A Journal of Women's Art and Letters
((Kansas City,USA)) 1989
1978, 1994 Sherry Piland and Donna Bachmann eds
Women artists : an historical, contemporary, and feminist bibliography
(Metuchen, N.J. : Scarecrow Press)
1978
Kassandra: Feministische Zeitschrift fur die VisuellenKunste
((Berlin, Germany)) (one issue only)
1978
Washington Women's Art Center News
((USA)) 1986 newsletter of Washington Women's Art Center
1978 Joelynn Snyder-Ott
Women and creativity
(Millbrae, Calif. : Les Femmes Pub.)
1978
Women Studies
((USA)) Vol.6 No.1 'Women Artists on Women Artists'
1977
Artweek
((USA)) 22 Jan, v.8 no.4.
1977
Artweek
((USA)) 5 Feb, v.8. no.6
1977 Faith Wilding
By Our Own Hands: A History of Women Artists Movement in South California
(Los Angeles)
1977
Creative Woman
((Arlington Heights,IL,USA)) 1994
1977
Heresies
((New York)) 1996
1977
Chrysalis: A Magazine of Women's Culture
((Los Angeles)) 1980
1976 - 1977
Visual Dialog
((USA)) (Winter) Vol.2 No.3
1976 Lucy Lippard
From the Center:Feminist Essays on Women's Art
(New York: Dutton)
1976 Aline Dallier, Ruth Brandon
Combative acts, profiles and voices : an exhibition of women artists from Paris : works by Bour, Hessie, Janicot, Maglione and a collective work by Aballea, Blum, Croiset, Mimi, and Yalter
(New York: AIR Gallery)
1976
Camera Obscura: Feminism, Culture and Media Studies
((Berkeley, CA,USA)) current
1976
Art Journal
((USA)) (Summer) Vol 35 No.4
1976
Womenart
((New York)) 1978
1975, 1995 Cindy Nemser
Art Talk:Conversations with 12 Women Artists
(USA)
1975 - 1976
Visual Dialog
((USA)) (Winter) Vol.1 No. 2
1975 - 1976
National Sculpture Review
() (Winter) Vol.24. No.4
1975
National Sculpture Review
() (Summer- Fall) Vol.24 nos.2-3
1975 Feminist Art Program
Art: A Woman's Sensibility
(Valencia: California Institute of the Arts)
1975 Christine Craig
The Changing Status of Women in the Arts: A Preliminary Reference
(Kingston,Jamaica: Women's Bureau)
1975 Margery Mann, Ann Noggle
Women of Photography: An Historical Survey (an exhibition catalogue)
(USA: San Francisco: SFMOA)
1975
Women's Art News Book Review/ Women Artists' Newsletter
((New York)) 1998
1974 Miriam Schapiro
Anonymous was a Woman: A Documentation of the Women's Art Festival : A Collection of Letters to Young Women Artists
(Valencia: California Institute of the Arts)
1974
Arts in Society
((USA)) (Spring/ Summer) Vol 11 No.1. 'Women and the Arts'
1973
Womanspace Journal
((USA)) 1973 v.1, no.1-3
1973 Lucy Lippard
c. 7,500
(Valencia: California Institute of the Arts, also shown in London)
1972
Feminist Art Journal
((New York)) 1977
1972
Amazon Quarterly
((Oakland: California)) 1975 A lesbian feminist arts quarterly
1972
Take One
((USA)) (February) Vol.3 No.2
1972 Jacqueline Skiles
The Women Artists Movement
(Pittsburgh: PA,Know,Inc)
1971
Women in the Arts Newsletter
((Women in the Arts Foundation)) current (formerly Women in the Arts Bulletin), irregular mainly annual publication since 2010.
1971 E. Baker and T.Hess eds
Art and Sexual Politics
(New York,London)
1971 Jacqueline Skiles and Janet McDevitt ed
A Documentary Herstory of Women Artists in Revolution
(New York: Women Artists in Revolution)
IMAN, International Muslimah Women Artists Network
() Established by Nora Hammoude and Safiya Godlas, a network and online member's gallery, based in the USA, site no longer operates: http://www.imanworld.org/Site_7/IMAN_.html
IOWA Women Artists Oral History Project
() An oral history project of 79 women artists interviewed in 1998-1999
Mary H. Dana Women Artists Series Exhibits
() from the Mabel Smith Douglass Library, Douglass College Rutgers-the State University of NJ,USA
Midmarch Arts Press
()
National Association of Women Artists USA
()
National Museum of Women in the Arts,Washington DC
() also runs the Clara database on women artists
Women's Art Coalition (1989-2003) at New York Public Library, Archives and Manuscripts
()
Broad Humor (Venice, CA)
() The festival has recently altered its criteria to allow films with men in one of the three main roles (director, producer or writer). However these films cannot be entered into the prize for best director or best film award to maintain the female focus of the festival. The festival takes place in late September over four days.
