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n.paradoxa

n.paradoxa
international feminist art journal

All books on feminist art and women artists

You can search all books, anthologies, websites and exhibition catalogues listed on n.paradoxa's website in the following ways:

All n.paradoxa articles are listed separately. To search these, Click here
To see a list of all books in the database, alphabetically by author's name, Click here.

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.

Below is a list of key books from the database, listed alphabetical by author's last name. (It's not comprehensive, and your search for names may reveal more!)

Sonia Abadzieva Deep Breathing (Skopje: Skenpoint, 2001) More

Andrea Abalia, Txaro Arrazola, Raquel Asensi et al Arte, Investigación y Feminismos (available as downloadable PDF, Spainish text) (Universidad del País Vasco UPV/EHU, 2018)

Gabriela Aceves Sepúlveda Women Made Visible: Feminist Art and Media in Post-1968 Mexico City (USA: University of Nebraska Press, 2019)

Kathy Acker and Robin Kahn, Antal Ronell Time Capsule: A Concise Encyclopedia by Women Artists (Creative Time, 1995)

Parveen Adams The Emptiness of the Image: Psychoanalysis and Sexual Differences (Routledge, 1995) More

This article was first published by Katy Deepwell in Women's Art Magazine, April/May 1996. p.29-30 and discusses Parveen Adams The Emptiness of the Image: Psychoanalysis and Sexual Difference (London & New York: Routledge, 1996) ISBN 0-415 04622-X and Liz Wells (editor) Viewfindings: Women Photographers:'Landscape' and Environment (W.England: AvailableLight,1994) ISBN 1-899457-00-3

These two books provide an opportunity to discuss and compare two divergent trends within feminist art criticism : one, the presentation of contemporary women artist's work and the other, the feminist critique of the mechanisms at stake in the representation of gendered representations (not necessarily or exclusively produced by women). What interests me is the contrast represented by these two approaches : Liz Wells foregrounds women artists' actual work, the photographs themselves, emphasising women's political and multicultural diversity ; Parveen Adams offers a singular and consistent feminist critique within a primarily Lacanian psychoanalytic framework, a perspective developed and revised in relation to an encounter with specific artworks. The Emptiness of the Image presents papers written by Parveen Adams since 1987 and offers a very specific feminist critique of psychoanalytic concepts (e.g. hysteria, identification,voyeurism, castration) in order to discuss how psychoanalysis might by applied to analyse individual artworks by both male and female artists, including Francis Bacon, Della Grace, Mary Kelly and Orlan. Liz Wells' Viewfindings is a very different kind of book which presents the work of 13 women photographers to demonstrate the diversity of contemporary approaches to the questions of woman, 'nature'; landscape and enviroment. It is framed by a short, albeit revised and extended, essay offering a social-historical context by Liz Wells entitled 'Reframing Landscape' which was published in a different form by Women's Art Magazine in 1993/4. Although the strength of Liz Wells' book is invested in the visual reproductions in colour of the photographic work and complemented by short statements and one interview with one of the artists, this is not the case in Parveen Adams' book where reproductions are few and far between and confined to black and white. Does the presentation itself indicate two divergent audiences for these books? Strong visual images often attract artists to borrow, read or buy books where the artwork is mainly presented rather than books where verbal analysis is the principal issue and the books 'look' academic. This is not to say that either book falls into the trap of presuming the works 'speak for themselves' nor the opposite where the analysis is so overdetermined as to limit any other form of possible enagagement in the work, but it is to point to a common split reproduced in art publishing where books of art criticism , which are neither catalogues from exhibitions nor monographs, have generally poor reproductions, particularly those with feminist content. Liz Wells' book was made with the assistance of the Arts Council in order to develop the generally high production values, whereas Routledge, Parveen Adams' publisher, rarely publishes colour plates in its art history series, even as it maintains an orthodox stranglehold on publication of certain forms of academic research.

As a feminist strategy for making women's work more visible and to frame it within a coherent and graspable way in a new field of enquiry where little has been published, Liz Well's book is highly effective but I regret that each artist does not receive a more detailed critical analysis even as I recognise the role of the book in distributing women's photography to a wider audience. Women's work needs not just physical visibility but also the assistance of extended critical discussion. While Liz Wells properly seeks to problematise 'landscape' as a category, I wanted to read more in-depth analysis of how particular women photographer's had in the late 20th Century defined their subjects' relationship to property, territory, entrepreneurship, class, racism, Imperialism, and patriarchy (like Ingrid Pollard's Pastoral Interlude or Stevie Bezencenet Right of Passage or Roshini Kempadoo's Trans-formations portfolio which are reproduced). In a world where women's activities are almost 'automatically' subject to a failure to recognise the positions from which women speak or to give credibility to anything they have to say, the need for commentary becomes all the more important. Contrary to the frequent misapprehension that this detracts from the work, or that critical analysis may destroy the work, in-depth criticism may actually provide a means of access to the project of the artist. Comparisons between artists may also offer a means to demonstrate the strengths and weaknesses of the work itself and this is the very difficulty and tension between representing the necessary diversity of women's art practice in relation to the questions of photography and landscape and framing adequately beyond the categories of 'Margins'; 'Territories'; 'Image, Metaphor, Myth' which Liz Wells offers. Liz Wells is also the editor of Photography: A Critical Introduction (Routledge, 1996 ISBN 0-415-12559-6) : a valuable teaching text to introduce photography's history and theory.

Perhaps these comments about further critical work are also prompted by the contrast with Parveen Adams' work, where a very different strategy is operating. Here an individual artists' work acts as a prompt, a vehicle for elaborate investigations about pyschoanalytic concepts and their adequacy to address fully how identificatory mechanisms within artworks produce meaning. Her enquiries are refreshingly readable amongst work in this field. What is productive here is the way that both the operations of artwork and / or text and the psychoanalytic concepts themselves are subjects of her questioning. For, Parveen Adams has generally avoided what has become an unfortunate tendency in some art historical texts which employ psychoanalysis is that the artwork is discussed only where it fits a pre-existing pyschoanalytic framework without subjecting that framework to any questioning. Parveen Adams has instead opened up how an encounter with a work might prompt reflection of both psychoanalysis and artistic strategies. However, there is one essay where this is not the case, and this concerns the analysis of Catherine Mackinnon's text on pornography in terms of sadism. The possibility of this as a deliberate polemical strategy in political life is dismissed in order to demonstrate the violence inflicted on the reader by the text itself . The comparison of this strategy to those of other pornographic or sadistic writers strikes me as hopelessly inadequate as a means of critiquing the logic of the text and its accurately observed conflation of reality and representation. This is not to say, I support Mackinnon's position but my criticisms of it arise because of the civil legislation which follow from her critique and whether or not these are workable in any state. This is where the more subtle and absorbing sense of possibilities and rereadings offered in the other essays (like chapters on 'Of female bondage' and 'Per (os)cillation') dissolves into a very specific problem for feminists : i.e. how social and political demands for social change can be critiqued by psychoanalytic processes which reflect upon actions and events to reveal and revise psychoanalysis itself rather than to structure new forms of political or social activity. Is it coincidence that this is the only essay jointly written in the book, and with Mark Cousins? By contrast, her reading of Mary Kelly's Interim is really intriguing and insightful in terms of the ways in Lacan's ideas about discourse (including the discourses of Master, University, Hysteric, and Analyst) are deployed to reflect upon the relation of textuality and interpretation: specifically how the same question can mean and imply different things in different situations. Parveen Adams explores how 'Interim gives us the place of the object petit a at the limit of the image' (p.84) , representations which both interrogate the object of desire and interrupt the movement of desire on the part of the spectator in his/her misrecognition of the object : a relation of transference which refuses the discourse of the Master. The essays on the horror provoked by the operations of the French performance artist Orlan and her analysis of Della Grace's 'The Three Graces' in relationship to a lesbian Phallus are also thought-provoking readings.

While these two books may represent two divergent trends in feminist publishing , they nevertheless are both significant and desirable books to read.

Tessa Adams and Andrea Duncan The feminine case : Jung, aesthetics and creative process (London ; New York : Karnac, 2003)

Lene Adler Petersen Kvindetegnet (Copenhagen: Gyldendal, 2010) More

Annika Aitken, Dr Isobel Crombie, Megan Patty, Dr Maria Quirk and Myles Russell-Cook eds She Persists: Perspectives on Women in Art and Design (Australia: National Gallery of Victoria, 2020)

Arna Alexander Bontemps Forever Free: Art by African-American Women (Alexandria, Va.: Stephenson, 1980)

Juan Vicente Aliaga Arte y cuestiones de género: una travesía del siglo XX (Editorial Nerea, 2004)

Edith Almhofer Performance Art: die Kunst zu Leben (Wien: Bohlau, 1986)

Caroline Ambrus The Unseen Art Scene: 32 Australian Women Artists (Woden: ACT: Irrepresssible Press, 1995)

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)

Alice Andersen Konnets Aesthetiik : bidrag til en 'betydelse' af kvindeligheden (Denmark: Aarhus Universitets Forlag, 1989)

Christina Z. Anderson Tutti Nudi: Reflections on the Nude from the Greeks to the Twenty-First Century (New York: Midmarch, 2000) More

Gabor Andrasi ed Erotics and Sexuality in Hungarian Art (Budapest: League of non-profit art spaces, 1999)

Muriel Andrin (et al) eds Femmes et critique(s): lettres, arts, cinéma (Namur : Presses universitaires de Namur, 2009)

Suzanne Anker and Dorothy Nelkin The Molecular Gaze: Art in the Genetic Age (New York: Cold Spring Harbor Laboratory Press, 2004) More

Ida Applebroog Benjamin Lignel ed Ida Applebroog Are You Bleeding Yet? (New York: la maison Red, 2002) More

Gil Appleton Women in the Arts: A Study by the Research Advisory Group of the Women & the Arts Project (Australia: Sydney, 1982)

Århus Universitet Køn & identitet (Institut for Æstetiske Fag, Afdeling for Kunsthistorie, Århus Universitet, 2003)

Marion Arnold Women and Art in South Africa (Cape Town: David Phillip, 1996)

Marion Arnold and Brenda Schmahmann eds Between Union and liberation : women artists in South Africa 1910-1994 (Aldershot : Ashgate, 2005)

Marion Arnold and Marsha Meskimmon eds Home/Land: Women, Citizenship, Photographies (Liverpool University Press, 2016)

Alejandro Arosetegui Mujeres (Nicaragua: CODICE: Galeria de Arte Contemporaneo, 1993)

Sara Arrhenius and Friedrich Meschede eds Works by Annika Eriksson (Leipzig: DAAD, IASPIS, Propexus, Revolver, 2005) More

Elisabeth Ashburn Lesbian Art: An Encounter with Power (Australia: Craftsman House, USA: Gordon and Breach, 1996)

Association Femmes et mathématiques, France Rencontres entre artistes et mathématiciennes: toutes un peu les autres (Paris : L'Harmattan, 2001)

Claudia Attimonelli and Caterina Tomeo eds L’ elettronica è donna. Media, corpi, pratiche transfemministe e queer (Italian text) (Caestellvechi, Rome, 2022)

Australia Council Women in the Arts: A Strategy for Action (North Sydney: Australia Council, 1984)

Axis : Deanna Herst, Jan Torpus, Alex Schaub Axis: Gender, Media, Art (Amsterdam: Axis, (a CD-Rom), 1999) More

Virginia Ayllon and Fernando Machicado Vola entre Sonidos,Colores y Palabras (mujer y actividad cultural en la prensa boliviana, 1991) (Bolivia: La Paz: CIDEM, 1992)

Matthew Baigell and Renee Baigell Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia, Estonia & Latvia, The First Decade (New Brunswick, New Jersey: Rutgers University Press, 2001)

E. Baker and T.Hess eds Art and Sexual Politics (New York,London, 1971)

Mieke Bal Louise Bourgeois' Spider: the Architecture of Art-Writing (Chicago: University of Chicago Press, 2001)

Rakhee Balaram Counterpractice: Psychoanalysis, politics and the art of French feminism (Manchester University Press, 2022)

Anna Ball Forced migration in the feminist imagination : transcultural movements (Routledge, 2021)

Erika Balsom and Hila Peleg Feminist Worldmaking and the Moving Image (MIT press, 2022)

Grace Banks Play With Me: Dolls, Women and Art (Lawrence King, 2017)

Bettina Bannasch and Stephanie Waldow eds Lust? : Darstellungen von Sexualität in der Gegenwartskunst von Frauen (Paderborn : Fink , 2008)

Jennifer Banta ed Cultural Confluences: The Art of Lenore Chinn (San Francisco: APICC, 2011)

A. Banti Quando Anche le Donne si Misero a Dipingere (Italy: Milan, 1982)

Olga Barrios Herrero La Mujer en las artes visuales y escenicas: Transgresion, pluralidad y compromiso social (Fundamentos, 2010)

Roberta Barros elogio ao toque: ou como falar de arte feminista a brasilera (Rio de Janeiro: Relacionarte , 2016)

Orla Barry Portable Stones (Belgium: SMAK, exhibition catalogue, 2005) More

Eli Bartra Feminism and Folk Art: Case Studies in Mexico, New Zealand, Japan and Brazil (USA: Lexington, 2019)

Eli Bartra Crafting Gender: Women and Folk Art in Latin America and the Caribbean (Durham: Duke University Press, 2003) More

Eli Bartra, María Guadalupe Huacuz Elías eds. Mujeres, feminismo y arte popular ([México, D.F.] : Universidad Autónoma Metropolitana, Unidad Xochimilco : Obra Abierta Ediciones, 2015)

Kathy Battista Re-Negotiating the Body: Feminist Art in 1970s London (London: I B Tauris, 2011)

Kathy Battista New York, New Wave: The Legacy of Feminist Artists in Emerging Practices (IB Tauris, 2019)

Jean Baudrillard and Sophie Calle Suite Venetienne/Please Follow Me (Seattle: Bay Press, 1988)

Jennifer Baumgardner, Amy Richards eds Manifesta [10th Anniversary Edition]: Young Women, Feminism, and the Future (Farrar, Straus and Giroux, 2010)

S. Baumgart and and G. Birkle, M. Fend, B. Gotz, A. Klier, B. Uppenkamp eds Denkraume:Zwischen Kunst und Wissenchaft: 5.Kunsthistorikerinnin-Tagung in Hamburg (Berlin: Dietrich Reimer Verlag, 1993)

Kyra Belan Earth, Spirit and Gender: Visual Language for the New Reality (American Heritage, 1997)

Katnira Bello y Julia Antivilo Monica Mayer: Intimidades… o no. Arte, vida y feminismo ( Editorial Diecisiete, 2021)

Jill Bennett Practical Aesthetics (London: IB Tauris, 2012)

Ruth Ben-Tovim and Trish O'Shea Encounters: The Shop Collections (UK: Sheffield, Site Gallery, 2006) More

Mirna Berberovic, Teja Reba eds City of Women/Reflecting/2018/2019 (Slovenia: Mesto Zensk (City of Women) Festival, 2019)

Renate Berger Malerinnen auf dem Weg ins. 20 Jahrhundert: Kunstgeschichte also sozialgeschichte (Cologne, DuMont, 1982)

Renate Berger 'Und ich sehe nichtes,nichts als die Malerei'. Autobiographische Texte von Kunstlerinnen des 18. bis 20 Jahrhunderts (Frankfurt am Main, 1987)

Karine Bergès, Florence Binard, Alexandrine Guyard-Nedelec Féminismes du XXIe siècle : une troisième vague? (Rennes : Presses Universitaires de Rennes, 2017)

Renate Bertlmann Amo Ergo Sum (3 Vols) (Germany: Klagenfurt, Ritter Verlag, 1989)

Susan Best Visualizing Feeling: Affect and the feminine avant-garde (London: IB Tauris, 2011)

Susan Best Visualizing Feeling, Affect and the Feminine Avant-garde (I.B. Tauris, London, 2011)

Rosemary Betterton Maternal bodies in the visual arts (Manchester: Manchester University Press (1st ed. 2014), 2018)

Rosemary Betterton An Intimate Distance: Women Artists and the Body (London: Routledge, 1996) More

Carla Bianpoen Into the Future: Indonesian Women Artists (Jakarta: Afterhours books, 2019)

Carla Bianpoen, Farah Wardani, Wulan Dirgantoro Indonesian Women Artists (Jakarta: Yayasan Semirupa Indonesia, 2007)

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)

Ursula Biemann Been There and Back to Nowhere: Gender in Transnational Spaces (post-production documents, 1988-2000) (Berlin: b_books, 2000) More

Geraldine P. Biller ed Latin American Women Artists,1915-1995 (USA:Milwaukee Art Museum, 1995)

Susanne Binas-PreisendOrfer Zur Merkliste hinzufügen Erfolgreiche KUnstlerinnen : Arbeiten zwischen Eigensinn und Kulturbetrieb (Essen : Klartext-Verl, 2003)

Derek Birdsall and Bruce Bernard Evelyn Williams: Works and Words (London: Omnific, 1998) More

Jacqueline Bishop Patchwork: Essays & Interviews on Caribbean Visual Culture (Bristol: Intellect, 2023)

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)

Debra J. Blake Chicana sexuality and gender: cultural refiguring in literature, oral history, and art (Durham : Duke University Press, 2008)

Lilianne Blanc Elle sera Poete, elle aussi; les femmes et la creation artistique (Paris: Diff. Inter-forum, 1991)

Rosana Blanco Cano Cuerpos disidentes del México imaginado: cultura, género, etnia y nación más allá del proyecto posrevolucionario (Madrid : Iberoamericana, 2010)

Joani Blank ed Femalia (Last Gasp, San Francisco, 2012)

Jane Blocker What the Body Cost: Desire, History, and Performance (University of Minnesota Press, 2004)

Jane Blocker Where is Ana Mendieta? Identity, Performance and Exile (USA: Duke University Press, 1998)

Jane Blocker Seeing Witness: Visuality and the Ethics of Testimony (University of Minnesota Press, 2009) More

Lisa Bloom ed With Other Eyes: Looking at Race and Gender in Visual Culture (Minneapolis: University of Minnesota Press, 1999) More

Lisa Bloom Jewish Identities in American Feminist Art: Ghosts of Ethnicity (London & New York: Routledge, 2006) More

Jacqueline Bobo Black Women Film & Video Artists (London: Routledge, 1998)

Jacqueline Bobo Black feminist cultural criticism (Malden, Mass. ; Oxford : Blackwell, 2001)

Stephen Bode ed Jananne Al-Ani (London: Film and Video Umbrella, 2005) More

Monica Bohm-Duchen ed. Rubies and Rebels: Jewish Female Identity in Contemporary British Art (Lund Humphries, 1996)

Barbara Bolt Art Beyond Representation: The Performative Power of the Image (London IB Tauris, 2004) More

Marie-Jo Bonnet Les femmes dans l'art: qu'est-ce que les femmes ont apporté à l'art? (Paris : Éditions de la Martinière, 2004)

Frances Borzello Women Artists: A Graphic Guide (London: Camden, 1986)

Frances Borzello A World of Our Own: Women As Artists (London: Thames and Hudson, 2000) More

Chukwuemeka Bosah The Art of Nigerian Women (Ohio: Ben Bosah, 2017)

Carol Boulbès ed Femmes, attitudes performatives (Dijon : Les Presses du réel,, 2014)

Sylvia Bovenschen Die Imaginierte Weiblichkeit. Exemparische Untersuchungen zu Kulturgeschichtlichen und literarischen Praesentationsformen des Weiblichen (, 1979)

Lionel Bovier, Douglas Eklund, Fabrice Stroun Ericka Beckman, The Super-8 Trilogy (Zurich: JRP Ringier, 2013)

Johanna Braun Hysterical methodologies in the arts : rising in revolt (Basingstoke : Palgrave Macmillan, 2021)

Gisela Breitling Die Spuren des Schiffs in den Wellen - eine autobiographische Suche nach den Frauen in der Kunstgesichte (Berlin, 1980)

Gisela Breitling Der Verborgene Eros - Weiblichkeit und Mannlichkeit im Zerrspeigel der Kunste (Frankfurt, Aufsatze, 1990)

Deborah Bright Photography & Sexuality: The Passionate Camera (London: Routledge, 1997)

Susie Bright and Jill Posener Nothing But the Girl: the Blatant Lesbian Image (Cassell, 1996)

Martine Brinkhuis Koppeltekens: vier Kunstenaarsparen vier Dialogen (Amsterdam: In de Knipscheer, 1993)

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)

Norma Broude and Mary Garrard Introducing Feminist Art History (ebook) (Amazon, 2014)

Julia R. Brown, Radmila Stefkova, Tamara R. Williams Women Photographers and Mexican Modernity Framing the Twentieth Century (Routledge, 2024)

Julia Bryan-Wilson Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2011) More

Julia Bryan-Wilson Fray: Art and Textile Politics (University of Chicago Press, 2017)

Anna Brzyski ed Partisan Canons (Durham and London: Duke University Press, 2007)

Elke Linda Buchholz Künstlerinnen : von der Renaissance bis heute (Munich: Prestel, 2003)

Rachel Epp Buller ed Reconciling Art and Mothering (UK; Ashgate Publishing, 2012)

Noel Burch and Helene Marquie eds Emancipation sexuelle ou contrainte des corps ? (Paris : L'Harmattan, 2006)

Lene Burkard ed Julie Roberts - in retro (Odense: Kunsthallen Brandts, 2008) More

Janine Burke Field of Vision: A Decade of Change: Women's Art in the 1970's (Australia: Viking, Victoria, 1990)

Johanna Burton ed Cindy Sherman (October Files series Cambridge, Massachusetts: MIT Press, 2006)

Ilaria Bussoni and Raffaella Perna eds Il gesto femminista. La rivolta delle donne: nel corpo, nel lavoro, nell'arte (The feminist gesture. Women's revolt: body, work, art, 2014) (, 2014)

Maria Elena Buszek ed Extra/Ordinary: Craft and Contemporary Art (Duke University Press, 2011)

Cornelia Butler From Conceptualism to Feminism: Lucy Lippard's Numbers shows, 1969-1974 (London: Afterall Books, 2012)

Helen C. Chapman ed Memory in Perspective: Women Photographers Encounters with History (Nexus Volume 3, London: Scarlet Press, 1997)

Claudia Calirman Dissident Practices: Brazilian Women Artists, 1960s-2020s (Duke University Press, 2023)

Sophie Calle Exquisite Pain (London: Thames and Hudson, French edition: Arles: Actes Sud, 2003) More

Sophie Calle (Introduction: James Putnam) Appointment (London: Thames and Hudson with Violette Editions.exhibition catalogue from London: Freud Museum, 2005) More

Margaret Camus ed Création au féminin. Volume 2, Arts visuels (Vol. 1, Littérature),(Vol. 3, Creation, 2007) (Dijon : Éd. universitaires de Dijon, Kaleidoscope, 2006)

Marian L.F. Cao Creacion artistica y mujeres recuperar la memoria (Madrid: Narcea, 2000)

Susana Carro Fernandez Mujeres de Ojos Rojos: Del arte feminista al arte femenino (Trea, 2010)

Susana Carro Fernández Mujeres de ojos rojos : del arte feminista al arte femenino (Gijón : Trea, D.L., 2010)

Sue-Ellen Case Feminist and Queer Performance: Critical Strategies (Palgrave Macmillan, 2009)

CEED (Central Eastern Europe) Feminisms Working Group CEED Feminisms Bibliography (London: Cell Project Space, 2024)

Whitney Chadwick Framed (London: Macmillan, 1998) More

Whitney Chadwick The Militant Muse: Love, War and the Women of Surrealism (Thames and Hudson, 2017)

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)

Suzanne Chan Critical Diaspora: Women, Art and Migration (London: IB Tauris, 2013)

Nicholas Chare, Jeanette Hoorn, Audrey Yue eds Re-reading the Monstrous-Feminine: Art, Film, Feminism and Psychoanalysis (Routledge, 2019)

Myrel Chernick and Jennie Klein The M Word: Real Mothers in Contemporary Art (Ontario: Demeter Press, 2011)