Womanhouse
() Faith Wilding's site about the Womanhouse (Los Angeles, 1972) project, with works, photos, essays describing it.
Chicks Fliks Film Festival (Texas)
() Chick Flicks supports the mission of Women In Film Dallas by providing opportunities for female filmmakers to showcase their work.Throughout the year Chick Flicks offers special screenings of features or short films from local and international women.In the fall, Chick Flicks produces an annual Chick Flicks Festival featuring short films by Texas women
M.A.L.I. Women's Film & Performance Arts Conference (Austin, Texas)
() The MALI Women’s Film & Performance Arts Conference is wholly focused on the contributions of all women, with a special emphasis on womyn of Latin, African, African-American, Asian, Middle Eastern, Pacific Islander, European and Indigenous descent. Held events in 2009 and 2011.
African American Women in Cinema (AAWIC) Film Festival (New York)
() The festival is held over three days in New York. Specific information on the festival is released on the organisation's website closer to that date. The remit of the festival is work produced by talented women of minorities.
The Athena Centre Film Festival (New York)
() In connection with the Athena Centre at Barnard University in New York, the film festival will celebrate Women's leadership. The festival happens every year in February.
Pan-African Women's Film Festival (Minneapolis)
() Open to anyone who registers for the Pan-African Women's Summit, the Film Festival includes films that document the history, culture and life of the black diaspora. There are facilitated discussions to accompany each film hosted by activists and commentators. The summit, festival and related events take place every August.
Site currently down.
Baltimore Women's Film Festival
() "This non-profit festival is held during October, breast cancer awareness month. 50% of all ticket sale proceeds are donated to breast cancer research and the outreach/survivorship program for breast cancer patients. The Baltimore Women's Film Festival was founded by women who want to merge cinematic creativity, art and innovation surrounding film festival events with a focus on seeking advancement and change in women's health issues."
Virago Gallery (formerly Twilight Gallery), Seattle
()
Women Artists of the West, Inc
()
World's Women On-line
() a project by Muriel Magenta
Artwomen.org
() an American-based gallery and list for feminist art history, 2001-2006 (website deleted)
WomenArts (formerly) Fund for Women Artists
() Based since Summer 2012 in Berkeley, runs SWAN (Support Women Artists Now) days, active since 1994.
Guerrilla Girls
()
A.I.R.: Women's art cooperative gallery
() founded in 1972 located in New York City
Women's Studio Workshop
() since 1974 has provided working studios, artists residencies, artists book publishing. Located in the Hudson Valley ninety miles from NYC.
National Art Education Association's Women's Caucus
() Founded in 1973, this organisation compiled in 2019 a booklist of (US) sources on Zotero for teaching feminisms in art education.
American Women Artists' Association
()
Wild Women Artists (Reno, USA)
() Founded in 1995, holds 2 annual shows a year.
Wikipedia Edit-a-Thon on Feminism and Art
()
Siglio Press
The Feminist Portal: the heterodoxical, sprawling expanse of work by women
(Ruver Hudson Valley: Siglio Press) This feminist portal lists additional information on women artists covered by Siglio Press
Pen and Brush
()
Go! Push Pops
() The Push Pops are a radical, transnational queer performance feminist art collective (started 2010).
New York Society of Women Artists (1925- )
()
The Coven
() (2012 - 2016)
Art Baby Gallery
() Art Baby Gallery is a digital exhibition space founded by Grace Miceli 2011-2017, and organising exhibitions in different venues in Asia, USA and UK.
Las Comadres: A Feminist Collective
() 1998-2013, San Diego/Tijuana
Women Artists in Revolution records, 1970-1978 (at Archives of American Art, Washington, DC)
()
Suzanne Lact and Leslie Labowitz
Ariadne: 1977-1982
() Official website about ARIADNE, documenting their performances and actions.
Citizen Jane Film Festival
() The Citizen Jane Film Festival, an festival celebrating and showcasing the work of female filmmakers from around the world takes place in Columbia, Missouri. CJFF grew out of a collaboration with Stephens College.