Eva-Maria Chibici-Revneanu ed Frauen in der Kunst (Graz, Josef-Krainer-Haus, Bildungszentrum der ÖVP Steiermark, 1999)

Judy Chicago Through the Flower: My Struggle as a Woman Artist (NY:Garden City/Doubleday/ Anchor, 1986)

Judy Chicago The Dinner Party: From Creation to Preservation (London: Merrell, 2007)

Red Chidgey Feminist Afterlives: Assemblage Memory in Activist Times (Palgrave MacMillan, 2018)

Jane Chin Davidson Staging art and Chineseness: The politics of trans/nationalism and global expositions (Manchester University Press, 2019)

Kelly Clark Keefe Invoking Mnemosyne: art, memory and the uncertain emergence of a feminist embodied mythology (Rotterdam: Sense Publishers, 2010)

Danielle Cliche and Ritva Mitchell, Andreas Joh. Weisand eds Pyramid or Pillars: Unveiling the Status of Women in Arts and Media Professions in Europe (Germany: ARCult Media/ERICarts/ZfKf, 2001)

Silvie Coellier Lygia Clark (L'enveloppe) La fin de la modernite et le desir du contact (Paris: L'Harmattan, 2003) More

Colectivo Ma Colère Mi cuerpo es un campo de batalla : [análisis y testimonios] (València : Ediciones La Burbuja, 2007)

Judith Collard 'Spiral Women: Locating Lesbian Activism in New Zealand Feminist Art, 1975-1992' Journal of the History of Sexuality Vol. 15, No. 2 (May, 2006), pp. 292-320 (University of Texas, 2006)

Josephine Penelope Collet Women Contesting the Mainstream Discourses of the Art World (New York: Lewiston: E Mellen Press, 2004)

Georgia Collins and Renee Sandell Women, Art and Education ((USA) National Art Education Association , 1984)

Georgia Collins and Renee Sandell eds Gender issues in art education : content, contexts, and strategies (Reston, Va. : National Art Education Association, 1996)

Victoria Combalía Amazonas con pincel 2 (Spain: SD, 2022)

Joan Copjec Imagine There's No Woman: Ethics and Sublimation (Cambridge, Mass: MIT press, 2003) More

Vanessa Corby Eva Hesse: longing,belonging and displacement (London: IB Tauris, 2010) More

Karen Cordero Reiman and Ivan Acebo Choy Sin Centenario ni bicentenario: revoluciones alternas (Mexico: Universidad Iberoamericana, 2009)

John Corso Esquivel Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect (Routledge, 2019)

COSAW Women's Collective Like a House on Fire: Contemporary Women's Writing, Art & Photography from South Africa (S.Africa: Fordsaw: COSAW Publishing, 1994)

Laura Cottingham Seeing Through the Seventies: Essays on Feminism and Art (Amsterdam: G+B Arts International, 2000)

Paul Couillard ed Ironic to Iconic: The Performance of Tanya Mars (Toronto: FADO performance, 2008) More

Margaret Courtney-Clarke Tableaux d'Afrique: l'art Mural des Femmes de l'Ouest (Paris: Arthand, 1980)

Elizabeth Cowie Representing the Woman (University of Minnesota Press, 1996)

Christine Craig The Changing Status of Women in the Arts: A Preliminary Reference (Kingston,Jamaica: Women's Bureau, 1975)

Abigail Crompton ed Truth Bomb: Inspirations from the mouths and minds of women artists (Thames and Hudson, 2021)

Laboria Cuboniks The Xenofeminist Manifesto: A Politics for Alienation (London: Verso, 2018)

Tricia Cusack, Síghle Bhreathnach-Lynch eds Art, Nation and Gender: Ethnic Landscapes, Myths and Mother-Figures (1st ed. 2003) (Routledge, 2017)

Cutting Edge Research Group Digital Desires: Language, Identity and New Technologies (London: IB Tauris, 2000) More

Aline Dallier, Frank Popper Réflexions sur l'exil, l'art et l'Europe : entretiens avec Aline Dallier (Paris : Klincksieck, 1998, )

Aline Dallier-Popper, Claudine Romeo (interview) Art, féminisme, post-féminisme: un parcours de critique d'art (Paris : L'Harmattan, 2009)

Pen Dalton The Gendering of Art Education: Modernism, Identity and Critical Feminism (Buckingham, Open University, 2001) More

Lisa Darms ed The Riot Grrrl Collection (Feminist Press, 2013)

Elif Darstarli and F. Melis Cin Feminist Art in Resistance: Aesthetics, Methods and Politics of Art in Turkey (Palgrave Macmillan, 2023)

Flaudette May V. Datuin Home, Body, Memory: Filipina Artists in the Visual Arts,19th Century to the Present (Quezon City: University of Philippines Press, 2002) More

Karen Mary Davalos Exhibiting mestizaje : Mexican (American) museums in the diaspora (Albuquerque : University of New Mexico Press, 2001)

Cecily Davis Women Artists of Australia (Balwyn,Victoria: Five Milk Press, 1992)

Heather Davis DESIRE CHANGE: Contemporary Feminist Art in Canada (McGill-Queen's University: Mentoring Artists for Women's Art, Canada, 2017) More

Alicia Gaspar de Alba, Alma López eds. Our Lady of Controversy (Alma Lopez) (University of Texas, 2011)

Ellen de Bruijne ed L.A.Raeven: Analyse/Research (Hatje Cantz, 2010) More

Serrano de Haro Mujeres en el Arte (Barcelona: Plaza and Janes, 2000)

Rocío de la Villa Crítica de arte desde una perspectiva de género (Colección Textos Mínimos, Universidad de Málaga, 2021)

Catherine de Zegher and Griselda Pollock eds Bracha Lichtenberg Ettinger: Art as Compassion (Belgium: ASA publishers and MER, Paper Kunsthalle, 2011)

Francoise d'Eaubonne Historie de l'art et lutte des sexes (Paris: Edition de la difference, 1977)

Katy Deepwell ed De-/Anti-/Post-colonial Feminisms in Contemporary Art and Textile Crafts (KT press, 2023)

Katy Deepwell Dialogues: Women Artists from Ireland (London: IB Tauris, 2005)

Katy Deepwell ed Feminist Art Activisms and Artivisms (Netherlands: Valiz, 2020) More

Editor: Katy Deepwell

Contributors: Linda Aloysius, Marissa Begonia, Sreyashi Tinni Bhattacharyya, Marisa Carnesky, Paula Chambers, Amy Charlesworth, Emma Curd, Katy Deepwell, Tal Dekel, Emma Dick, Lior Elefant, Christine Eyene, Abbe Leigh Fletcher, GraceGraceGrace, Alana Jelinek, Sonja van Kerkhoff, Alexandra Kokoli, Elke Krasny, Loraine Leeson, Laura Malacart, Rosy Martin, Alice Maude-Roxby, Kathleen Mullaniff, Louise O?Hare, Tanja Ostojic, Martina Pachmanová, Gill Park, Pune Parsafar, Roxane Permar, Anne Robinson, Stefanie Seibold, Pam Skelton, Mare Tralla, Christina Vasileiou, Camille Melissa Waring, Michelle Williams Gamaker, Virginia Yiqing Yang

Design: Lotta Lara Schröder

Series: PLURAL

?Feminisms? (as a plural) is widely used today to draw attention to inequalities and to critique the status quo in limiting women?s roles/ positions/ lives/ potential. Art can offer a vision of future worlds, manifesting a desire for projecting change, playing with existing realities and conventions. Feminist Art Artivism and Activism, two sides of the same coin, arise where art approaches, develops or transforms into activism and vice versa, where activisms become artivisms. In both, art emerges in differing forms of political intervention, at both an individual, shared or collective level, apparent in actions, events, identifications and practices. This volume wants to reveal the diversity of these practices and realities. Representing a range of critical insights, perspectives and practices from artists, activists, curators, academics and writers, it explores and reflects on the enormous variety of feminist interventions in the field of contemporary art, social processes, the public sphere and politics. In doing so, Feminist Art Activisms and Artivisms touches upon broader questions of cultural difference, history, class, economic position, ecology, politics, sexual orientation, and the ways in which these intersect.

Richly illustrated with c. 300 black and white illustrations and photos.

Vidya Dehejia Representing the Body: Gender Issues in Indian Art (Delhi, Kali, 1997)

Tal Dekel Gendered: Art and Feminist Theory (Cambridge: Cambridge Scholars Publishing, 2013)

Tal Dekel Transnational Identities: Women, Art, and Migration in Contemporary Israel (USA: Wayne State University Press, 2016)

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)

Rosalyn Deutsche Not-Forgetting: Contemporary Art and the Interrogation of Mastry (University of Chicago Press, 2022)

Rosalyn Deutsche Not-Forgetting Contemporary Art and the Interrogation of Mastery (University of Chicago Press, 2022)

Angela Dimitrakaki Gender, artWork and the global imperative: A materialist feminist critique (Manchester: Manchester University Press, 2013)

Wulan Dirgantoro Feminisms and Contemporary Art in Indonesia: Defining Experiences (Amsterdam University Press, 2017)

Yvonne P. Doderer DOING BEYOND GENDER. Interviews zu Positionen und Praxen in Kunst, Kultur und Medien. (Münster: Monsenstein & Vannerdat, 2008)

Ronald Dotterer, S. Kraft and S. Bowers eds Politics, Gender and the Arts: Women, the Arts and Society (Selingrove, Philadelphia: Susquehanna University Press, 1988, 1992)

Gen Doy Seeing and Consciousness: Women, Class and Representation (Oxford: Berg, 1995)

Jennifer Doyle Sex objects : art and the dialectics of desire (Minneapolis, Minn. ; London : University of Minnesota Press, 2006)

Nicole Dubreuil-Blondin 'Feminism and Modernism Paradoxes' in B.Buchloh, S.Guilbaut, D.Solkin (eds) Modernism and Modernity: Vancouver Conference Papers (Nova Scotia College of Art and Design Press, 1983)

Fabienne Dumont Des sorcières comme les autres: artistes et féministes dans la France des années 1970 (Rennes: Presse Universite de Rennes, 2014)

Fabienne Dumont Des sorcieres comme les autres - Artistes et feministes dans la France des annees 1970 (Rennes, PUR, 2014)

Carol Duncan The aesthetics of power : essays in the critical art history (Cambridge : Cambridge University Press, 1993)

Dinah Dysart and Hannah Fink Asian Women Artists (Australia: Craftsman House, 1996) More

Review reproduced from Volume 1, n.paradoxa, Jan 1998. Katy Deepwell 'Short Reviews of New Publications' - This book attempts to cover aspects of women artist's work in China, Korea, Taiwan, Hong Kong, Japan, India, Philippines, Thailand, Singapore, Indonesia and Vietnam. This is a tall order given the range of work and the numbers of women artists in Asia. The essays vary widely between analyses of the emergence of feminism (often identified and described through theoretical models of Western feminism with the occasional references to post-colonial and post-structuralist theories) and case studies of individual women artists. The book is beautifully illustrated and reproduces an incredible diversity of work. Where it is frustrating is in its omission of details and footnotes and bibliographic references which would encourage greater research. Nevertheless the material is fascinating including a description of the only women's art gallery in Asia: the Senwati Gallery in Bali,Indonesia founded in 1991(but no address!) ; and the feminist groups called 'Hyung'sang' and '30 Carat' in Korea (no contact or details of joint exhibitions or work!). Many of the women artists discussed are starting to be shown in international biennals (from Venice to the Asia-Pacific triennal,Australia) and major group exhibitions, such publications can only fuel this development and the dissemination of knowledge about their work.

Essays include:- Jane Chia 'Trouble at Hand: Singapore Women Artists' ; Xu Hong 'Dialogue: The Awakening of Chinese Women's Consciousness' ; Kim Hong Hee 'Sex and Sensibility: Women's Art & Feminism in Korea' ; James B.Lee 'Yi Bul :The Korean Installation Artist'; Yang Wen-I 'A Banana is not A Banana: The New Women Artists of Taiwan' ; Anna Kirker 'Poised in Equilibrium: Irene Chou' ; Yuri Mitsuda 'Flowers for Wounds: Contemporary Japanese Women Artists' ; Helen Michaelson 'Traces of Memory: Araya Rasdjarmrearnsook' ; Ana P.Labrador 'Beyond the Fringe: Making it as a Contemporary Filipina Artist' ; Astri Wright 'Undermining the order of the Javanese Universe: the self-portraits of Kartika Affandi-Koberl' and 'A Woman's Place: the Senwati Gallery in Bali' ; Martinus Dwi Marianto 'Srikandi,Marsinah & Megawati: Lucia Hartini' ; Nora Taylor 'Invisible Painters: North Vietnamese artists from the revolution to Doi Moi' ; Gayatri Sinha 'Indian Women Artists' ; Nilima Shekh 'Materialising Dream: Arpita Singh'.

Laura E. Perez Eros Ideologies: Writings on Art, Spirituality, and the Decolonial. (Duke University Press, 2019)

Elizabeth Eastmond and M. Penfold Women and the Arts in New Zealand (Auckland: Harmondsworth, UK; Penguin, 1986)

Lucinda Ebersole and Diane Apostolos-Cappadonna Women Creativity and the Arts: Critical & Autbiographical Perspectives (New York: Continuum, 1995)

Michi Ebner Genie, Kunst & Identität : Lebensentwürfe und Strategien bildender Künstlerinnen (Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang , 2010)

Michi Ebner Genie, Kunst & Identitat : Lebensentwürfe und Strategien bildender Kunstlerinnen (Frankfurt-am-Main: Lang, 2010)

Mary Beth Edelson The Art of Mary Beth Edelson (New York: Seven Cycles, 2002) More

Sylvia Eiblmayr Die Frau als Bild: Der Weibliche Korper in der Kunst des 20 Jahrhunderts (Berlin: Dietrich Reimer, 1993)

Silvia Eiblmayr Zehn Jahre: Galerie im Taxispalais / Ten Years: Galerie im Taxispalais Dokumentation 1999-2008 (Austria: Galerie im Taxispalais, 2008) More

Silvia Eiblmayr and Dirk Snauwaert, Ulrich Wilmes, Matthias Winzen eds Die verletzte Diva: Hysterie, Korper, Technik in der Kunst des 20. Jahrhunderts/The Wounded Diva: Hysteria, Body and Technique in Twentieth Century Art (Koln: Oktagon, 2000) More

Kate Eichhorn The Archival Turn in Feminism: Outrage in Order (Riot Grrrls) (Temple University Press, 2013)

Daly Eileen and Melanie Keen eds Necessary Journeys (Arts Council of England: Decibel, Blackworld, 2005) More

Kathryn Elder ed The Films of Joyce Wieland (Toronto: Cinematheque Ontario, 1999)

ELIA Artemisia - Boosting Gender Equality in Higher Arts Education (ELIA, 2000 )

Jane Elizabeth Lavery, Sarah Bowskill, Thea Pitman eds The Multimedia Works of Contemporary Latin American Women Artists and Writers: 4 (Tamesis Studies in Popular and Digital Cultures) (Tamesis Books, 2023)

Lauren Elkin Art Monsters: Unruly Bodies in Feminist Art (Chatto and Windus, 2023)

Catherine Elwes Video Loupe: a collectin of essays by and about the videomaker and critic Catherine Elwes (London: KT Press, 2000) More

Review reproduced from Volume 6, n.paradoxa, July 2000. Elaine Kowalsky 'Book Reviews'

Video Loupe: a collection of essays by and about the videomaker and critic Catherine Elwes KT press, 2000 ISBN 0 9536541 0 9

When there is currently a renewed attempt in the UK to bring to a new audience/generation the ideas and work from the 1970s, as evident in the Whitechapel exhibition Live in Your Head, the publication of Video Loupe is apt and timely. It is significant in two respects: firstly, because we still have a society, that for all its liberal ideology, finds issues raised from the feminist perspective both marginal and irksome - in fact, not just the issues but the very idea of feminism itself - and secondly, because it is a small one-woman publisher who offers us the republished works of this feminist artist/writer.

Years ago, realising that nobody was going to review her work with any clarity and understanding the issues raised in her work and others like her, Catherine Elwes began to write about video and performance work,in particular, that of women. Elwes sets the agenda herself with the statement:

'Performance, independent film and video all contributed to the critical, counter-culture environment of the 1970s and the early 1980s, but it was the existence of feminist politics as an active force within society that convinced me I could exploit video as a vehicle for my creativity from a gendered position.'

Her first published letter to Art Monthly in 1981, for example, outlines the failings in a review of two shows by women, Women's Images of Men, and the show of women artists at the ACME gallery in Shelton Street, and is a brilliant and systematic criticism of the lack of any understanding about what was actual being shown. From then on, one notes that Elwes's own writing was published more often in the magazine. How could they refuse? She said it all so clearly and the questions, raised in her reviews and essays, still need to be asked today.

The strength in Elwes' writing comes from her ability to locate the work she reviews in a broader context, outlining its historical background and contrasting it with other works to bring out many pertinent issues and ideas, especially in relation to a feminist schedule. In her reviews of primarily video works, she notes quite clearly the pitfalls of narcissism inherent in the medium and the lack of any political agenda in many of today's artists' work. She is able to negotiate with some clarity the work of the new generation of yBa's (young British artists) performance work and installations in relation to the previous generation. It is the lack of a political agenda, she notes, that sets the work of older women artists apart and gives their work bite. The message is simple "Know your history! Or we are doomed to keep reinventing the wheel!"

I often look at young women artists today, as a teacher and as an older woman, and I am proud of their confidence and the ideas in the work that they do, but I am aware how few reviews of their work link it to women's art history or a feminist perspective. Too often women artists start discussions around relevant issues with the opening statement 'I am not a feminist but…' in order to distance themselves from the negative associations that have been placed on feminism. However despite my enjoyment of her writing, I am critical of how the book is constructed, as it would have flowed better without the reviews of Elwes' 'wn video work which the book also documents. These selected reviews do not enhance her reputation as an artist or add to what she has to say as a critic. With the exception of the commissioned introduction essays that frame the context of the book, the writing on her work is redundant and does her no favours. If anything it muddies the waters and weakens the overall structure and flow. In contrast the essays by Lisa Steele, Jeremy Welsh and Julia Knight have an intellectual weight and clarity that compliment and extend an understanding of her work.

I read sections of the book to my evening students. A good thought provoker for them was 'Women and Technoculture','first published in Variant. The excitement of the ensuing discussions and debate amongst them was revealing. They also enjoyed her analysis with Jacqueline Morreau of the show Women's'Images of Men. I dug out the catalogue of the show from my collection and brought it to the next class. It was well received. But the longest debate and ensuing discussion came out of her letter to Art Monthly called 'Feminism & Political Elitism' 'p. 43). Too often when feminist ideals are mentioned, minds are turned off. The popular press in the UK has done a very good job of trivialising the whole feminist agenda. Yet the same issues are still very alive, as was illustrated by my evening students, who from their diverse social and economic backgrounds, debated and understood quite clearly what she had to say. They found the ideas exciting, pertinent and applicable to their own life experiences. I say this in all seriousness, for after reading this new book on her writings and her work, one is left with the desire that more people should know about it.

Perin Emel Yavuz Genre, féminisme et valeur de l'art (Paris : L'Harmattan, 2009)

Brigitte Enzner-Probst Frauenliturgien als Performance : die Bedeutung von Corporealität in der liturgischen Praxis von Frauen (Neukirchen-Vluyn : Neukirchener , 2008)

Nicole Erin Morse Selfie Aesthetics: Seeing Trans Feminist Futures in Self-Representational Art (Duke University Press, 2022)

Marian Evans 'Lesbian landscapes : a little oral history' Women's Studies Journal (2001)vol.17 no.1:p.102-119 (, 2001)

Laura Fantone Local Invisibility, Postcolonial Feminisms: Asian American Contemporary Artists in California (Palgrave Macmillan, 2018)

Lisa E. Farrington Creating their Own Image: the history of African-Americam Women Artists (Oxford: Oxford University Press, 2005)

Phoebe Farris ed Women Artists of Colour: A bio-critical Sourcebook to 20th Century Artists in the Americas (Westport, Conneticut: Greenwood Press, 1990)

Fariba Farshad Masques of Shahrazad: Three Generations of Iranian Women Artists (London: Candlestar, 2009)

Catherine Fehily and Jane Fletcher, Kate Newton I Spy: Representations of Childhood (London: I. B. Tauris, 2000) More

Zdenek Felix and Martina Pachmanova eds Martha Rosler: Photographic Works, 1965-2008 (Prague: Langhams Galerie, 2008) More

Nina Felshin But is It Art? : The Spirit of Art as Activism (Seattle,Bay Press, 1995)

Femen, Galia Ackerman Femen (Polity, 2014)

Mathilde Ferrer and Yves Michard eds Feminisme, art et histoire de l'art (Paris: Ecole Nationale Superieure des Beaux-Arts, 1994)

Agnese Fidecaro and Stephanie Lachat eds Profession : créatrice: la place des femmes dans le champ artistique (Switzerland: Lausanne : Éd. Antipodes/ Universite de Geneve, 2007)

Jill Fields ed Entering the Picture: Judy Chicago, The Fresno Feminist Art Program and the Collective Visions of Women Artists. (New York: Routledge, 2012)

Karen Finley Shut Up and Love Me (Artspace Books, 1998)

Penny Florence Sexed Universals in Contemporary Art (New York: Allworth Press, 2004) More

Rebecca Fortnum British Women Artists (London: IB Tauris, 2007)

Alicia Foster Tate Women Artists (London: Tate Publishing, 2004) More

Lauren Fournier Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT, 2021)

Jean Franco Plotting Women,Gender & Representation in Mexico (London, 1989)

Frauen Museum, Bonn Dritte Kunstmarkt der Kunstlerinnen (Bonn: Frauen Museum, 1986)

Frauen sehen Sich Selbst Frauen sehen Sich Selbst (Hamburg, 1979)

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)

Annegret Friedrich ed Projektionen - Rassismus und Sexismus in der visuellen Kultur (Marburg : Jonas-Verl. , 1997)

Flavia Frigeri Women Artists: Art Essentials (Thames and Hudson, 2019)

Joanna Frueh Clairvoyance (for those in the desert) Performance Pieces, 1979-2004 (Durham and London: duke University Press, 2008) More

Joanna Frueh Erotic Faculties (Berkeley: University of California Press, 1996)

Joanna Frueh Monster Beauty: Building the Body of Love (Berkeley:University of California Press, 2001) More

Judith Fryer Davidov Women's Camera Work : Self/Body/Other in American Visual Culture (Duke University Press, 1998)

Coco Fusco English is Broken Here: Notes on Cultural Fusion in the Americas (New York, 1995)

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)

Peggy Gale and Lisa Steele Video Re/View (Canada Toronto: Art Metropole & VTape, 1996)

Elizabeth Jessie Garber Feminist polyphony : a conceptual understanding of feminist art criticism in the 1980s (Ann Arbor, Mich. : UMI, 1989)

Rachel Garfield Experimental Filmmaking and Punk : Feminist Audio Visual Culture in the 1970s and 1980s (London : Bloomsbury Academic, 2021)

Cheri Gaulke and Laurel Klick eds Feminist Art Workers: A History (LA: Otis College of Art and Design, 2012)

Delia Gaze ed Dictionary of Women Artists 2 Vols. (London: Fitzroy Dearborn, 1997)

GEDOK Gegenlicht - 60 Jahre Gedok (Berlin,GEDOK, 1986)

Rae George Women Artists Since 1900: Has their role changed? (Glasgow: Boom books, 2022)

Masha Gessen Words Will Break Cement: The Passion of Pussy Riot (Riverhead:Granta , 2014)

Helga Geyer-Ryan Fables of desire : studies in the ethics of art and gender (Cambridge : Polity, 1994)

Jools Gilson, Nicola Moffat eds Textiles, Community and Controversy : The Knitting Map (Bloomsbury Visual Arts, 2019)

Wong Gina See-Yuen Global feminisms in feminist art and their new challenges (Hong Kong University, PhD, 2007)