Bunny Collective
()
She Loves Collective (Los Angeles)
()
Anonymous was a Woman
() This organisation offers awards of an unrestricted grant of $25,000 that enables women artists, over 40 years of age and at a significant juncture in their lives or careers, to continue to grow and pursue their work.
Feminist_Art_Base at Elizabeth Sackler Centre for Feminist Art, Brooklyn Museum, New York
() Beginning with the artists in Global Feminisms, the database has expanded considerably in recent years especially on several generations of artists in New York.
National Museum of Women in the Arts, Washington DC, Artist's Profiles (formerly Clara database, now focused on their collection)
()
Girls Like Us
()
Women's Art Resource of Minnesota (WARM)
()
Moore Women Artists
() network for women artists from Moore College of Art and Design, Canada
The Feminist Museum
() 2013-2014, activities of exhibitions organised by 5 women at University of Oregon: Britt Bowen, Cat Bradley, Stephanie Johnson, Mattie Reynolds, and Sarah Turner.
International Foundation for Women in the Arts
()
International Museum of Muslim Women: Muslima: Muslim Women's Art & Voices
() An offshoot of the Global Fund for Women aiming to profile Muslim women's voices in art and culture
Feminist Fiber Art (Boston)
()
Feminist Art Coalition
() FAC fosters collaborations between arts institutions that aim to make public their commitment to social justice and structural change. It seeks to generate cultural awareness of feminist thought, experience, and action.
The Dinner Party Institute
() A week long workshop held to consider Judy Chicago's The Dinner Party in 2016.
Kentucky Foundation for Women
()
Art Table
() ArtTable is a national membership organization dedicated to advancing women's professional leadership in the visual arts.
Arkansas Committee: National Museum of Women in the Arts: Artist Registry
() A registry of US artists
South Asian Women’s Creative Collective (SAWCC)
()
Sisters Arts Organisation
() founded 2015. Former group: Women Artists of Bend, Oregon (2012).
Miriam Schapiro Papers on women artists at Rutgers University
()
Asian American Women Artists Association
() Organises exhibitions, publications, education projects and administers a support network for its US-wide members
Madcat Film Festival (San Francisco)
() MadCat has established a strong reputation for programming series of acute and insightful films audiences would be hard pressed to find anywhere else. MadCat sets itself apart from other women's festivals by curating its programs thematically as opposed to looking for films solely about women's issues. The festival takes place in September.
Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum
() Permanently houses and presents Judy Chicago's The Dinner Party alongside a rolling programme of exhibitions, projects and events.
Retracing the Feminist Art Program
() a site exploring the history of women artists involved in the Feminist Art program in the early 1970s
Feminist Art Project (at Rutgers University)
() started in 2006 to list events and commemorate historic anniversaries in the American Women's Art Movement from the 1970s, continues as news service, archived site and annual day of events at College Art Associations' annual conferences. Aims to Recognise the Aesthetic and Intellectual Impact of Women on the Visual Arts and Culture.
Varo Registry formerly, the Women Artists Online Registry
()
Women Artists Archives National Directory (WAAND)
() A database of archives of women artists in the USA which possess material on or about women artists, run by Rutgers University
The Women's Building, Los Angeles, USA
() see also e-book From Site to Vision
Women Artists page of Women's Resource Project, North Carolina
()
Women in the Arts Foundation (WIA)
() founded in 1971, incorporated in 1973 as a not-for-profit.
Women Make Movies
() A non-profit feminist distributor of more than 400 films and videotapes
Women Painters of Washington
() founded 1930
Women Printmakers of Austin
() A US printmakers group
WomEnhouse
() a virtual Womanhouse project curated/edited by Amelia Jones et al.
Site currently down.
Womens Caucus for the Arts
() A national organisation for women in the arts
Women's Environmental Artists Directory
()
San Francisco women artists association and gallery
()
Mommy by Susan Silas and Chrysanne Stathacos
() Interviews with contemporary women artists working for more than 20 years.
Women Art and Revolution
() Website for Lynn Hershman Leeson's film Women, Art and Revolution
Central Illinois Feminist Film Festival, Women Resources Center, Eastern Illinois University
() The festival screenings take place in late March. CIFFF have several facebook pages.
Korean American Women Artists and Writers Association (KAWAWA)
() Site - http://www.kawawa.org/ - no longer active. Group still registered in San Francisco.
Facebook page has replaced this link.
The Women's Film Festival (Philadelphia)
() 2016-
Woman Made Gallery, Chicago
()
Judy Chicago's Through the Flower official website
()