Alison Gingeras ed Great Women Painters (Phaidon, 2022)

Ferren Gipson Women's Work: From Feminine Arts to Feminist Art (London: Frances Lincoln, 2022)

Guerrilla Girls The Guerrilla Girls' Bedside Companion to the History of Western Art (UK,Harmondsworth,Penguin, 1988)

Guerrilla Girls The Banana Report: The Guerrilla Girls Review the Whitney (exhibition catalogue, The Clocktower, New York, 1987)

Andrea Giunta The Political Body: Stories on Art, Feminism, and Emancipation in Latin America (Oakland : University of California Press, 2023)

Andrea Giunta Avant-Garde, Internationalism, and Politics: Argentine Art in the Sixties (Durham and London: Duke University Press, 2007)

Andrea Giunta Feminismo y arte latinoamericano: Historias de artistas que emanciparon el cuerpo (Siglio XX: Arte y pensamiento, 2018)

Jorunn Svensen Gjerden, Kari Jegerstedt, Željka Švrljuga eds Exploring the Black Venus figure in aesthetic practices (Leiden ; Boston : Koninklijke Brill , 2019)

Gerhard Glüher ed Ulrike Rosenbach : Wege zur Medienkunst 1969 bis 2004 (Köln : Wienand, 2005)

Nan Goldin Nan Goldin : Ten Years After (Scalo Publishers, 2005)

Catherine Gonnard and Elizabeth Lebovici Femmes Artistes, Artistes Femme: La Creation en France, 1900-2000 (Paris, Edition Hazan, 2008) More

Karen Gonzalez Rice Long Suffering: American Endurance Art as Prophetic Witness (University of Michigan Press, 2016) More

Semíramis González, Marta Pérez Ibáñez y Carolina Rodovalho eds Desigualdad de género en el sistema del arte en España (Menades Editorial, 2020)

Emily Elizabeth Goodman Food, Feminism, and Women’s Art in 1970s Southern California (Routledge, 2022)

Helen Gorrill Women Can’t Paint: Gender, the Glass Ceiling and Values in Contemporary Art (Bloomsbury Visual Arts, 2020)

Uta Grab Muller and Monika Katz Zwischen Anpassung und Widerspruch Beitrage zur Frauenforschung am Osteuropa (Berlin: Harrassowitz Verlag/ Institut der Frein Universitat, 1993)

Grace Grace Grace GraceGraceGrace explore gen-age* (*gender and ageing) (London: Live Arts Development Agency, 2019)

Mayo Graham Some Canadian Women Artists (Canada: National Gallery of Canada, 1975)

Catherine Grant A Time of One's Own: Histories of Feminism in Contemporary Art (Duke University Press, 2022)

Catherine Grant and Kate Random Love eds. Fandom as Methodology: A Sourcebook for Artists and Writers (Goldsmiths Press, 2019)

Catherine Grant and Lori Waxman eds Girls! Girls! Girls! in Contemporary Art (Intellect, Bristol , 2011)

Isabelle Graw Die Bessare Halfte: Kunstlerinnen des 20 und 21 Jahrhunderts (Cologne: du Mont Verlag, 2003)

Germaine Greer The Obstacle Race (London: IB Tauris, 2001) More

Sylvia Grevel ; Mieke Korenhof eds Theologische Ikonographien : Kunst und Religion im Dialog (Berlin ; Münster : Lit , 2007)

Uta Grosenick ed Women Artists in the 20th and 21st Centuries (Germany and UK: Taschen Books. English and German editions, 2001) More

Nancy Grove Magical Mixtures - Marisol Portrait Sculpture (, 1991)

Eva Grubinger Group.Sex (Sternberg Press, 1998) More

Marina Grzinic and Adele Eisenstein The Spectralization of Technology: From Elsewhere to Cyberfeminism and Back : Institutional Modes of the Cyberworld (Slovenia: Maribor: MKC, YouthCultural Center: Festival of Computer Arts, 1999) More

Marina Grzinic and Tanja Ostojic eds Integration Impossible? The Politics of Migration in the Artwork of Tanja Ostojic (Germany: Argobooks, 2009 Exhibition Innsbruck: Kunstpavillion Tiroler Kunstlerschaft, 2009) More

Luise Guest Half the Sky: Conversations with women artists in China (Australia: Piper Press, 2016)

Greg Gurley ed Art and Gender: An Intersexual Reader (USA: Cognella Inc., 2017)

h.arta eds FEMINISME. Recapituland concepte si afirmand noi pozitii/ FEMINISMS. Reviewing concepts and affirming new positions (Timisoara: h.arta, 2010) More

Nguyen Haiyen (intro) Vietnamese Women Artists (Cultur-Information Publishing House, 2004)

Sophie Halart, Mara Polgovsky Ezcurra Sabotage Art: Politics and Iconoclasm in Contemporary Latin America (IB Tauris, 2016)

Robert L. Hall Gathered Visions: Selected Works by African American Women Artists (Washington: Smithsonian Institution Press, 1992)

Harmony Hammond Lesbian Art in America: A Contemporary History (New York: Rizzoli International Publications Inc, 2000) More

Harmony Hammond Wrappings : essays on feminism, art, and the martial arts (New York, N.Y. : TSL Press, 1984)

JoAnn Hanley and Ann-Sargent Wooster The First Generation: Women and Video,1970-1975 (New York:Independent Curators Incorporated, 1993)

Heather Hanna Women Framing Hair: Serial Strategies in Contemporary Art (Cambridge Scholars Publishing, 2015)

James Martin Harding Cutting performances: collage events, feminist artists, and the American avant-garde (Ann Arbor : University of Michigan Press, 2010)

Geraldine Harris Staging femininities: performance and performativity (Manchester University Press, 1999)

Natalie Harris Bluestone Double vision : perspectives on gender and the visual arts (Madison : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, 1995)

Deborah Hart and Elspeth Pitt Know My Name: Australian Women Artists 1900 to Now, (November 2020–January 2022) (National Gallery of Australia, Canberra, 2020)

Lynda Hart and Peggy Phelan eds Acting out : feminist performances (Ann Arbor : University of Michigan Press, 1993)

Salima Hashmi Unveiling the Visible: Lives and Works of Women Artists of Pakistan (Islamabad: ActionAid, Pakistan, 2002)

Janice E. Hayes Bibliography on Canadian feminist art (Montreal : Graduate School of Library and Information Studies, McGill University, 1986)

Eleanor Heartney, Helaine Posner, Nancy Princenthal, Sue Scott The Reckoning: Women Artists of the New Millennium (Prestel, 2013)

Elaine Hedges and Ingrid Wendt In Her Own Image: Women Working in the Arts (New York:Feminist Press, 1980)

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)

PL Henderson, Cheryl Robson ed Unravelling Women's Art: Creators, Rebels and Innovators in Textile Arts (Supernova Books, 2021)

Robert Henkes The Art of Black American Women: Works of 24 Artists of the Twentieth Century (Jefferson:McFarland & Co, 1993)

Minna Henriksson, Erik Krikortz, Airi Triisberg eds Art Workers – Material Conditions and Labour Struggles in Contemporary Art Practice (self-published, 2015)

Kari Herbert We are Artists: Women who made their Mark on the World (Thames and Hudson, 2019)

Vanja Hermele Konsten – så funkar det (inte) / Art – this is how it works (not) (PDF, Swedish text) (Sweden: KRO/KIF, 2017)

Jillian Hernandez Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment (Duke University Press, 2020)

Lynn Hershman Leeson Clicking In: Hot Links to a Digital Culture (Seattle,Bay Press, 1996)

Lynn Hershman Leeson and Peter Weibel ed Lynn Hershman Leeson: Civic Radar (Hatje Cantz / ZKM, 2016)

Katy Hessel The Story of Art Without Men (Hutchinson Heinemann, 2022)

Cressida J. Heyes Anaesthetics of Existence: Essays on Experience at the Edge (Duke University Press, 2020)

Jennifer Higgie The Other Side: A Journey into Women, Art and the Spirit World (W & N, 2023)

Jennifer Higgie ed The Mirror and the Palette: Rebellion, Revolution and Resilience: 500 Years of Women's Self-Portraits (W & N, 2022)

Susan Hiller Thinking About Art: Conversations with Susan Hiller (Manchester: Manchester University Press, 1996) More

Susan Hiller (Alexandra Kokoli, editor) The Provisional Texture of Reality Selected Talks and Texts, 1977–2007 (JRP Ringier, 2008)

Natasha Hoare Sexual Warfare: Alexis Hunter (MIT press, 2019)

Janell Hobson When God lost her tongue : historical consciousness and the black feminist imagination (Routledge, 2021)

Beata Hock Nemtan es pablikart: Lehetseges ertelmezesi szempontok az utobbi masfel evtized ket muveszeti iranyzatahoz [Women's Art and Public Art: Interpretive Aspects for Art Practices Emerging in the Hungarian Scene in the Past 15 Years] (Budapest: Praesens, 2005)

Beata Hock Gendered artistic positions and social voices : politics, cinema, and the visual arts in state-socialist and post-socialist Hungary (Stuttgart: Steiner, 2013)

Susie Hodge The Short Story of Women Artists: A Pocket Guide to Key Breakthroughs, Movements, Works and Themes (Laurence King, 2020)

Home (Laura Godfrey-Isaacs) Home presents Home 2 (UK: Jordan UK and Home (Laura Godfrey-Isaacs), 2001) More

Klaus Honnef ed Melanie Manchot: Love is a Stranger: Photographs 1998-2001 (Munich, London, New York: Prestel, 2001) More

Bell Hooks Art on My Mind:Visual Politics (New York: New Press, 1996)

Jeanette Hoorn Strange Women : Essays in Art and Gender (Carlton,Victoria: Melbourne University Press, 1994)

Gill Hopper Art, Education and Gender: The Shaping of Female Ambition (Palgrave MacMillan, 2015)

Gabriele Horn, Ruth Ronen eds Sigalit Landau (Berlin: Kunst-Werke Berlin and Hatje Cantz, 2007) More

Andrew D. Hottle The art of the Sister chapel : exemplary women, visionary creators, and feminist collaboration (Ashgate, 2014)

Francesca Hughes ed The Architect: Reconstructing Her Practice (Boston: MIT Press, 1996) More

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.

Aída Hurtado Intersectional chicana feminisms : sitios y lenguas (Tucson : The University of Arizona Press, 2020)

Genevieve Hyacinthe Radical Virtuosity: Ana Mendieta and the Black Atlantic (MIT press, 2019)

Sarah Hyde Exhibiting Gender (Manchester: Manchester University Press, 1997)

Mako Idemitsu What a Woman Made (art media KY, DVD and booklet, 2005) More

Eligio Imarisio Donna poi artista : identità e presenza tra Otto e Novecento (Milano : FrancoAngeli, 1996)

Kornelia Imesch Inscriptions / transgressions : Kunstgeschichte und Gender Studies (Peter Lang, 2008)

Joanna Inglot The Figurative Sculpture of Magadalena Abakanowicz: Bodies, Environments, and Myths (University of California Press, 2004) More

Joanna Inglot WARM: A Feminist Art Collective in Minnesota (Minneapolis: University of Minnesota Press, Weisman Art Museum, 2007)

Luce Irigaray Luce Irigaray: Key Writings (London/New York: Continuum, 2004) More

Sharon Irish Suzanne Lacy: spaces between (University of Minnesota Press, 2010) More

Jo Anna Isaak Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter (London: Routledge, 1996) More

Graciele Iturbide Eyes to Fly With: Portraits, Self- Portraits, and other photographs (USA: University of Texas Press, 2007)

Sanja Ivekovic Public Cuts (Slovenia: P.A.R.A.S.I.T.E., 2006) More

Mary Jane Jacob Shikego Kubota: Video Sculpture (University of Washington Press, 1991)

Mary Jacobus First things : the maternal imaginary in literature, art, and psychoanalysis (Routledge, 1995)

Annette Jael Lehmann, Verena Kittel Tacit Knowledge Feminism – California Institute of the Arts 1970-1977 (Leipziz : Spector Books, 2019)

Karina Jakubowicz An Analysis of Griselda Pollock's Vision and Difference: Feminism, Femininity and the Histories of Art (Routledge, Marcat Library, 2018)

Agata Jakubowska ed Alina Szapocznikow: Awkward Objects (Books N°5, Museum of Modern Art in Warsaw, 2011)

Elisabeth Jappe Performance,Ritual, Prozess: Handbuch der Aktionskunst in Europe (Munich: New York,Prestel, 1993)

Titia Jeanette Top Art and Gender: Creative Achievement in the Visual Arts (Amsterdam, 1993)

Alana Jelenik This is Not Art and Other "Not-Art" (London: IB Tauris, 2013)

Natalie Jeremijenko and Eugene Thacker Creative Biotechnology: A User's Manual (Newcastle: Locus +, 2004) More

Paul Jobling Bodies of Experience: Gender & Identity in Women's Photography since 1970 (Vol.2, Nexus: London, Scarlet Press, 1997)

Margarethe Jochimsen ed Dokumentation des Symposiums Feministische Erneuerung von Wissenschaft und Kunst : [vom 16. bis 18. Februar 1989 im Rahmen der Ausstellung "Das Verhaltnis der Geschlechter" im Bonner Kunstverein] / Arbeitsgemeinschaft Interdisziplinäre Frauenforschung und -studien] (Pfaffenweiler : Centaurus-Verl.-Ges. , 1990)

Clare Johnson Femininity, Time and Feminist Art (Palgrave, 2013)

Jill Johnston, Axel Wieder, Fiona McGovern, Megan Francis Sullivan The Disintegration of a Critic (Sternberg, 2019)

Amelia Jones The Feminism and Visual Culture Reader (2002, 2003, 2010 editions) (London: Routledge, 2003) More

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.

Amelia Jones Body Art - Performing the Subject (University of Minnesota, 1998) More

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.

Amelia Jones Self/Image: Technology, Representation and the Contemporary Subject (London: Routledge, 2006) More

Amelia Jones In Between Subjects: A Critical Genealogy of Queer Performance (Routledge, 2021)

Amelia Jones Seeing Differently: A History and Theory of Identification and the Visual Arts (Routledge, 2012)

Chino Kaori and Takaai Kumakura eds Onna? Nippon? Bi? (Women? Japan? Beauty?) (Fujisawa: Keio University Press, 1999)

Michiko Kasahara Gender Photography Theory 1991–2017 (English title of Japanese book) (Kawasaki: Satoyamasha, 2018)

Claudine Mandel Katz Estéticas de la disidencia. Mujeres artistas en Costa Rica (1930-2000)/ Aesthetics of dissidence. Women artists in Costa Rica (1930-2000) (Editorial UNED, Costa Rica, 2022)

Susan Kavaler-Adler The Compulsion to Create: A Psychoanalytic Study of Women Artists (London: Routledge, 1993)

Monika Keiser Neubesetzungen des Kunst-Raumes: Feministische Kunstausstellungen und ihre Raume, 1972-1987 (Bielefeld: Transcript-Verlag, 2013)

Lindsay Kelley Bioart Kitchen: Art, Feminism and Technoscience (IB Tauris, 2016)

Mary Kelly Post-Partum Document (London: Routledge, 1983)

Mary Kelly Imaging Desire: Mary Kelly:Selected Writings (MIT Press, 1997) More

Christine Kelly and Andrew Sisson The social construction of feminist art : an exploratory study (Caulfield East, Vic : Caulfield Institute of Technology, 1979)

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)

Jen Kennedy, Trista E. Mallory and Angelique Szymanek eds Transnational perspectives on feminism and art, 1960-1985 (Routledge, 2021)

Janice Kerbel 15 Lombard St (London: Bookworks, 2001) More

Helen Khal The Women Artist in Lebanon (prepared under grant in 1975-76 for the Institute for Women's Studies in the Arab World, Beirut University College, Beirut, Lebanon). (The Institute, Beirut, 1987)

Hong-hee Kim Women and Art, Contemporary Art Discourse and the Field I (Korea: Noonbit, 2003)

Hong-hee Kim Korean Art World and Contemporary Art, Contemporary Art Discourse and the Field II (Korea: Noonbit, 2003)

Lucy Kimbell Audit (London: Bookworks, 2002) More

Sandy Kirby Sightlines: Women's Art and Feminist Perspectives in Australia (Australia,Craftsman House: East Rowville, 1992)

Anna Kirker New Zealand Women Artists: A Survey of 150 Years (Tortola,BVI: Craftsmans House, 1986)

Wendy Kirkup Echo (London: Locus +, 2001) More

Megumi Kitahara Depictions of the Asian Female Body: Visual Representation and War Memory (English title of Japanese book) (Tokyo: Seikyusha, 2013)

Katrin Kivimaa ed Working with Feminism: Curating and Exhibitions in Eastern Europe (Talin: ACTA Universitatis Tallinnensis, 2013)

Jennie Klein, Natalie Loveless eds Responding to site : the performance work of Marilyn Arsem (Bristol: Intellect Books, 2020)

Reiner E. Klemke and Sabine Gieschler eds Frau-Raum-Zeit : Karl-Hofer-Symposium, 4, 1982, West Berlin (Berlin: Colloquium-Verlag, 1983)

Na'ama Klorman-Eraqi The visual is political : feminist photography and countercultural activity in 1970s Britain (New Brunswick : Rutgers University Press, 2019)

Matthew Knagas Camille Patha: Geography of Desire (Oregon: Halie Ford Museum of Art, Williamette University, 2007)

Alexandra M. Kokoli ed Feminism Reframed: Reflections on art and Difference (Cambridge Scholars, Publishing, 2008)

Alexandra Kokoli The Feminist Uncanny in Theory and Art Practice (Bloomsbury, 2016)

Silvia Kolbowski inadequate...Like...Power (Cologne: Walter Konig, 2004) More

Carolyn Korsmeyer Gender and Aesthetics: An Introduction (Routledge, 2004)

Zoe Kosmidou The Power of Visual Logos: Greek Women Artists (Athens: ICAN, 2003)

Susan Kozel Closer: Performance, Technologies,Phenomenology (Boston: MIT, Leonardo series, 2007) More

Elke Krasny, Sophie Lingg, Lena Fritsch, Birgit Bosold und Vera Hofmann Radicalizing Care. Feminist and Queer Activism in Curating (Sternberg Press, 2022)

Chris Kraus Video Green: Los Angeles Art and The Triumph of Nothingness (Mass: Cambridge, MIT/Semiotext(e) Active Agents Series, 2004) More

Rosalind Krauss The Optical Unconscious (Boston: MIT Press, 1992) More

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?

Arthur Kroker and Marilouise Kroker The Hysterical Male: New Feminist Theory (Macmillan, 1991)

Edith Krull Kunst von Frauen deas Berufsbild der Bildenden Kunstlerinnen in vier Jahrhunderten (Leipzig: Edition Leipzig, 1984)

Anette Kubitza Die Kunst, das Loch, die Frau : feministische Kontroversen um Judy Chicagos "Dinner Party" (Pfaffenweiler : Centaurus, 1994)

Anette Kubitza Fluxus, Flirt, Feminismus? : Carolee Schneemanns Körperkunst und die Avantgarde (Berlin : Reimer, 2002)

Kunst Geschichter Forschungsgruppe Marburg Feministische Bibliografie zur Frauen Forschung in der Kunstgeschichte Frauen (Pfaffenweiler,Centaurus, 1993)

Barbara Kutis Artist-Parents in Contemporary Art: Gender, Identity, and Domesticity (Routledge, 2020)

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)

Emily L. Newman Female Body Image in Contemporary Art: Dieting, Eating Disorders, Self-Harm, and Fatness (Routledge, 2020)

Betty La Duke Women Artists:Multi-cultural visions (USA: Red Sea Press, 1992)

Betty La Duke Companeras: Women,Art & social Change in Latin America (San Francisco, 1985)

Betty La Duke Africa: Women's Art, Women's Lives (Trenton NJ: Africa World Press, 1997)

Suzanne Lacy ed Mapping the Terrain: New Genre Public Art (Seattle: Bay Press, 1995)

Suzanne Lacy Leaving Art: Writings on Performance, Politics and Publics, 1974-2007 (Duke University Press, 2010) More

Betty LaDuke Migrants, Border Lands, And Social Justice (Trenton, N.J. : Africa World Press, 2020)

Betty LaDuke Africa through the eyes of women artists (Trenton, N.J. : Africa World Press, 1991)

Morna Laing and Jacki Willson ed Revisiting the Gaze: The Fashioned Body and the Politics of Looking (London: Bloomsbury, 2020)

Kimberley Lamm Addressing the Other Woman: Textual Correspondences in Feminist Art & Writing (Manchester University Press, 2018)

Lex Morgan Lancaster Dragging Away: Queer Abstraction in Contemporary Art (Duke University Press, 2022)

Lex Morgan Lancaster Dragging Away: Queer Abstraction in Contemporary Art (Duke University Press, 2022)

Anne Larue and Magali Nachtergael Histoire de l'art d'un nouveau genre (Paris : M. Milo, 2014)

Quinn Latimer Like a Woman: Essays, Readings, Poems (Sternberg Press, 2017)

Monika Laue Wahre Weibeskunste? : zur Problematik einer femininen asthetik in der zeitgenoissischen Kunst ; Cindy Sherman, Rosemarie Trockel und Rebecca Horn (Munchen : Scaneg, 1996)

Andrea M. Lauritsch ed Zions Töchter : jüdische Frauen in Literatur, Kunst und Politik (Wien ; Münster : Lit , 2006)

Julie Lavigne La traversée de la pornographie : politique et érotisme dans l'art féministe (Montréal, Québec : Éditions du Remue-ménage, 2014)

Michele Le Doeuff The Philosophical Imaginary (London: Continuum, 2002) More

Elisabeth Lebovici Ce que le sida m'a fait: Art et Activism a la fin du XX Siecle / What AIDS has done to me (JRP Ringier, 2017)

Candace Lee A Gathering Place: Art-Making by Asian/Pacific Women (Southern California, Pacific/Asia Museum, 1995)

Lorraine Leeson Art for change: Works from 1975-2005/Arbeiten von 1975 bis 2005 (Berlin: NGBK, 2005)

Zoe Leonard (Intro: Helen Molesworth) Analogue (MIT, Wexner Center for the Arts, 2007) More

O. Leroux and M Jackson Inuit Women Artists (San Francisco: Chronicle Books , 1996)

Margaret Lessing et al Women Artists in South Africa (Cape Town: South African National Gallery, 1985)

Susana Toruella Leval Growing Beyond: Women Artists from Puerto Rico (Museum of Modern Art of Latin America, 1988)

Luo Li Zhu Nü xing zhu yi yi shu pi ping (Beijing : Jiu zhou chu ban she, 2010)

Christian LiClair Sexually Explicit Art, Feminist Theory, and Gender in the 1970s (Routledge, 2024)

Lilith Billedet som Kampmiddel : Kvindebilleder Mellem 1968 og 1977 (Denmark: Informations Forlag,Lilith, 1977)

Lucy Lim Six Contemporary Chinese Women Artists (San Francisco: Chinese Culture Center, 1991)

Shi Ling and Zheng Xiaojuan Contemporary Chinese Painters (China, Beijing: Foriegn Languages Press (Text in Chinese and English), 1995)

Lucy Lippard On the Beaten Track (New Press/IB Tauris, 1999-2000) More

Lucy Lippard From the Center:Feminist Essays on Women's Art (New York: Dutton, 1976)

Lucy Lippard Get the Message? A Decade of Art for Social Change (New York: E.P.Dutton, 1984)

Lucy Lippard The Pink Glass Swan: Selected Feminist Essays on Art (New York: New Press , 1996)

Lucy Lippard Overlay: Contemporary Art and the Art of PreHistory (New York:Pantheon Press, 1983)

Lucy Lippard, commentary by Laura Cottingham Hot Potatoes: From Minimalism to Activism (New York Critical Voices Series from G+B Arts international, May, 1997)

Maria Manuel Lisboa Paula Rego's Map of Memory: National and Sexual Politics (Ashgate, 2003)

Andrea Liss Feminist Art and the Maternal (University of Minnesota Press, 2009) More

Fran Lloyd Contemporary Arab Women's Art: Dialogues of the Present (London: IB Tauris, 1999)

Valentina Locatelli Without Restraint: Werke Mexikanischer Kunstlerinnen aus de Daros LatinAmerica Collection (Zurich) (Hatje Cantz, 2016)

Amanda Lock Swarr and Richa Nagar eds Critical transnational feminist praxis (Albany : State University of New York Press, 2010)

Yve Lomax Writing the Image: An Adventure with Art and Theory (New York: I. B. Tauris, 2000) More

Yve Lomax Sounding the Event: Escapades in Dialogue and Matters of art, Nature and Time (London: IB Tauris, 2005) More

Carla Lonzi and Giovanna Zapperi Autoportrait (French edition) (JRP Ringier, 2012)

Carla Lonzi and Giovanna Zapperi Carla Lonzi: Autoportrait (French) (Zurich: JRP Ringier, 2012)

Victoria Lu Taiwan (dangdai) Nuxing yishushi (History of Contemporary Taiwan Women Artists) (Taipei: Yishujia Chubanshe (text in Chinese), 2002)

Lydia Lunch Paradoxia: A Predator's Diary (London: Creation Books, 1998)

Anne Lydiat Lost for Words... and Without (UK: Artists publications, 1999) More

Cindy Lyle and Silvia Moore, Cynthia Navaretta eds Women Artists of the World (New York: Midmarch Arts Press, 1984)

Margo Machida Unsettled Visions: Contemporary Asian American artists and the social imaginary (Durham : Duke University Press, 2008) More

Nazli Madkour Women and Art in Egypt (Egypt,Cairo: State Information Service Press, Arabic edition 1989, English edition c.1991, 1989-1991)

Salean Angelika Maiwald Der fehlende Akt in der Kunst von Frauen : psychoanalytische Betrachtungen eines Tabus (Frankfurt am Main ; New York : P. Lang, 1993)

Karolina Majewska-Güde Ewa Partum's Artistic Practice: An Atlas of Continuity in Different Locations (Bielefeld: Transcript-verlag, 2021)

Judy Malloy ed Women, Art and Technology (Massachussetts: Cambridge, MIT Press, 2003) More

Alison Marchant Living Room (London: Working Press, 1998) More

Janine Marchessault ed Mirror Machine: Video & Identity (Canada: Tornot: YYZ Books & CRCCII, 1995)

Elena Marchevska and Valerie Walkerdine eds The Maternal in Creative Work: Intergenerational Discussions on Motherhood and Art (Routledge, 2019)

Evans Marian, Lonie, Bridie and Lloyd, Tilly eds. A Women’s Picture Book: 25 Women Artists of Aotearoa (New Zealand) (Wellington: Spiral Group/GP Books, 1988)

Anne Marsh Difference: A Radical Approach to Women and Art (Adelaide: Women's Art Movement, 1985)

Anne Marsh Body and Self : Performance Art in Australia,1969-1992 (Australia: Oxford University Press, 1993) More

Anne Marsh Doing Feminism: Women’s art and feminist criticism in Australia (The Miegunyah Press, 2022)

Deborah Martin Painting, Literature and Film in Colombian Feminine Culture, 1940-2005: Of Border Guards, Nomads and Women (Boydell and Brewer, Tamesis an imprint of Boydell & Brewer, 2012)

Karen Mary Davalos Yolanda M. Lopez (Los Angeles: UCLA Chicano Studies Research Center Press, 2008)

Christine Mason Sutherland and Beverly Mason Rasporich Woman as Artist : Papers in Honour of Marsha Hanen (University of Calgary Press, 1993)

Carol Mavor Reading Boyishly: Roland Barthes, J M Barrie, Jacques Henri Lartique, Marcel Proust and DW Winnicott. (Durham and London: Duke University Press, 2008) More

Louise May ed The feminist reconstruction of space (Essays from a symposium entitled Arch '96 held at the St. Norbert Arts and Cultural Centre, Sept. 27-29, 1999) (St. Norbert, Man. : St. Norbert Arts and Cultural Centre, 2000)

Patricia Mayayo Historias de Mujeres, historias del Arte (Madrid: Catedra, 2003)

Monica Mayer Si Somos Muchas Y No Somos Machas: Una recopilacion de textos periodisticos sobre mujeres artistas de Monica Mayer (Mexico: Ediciones al Vapor, 2001)

Monica Mayer ROSA CHILLANTE: MUJERES Y PERFORMANCE EN MEXICO (Mexico: AVJeditores with a grant from the Fondo Nacional para la Cultura y las Artes, 2004)

Catherine McCormack Women in the picture: What Culture does with Female Bodies (W W Norton and Co, 2022)

Catherine McCormack Women in the Picture: Women, Art and the Power of Looking (Icon Books, 2021)

Helen McDonald Erotic Ambiguities: The Female Nude in Art (London and New York: Routledge, 2001)

Uri McMillan Embodied Avatars: Genealogies of Black Feminist Art and Performance (New York University Press, 2015)

Patricia Mellencamp Indiscretions: Avantgarde Film,Video & Feminisms (USA, Indiana University Press, 1990)

David Mellor Lilianne Lijn (UK:Warwick Arts Centre: Mead Gallery, 2005) More

Lourdes Mendez Antropologia Feminista (Madrid: LETRAS Universitarias: Editorial Sintesis, 2007)

Jorn Merkert and Felicitas Rink eds Zauberei und Zähneklappern : Texte und Reden zu Künstlerinnen 1973 - 1999 (Berlin : Verein der Berliner Künstlerinnen, 1867 , 1999)

Marsha Meskimmon Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections (Routledge, 2020)

Marsha Meskimmon The Art of Reflection: Women Artists' Self-portraiture in the Twentieth Century (London: Scarlet Press, 1996)

Marsha Meskimmon Engendering the City: Women Artists and Urban Space (Vol.1 Nexus. London: Scarlet Press, 1997)

Marsha Meskimmon Contemporary art and the Cosmopolitan Imagination (Routledge, 2010)

Marsha Meskimmon Women Making Art: History, Subjectivity, Aesthetics (London: Routledge, 2003) More

Marsha Meskimmon and Phil Sawdon Drawing Difference: Connections Between Gender and Drawing (IB Tauris, 2016)

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)

Terry R. Meyers Mary Heilmann: Save the Last Dance for Me (London: Afterall Books, 2007)

Rachel Middleman Radical Eroticism: Women, Art, and Sex in the 1960s (University of California Press, 2018)

Margot Mifflin Bodies of Subversion: A Secret History of Women and Tattoo (Random House, 1997, 2013)

Suzana Milevska Gender Difference in the Balkans: Archives of representations of gender difference and agency in visual culture and contemporary art in the Balkans (text in English) (Germany: VDM Verlag Dr. Muller Aktiengesellschaft, 2010)

Lynn F. Miller and Sally S. Swenson Lives and Works: Talks with Women Artists (New York,Metuchen, London: Scarecrow Press, 1981)

Jacqueline Millner and Catriona Moore Contemporary Art and Feminism (Routledge, 2022)

Jose Miranda Justo et. al eds Questioning the Oneness of Philosophy, I: Philosophy and the Arts II: Philosophy, Gender and Sexual Difference (Centre for Philosophy, University of Lisbon, 2018)

Allyson Mitchell and Cait McKinney eds Inside Killjoy's Kastle : dykey ghosts, feminist monsters, and other lesbian hauntings (Vancouver, BC : UBC Press ; Toronto, ON : Art Gallery of York University, 2019)

Leah Modigliani Engendering an avant-garde: The unsettled landscapes of Vancouver photo-conceptualism (Manchester University Press, 2018)

Helen Molesworth ed Twice Untitled and Other Pictures (looking back) Louise Lawler (London: MIT Press and Wexner Art Centre, Ohio, 2006) More

Helen Molesworth and Taylor Walsh Louise Lawler (MIT Press (October Files), 2013)

Kate Mondloch A Capsule Aesthetic: Feminist Materialisms in New Media Art (University of Minnesota Press, 2018)

Nadine Käthe Monem Riot grrrl: revolution girl style now! (London: Black Dog, 2007)

Catriona Moore ed Dissonance: Feminism and the Arts, 1970-1990 (Allen and Unwin/Artspace, 1994)

Catriona Moore Indecent Exposures: Twenty Years of Feminist Photography in Australia,1970-1990 (Allen and Unwin,Sydney, 1993)

Sylvia Moore ed Yesterday & Tomorrow: California Women Artists (New York: Midmarch Press, 1989)

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)

Renate Morell Weibliche Aesthetik? Kunststuck (Pfaffenweiler : Centaurus-Verlagsgesellschaft, 1993)

Susan Morgan Joan Jonas: I Want to Live in the Country (And Other Romances) (London: Afterall Books, 2006)

Camille Morineau with Guilia Lamoni Artistes femmes: de 1905 à nos jours (Paris: Centres Pompidou, 2010)

Jacqueline Morreau and S. Kent eds Women's Images of Men (London: Writers and Readers, 1985)

Rebecca Morrill eds Great ~~Women~~ Artists (Phaidon, 2019)

Catherine Morris and Vincent Bonin eds Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art (Boston: MIT Press, 2012)

Ghaida Moussa, Ghadeer Malek eds Min Fami: Arab Feminist Reflections on Identity, Space and Resistance (Inanna Publications and Education Inc., 2017)

Roswitha Mueller Valie Export: Fragments of the Imagination (Bloomington : Indiana University Press, 1994)

Molly H. Mullin Culture in the Marketplace: Gender, Art and Value in the American Southwest (Duke University Press, 2000) More

Charlotte Mullins A little feminist history of art (London: Tate Publishing, 2019)

Eleanor Munro Originals: American Women Artists (New York: Simon Schuster, 1979)

Chérie N. Rivers To Be Nsala's Daughter: Decomposing the Colonial Gaze (Duke University Press, 2023)

Jennifer C. Nash The Black Body in Ecstasy (Duke University Press, 2014)

Lynda Nead The Female Nude: Art,Obscenity and Sexuality (London: Routledge, 1992)

Charmaine A. Nelson Representing the Black Female Subject in Western Art (Routledge, 2015) More

Cindy Nemser Art Talk:Conversations with 12 Women Artists (USA, 1975, 1995)

Diane Neumaier ed Reframings: New American Feminist Photographers (Philadelphia: Temple University Press, 1995)

Darren Newbury, Lorena Rizzo, Kylie Thomas eds Women and photography in Africa : creative practices and feminist challenges (Routledge, 2020)

Kate Newton and Catherine Fehily, Liz Wells eds Shifting Horizons: Women's Landscape Photography (London: I.B. Tauris, 2000) More

Abuy Nfubea Afrofeminismo.: 50 años de lucha y activismo de mujeres negras en España (1968-2018) (Ménades Editorial , 2021)

L. Nicholson ed Feminism/Postmodernism (Routledge, 1990)

Olivia Nitis Istorii Marginale ale Artei Feministe (Bucharest: Vellant, 2014)

Mignon Nixon Fantastic Reality: Louise Bourgeois and a Story of Modern Art (Cambridge: Mass, MIT press, an October book, 2005) More

Mignon Nixon Eva Hesse (Cambridge: Massachusetts: MIT press, October books, 2002) More

Elina Norandi Cent Dues Artistes (Barcelona: Univers Llibres, 2022)

Vera Norwood Made From This Earth: American Women and Nature (USA Chapel Hill: University of North Caroline Press, 1993)

Soledad Novoa Donoso ed. Seminario historia del arte y feminismo : relatos, lecturas, escrituras, omisiones, 26 de septiembre 2012 (Santiago, Chile : Museo Nacional de Bellas Artes, 2013)

Irene Noy Emergency Noises: Sound Art and Gender (Oxford University Press, 2017)

C. Jill O'Bryan Carnal Art: Orlan's Refacing (University of Minnesota Press, 2005) More

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)

María Ochoa ; foreword by Amalia Mesa-Bains Creative collectives : Chicana painters working in community (Albuquerque : University of New Mexico Press, 2003)

Ailsa O'Connor Unfinished Work, Articles & Notes on Women and the Politics of Art (Melbourne / Richmond: Greenhouse, 1982)

Eimear O'Connor ed Irish women artists, 1800-2009: familiar but unknown (Dublin: Four Courts (TRIARC research studies in Irish art, n°3), 2010)

Lorraine O'Grady and Amanda Gilvin Teaching and Learning with Lorraine O'Grady: Both/And (USA: Davis Museum at Wellesley College, 2023)

Old Boys Network next Cyberfeminist International (Rotterdam: March 8-11, 1999) More

Orlan, Bonnafous-Boucher, Maria (preface) Ceci est mon corps... Ceci est mon logiciel: entre cultures occidentale et non occidentale (Belgique : Al Dante éditions, 2011)

Raquel Osborne La construcción sexual de la realidad : un debate en la sociología contemporánea de la mujer (Madrid : Cátedra, 1993)

Nena Ossa La Mujer Chilena en el Arte (Chile,Santiago: Editorial, Lord Cochrane, 1987)

Kenza Oumlil North American Muslim Women Artists Talk Back: Assertions of Unintelligibility (Routledge, 2022)

Craig Owens 'The Discourse of Others' in H.Foster Postmodern Culture (Pluto, also reprinted as The Anti-Aesthetic, 1985)

Ceren Ozpinar, Mary Kelly eds Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today (Oxford University Press, 2020)

Martina Pachmanova Virnost v pohybu / Mobile Fidelity (Prague: One Woman Press, 2001) More

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.

This book is available in English as a free download on www.ktpress.co.uk/pdf/mpachmanova.pdf, look in "books"

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)

Luciana Parisi Abstract Sex: Philosophy, Biotechnology and the Mutations of Desire (London: Continuum, 2004) More

Barbara Paul with Dt. from Pamela E. Selwyn FormatWechsel : Kunst, populäre Medien und Gender-Politiken = FormatChange: art, popular media and gender politics (Wien : Sonderzahl , 2008)

Lisa Pearson ed It is Almost That: A Collection of Image+Text Work by Women Artists and Writers (Siglio, 2011)

Tove Beate Pedersen and Elin Svenneby eds Kunsthistorie, kvinners kunst, kunstkritikk (Norges forskningsråd, Sekretariatet for kvinneforskning, 1996)

People's Art Association From Half to Whole (Korea: People's Art Association, 1985)

Laura Elisa Perez Chicana art : the politics of spiritual and aesthetic altarities (Durham, N.C. : Duke University Press ; Chesham, 2007)

Martina Peter-Bolaender Frauen Korper Kunst: Dokumentation der Tagungen Frauen Korper Kunst,1991-1994 (Kassel: Furore, 1994)

Diane Peters Women and the visual arts (Waterloo, Ont. : The Library, Wilfrid Laurier University, 1990)

Anne Ring Petersen Migration into art: Transcultural identities and art-making in a globalised world (Manchester: Manchester University Press , 2017)

Donna Petrescu ed Altering Practices: Feminist Politics and Poetics of Space (Routledge, 2007) More

F. Pezoldo Pezoldo: Kunst fur das 21 Jahrhundert: Entwurf einer Gegenwelt / Art for the 21st Century: Design of a Counterworld (Edition: Cantz, 1995)

Alison Phipps The Politics of the Body: Gender in a Neoliberal and Neoconservative Age (Polity, 2014)

Sherry Piland and Donna Bachmann eds Women artists : an historical, contemporary, and feminist bibliography (Metuchen, N.J. : Scarecrow Press, 1978, 1994)

Praba Pilar Cyberlabia: Gendered Thoughts and Conversations on Cyberspace (California: Tela Press, 2005) More

Robert Pinto, Nicolas Bourriaud and Maia Damianovic Lucy Orta (London: Phaidon, 2003) More

Adrian Piper Out of Order,Out of Sight (2 Vols) (Boston, Mass: MIT, 1996) More

Griselda Pollock Differencing the Canon: Feminist Desire and the Writing of Arts Histories (London: Routledge, 1999)

Griselda Pollock Encounters in the Virtual Feminist Museum: Time, Space and the Archive (Routledge, 2007)

Griselda Pollock Feminism: A Bad Memory? (Verso, 2019)

Griselda Pollock After-affects | Afterimages: Trauma and Aesthetic Transformation in a virtual feminist museum (Manchester University Press, 2013)

Griselda Pollock and Alison Rowley Now and Then: Feminism, art and history; a critical response to Documenta XI (Leeds: CentreCath, 2006)

Griselda Pollock and Victoria Turvey-Sauron The Sacred and the Feminine: Imagination and Sexual Difference (London: IB Tauris, 2008)

Bea Porqueres Den Segles de Creativitat femenina: una-altra historia de l'art (Barcelona: Universidad Autonoma de Barcelona: Instituto de Ciencas de la Educcaion, 1995)

B. Porqueres Reconstruir Una Tradicion : Las artistas en el Mundo Occidental (Madrid: Libreria Mujeres, 1994)

Louise Pouissant and Ernestine Daubner eds Art & Biotechnologies: 2 volumes plus A DVD Anthology of Biotech & A-Life Artworks (Montreal: Presses de l'Universite du Quebec, 2005) More

Leila Pourtavaf ed Féminismes Électriques (Montreal: La Centrale and Les Éditions du rémue-ménage, 2012) More

Reine Prat Exploser le plafond : précis de féminisme à l’usage du monde de la culture (Paris : Rue de l'échiquier, 2021)

Nancy Princenthal Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (Thames and Hudson, 2019)

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)

Nancy Prinsenthal and Phillip Earenflight eds Joyce Kozloff: Co+ordinates (Pennsylvania: Carlisle, Trout Gallery, 2008) More

Project Arts Centre Performance: The Project Papers (Dublin: Project Arts Centre/Dog and Bones Publishing, 1998) More

Cecilia Puerto Latin American Women Artists,Kahlo & Look Who Else. A Selective Annotated Bibliography (Westport, Connecticut & London, Art Reference Collection, No.21, 1996)

Domingo Pujante González ed Ob-scena: l'obscène au féminin au tournant du XXIe siècle (Paris : Éd. l'Improviste, 2013)

Diana Quinby ed Des femmes dans l'art : hommage à Aline Dallier (1927-2020), historienne d'art, pionnière de la critique d'art féministe en France (Paris : Galerie Arnaud Lefebvre, 2022)

Diana Quinby Le Collectif Femmes/ Art a Paris dans less annees 1970; une contribtuion a l'etude du movement (Paris: Universite Pantheon-Sorbonne (PhD), 2003)

Melinda Rackham and Elvis Richardson CoUNTess: Spoiling Illusions Since 2008 (Australia: Countess, 2023)

Yvonne Rainer Feeling are Facts: A Life (Cambridge: MIT Press, 2006) More

Erica Rand The Ellis Island Snow Globe (Duke University Press, 2005) More

Arlene Raven JUNE WAYNE (USA: University of Washington Press, 1997, 1998)

Arlene Raven Crossing Over: Feminism and the Art of Social Concern (USA: Ann Arbor,Michegan: U.M.I., 1988)

Claire Raymond Women Photographers and Feminist Aesthetics (London: Routledge, 2017)

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)

Helena Reckitt. Survey: Peggy Phelan ed Art and Feminism (London: Phaidon, 2001) More

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.

Claudia Reiche Digitaler Feminismus (Bremen : Thealit Frauen.Kultur.Labor , 2006)

Marta Reichenberger ed Wer hat Angst vor Josephine Beuys (Cologne: Rahmenbedingungen zur Arbeit von Kunstlerinnen, 1995)

Melissa Rerat L'art vidéo au féminin: Emmanuelle Antille, Elodie Pong, Pipilotti Rist (Lausanne : Presses polytechniques et universitaires romandes, 2014)

Susan R. Ressler ed Women Artists of the American West (Jefferson North Carolina & London, McFarland, 2003) More

Lucy Reynolds Women Artists, Feminism and the Moving Image: Contexts and Practices (Bloomsbury Visual Arts, 2019)

Shelley Rice Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman (MIT press, 1999)

B. Ruby Rich Chick Flicks: Theories and Memories of the Feminist Film Movement (Duke University Press, 1998)

Nelly Richard Masculine/Feminine: Practices of Difference (Durham, NC and London: Duke University Press,trans. Silvia R. Tandeciarz and Alice A Neilson., 2004)

Dorothee Richter ed Symposium: Dialogue und Debatten: ein internationales Symposium zu feministischen position in der zeitgenossichen kunst: an international symposium on feminist positions in contemporary visual arts (English and German text, Nurnberg: Verlag fuer Moderne Kunst. Symposium organised in conjunction with die Hoge, Bassum, 2000)

Heidi Richter and Adelheid Sievert-Staudte ed Eine Tulpe ist eine Tulpe ist eine Tulpe : Frauen, Kunst und neue Medien (Königstein/Taunus : Helmer , 1998)

Liz Rideal and Kathleen Soriano Madam & Eve: Women Portraying Women (Lawrence King, 2018)

Faith Ringgold we flew over the bridge: the memoirs of Faith Ringgold (Durham: Duke University Press, 2005) More

Faith Ringgold We flew over the Bridge: The Memoirs of Faith Ringgold (USA: Little Brown, 1995)

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)

Hilary Robinson ed Feminism Art Theory: An Anthology 1968 - 2014, 2nd Edition (Wiley, 2015)

Hilary Robinson Reading Art, Reading Irigaray: The Politics of Art by Women (New York/London: I.B. Tauris, 2006) More

Alex Martinis Roe To Become Two: Propositions for Feminist Collective Practice (Archive Books in partnership with ar/ge kunst; Casco – Office for Art, Design and Theory; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution; and The Showroom, 2018)

Brigitte Rollet and Delphine Naudier eds Genre et légitimité culturelle: quelle reconnaissance pour les femmes ? (Paris : L'Harmattan, 2007)

Maria Laura Rosa Legados de libertad (Buenos Aires : Biblos, cop., 2014)

Beatrice Roschanzamir ed Künstlerinnen in Europa : spartenübergreifend - grenzenlos ; Dokumentation ; [zum Symposion "Künstlerinnen in Europa - Spartenübergreifend - Grenzenlos", Berlin 1999] (GEDOK, 2000)

Ulrike Rosenbach Schule fur Kreativen Feminismus: Beispiel einer autonomen kulturarbeit (Cologne: Schule fur Kreativen Feminismus, 1980)

Martha Rosler Decoys and Disruptions: Selected Writings, 1975-2001 (Cambridge, Massachusetts: MIT Press, 2004) More

Martha Rosler Martha Rosler: Positions in the Life World (Massachussetts/MIT press, Birmingham/Ikon Gallery, Vienna/Generali Foundation, 1998) More

Monica Ross Valentine (London: Milch, 2001) More

Eva Rossetti, Valentina Grande The Women who changed art forever: Feminist art - the Graphic novel (Lawrence King, 2021)

Moira Roth Difference Indifference : essays, interviews & performances (G & B Arts International, June, 1998)

Moira Roth The Amazing Decade:Women & Performance Art in America,1970-1980 (Los Angeles: Astro Artz, 1983)

Moira Roth Rachel Rosenthal (USA: John Hopkins University, 1998) More

Alison Rowley Helen Frankenthaler: Painting History, Writing Painting (London: IB Tauris, 2007)

S. Rubin Suleiman 'Feminism and Postmodernism: A Question of Politics' in C.Jencks A Postmodern Reader (London: Academy Editions, 1991)

Natalie Rudd Breaking the Mould: Sculpture by Women Since 1945 (Hayward Gallery publishing, 2020)

Judith Rugg and Michele Sedgwick eds Issues in Curating Contemporary Art and Performance (Bristol: Intellect Books, 2007) More

Teresa Sauret Historia de Arte y Mujeres (Universidad de Malaga, 1996)

Meike Schalk, Therese Kristiansson, Ramia Maze eds Feminist Futures of Spatial Practices: Materialisms, Activisms, Dialogues, Pedagogies, Projections (English text) (Art Architecture Design Research, 2017)

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)

A. Schenk Waaron zijn er geen beroemde vrouwelijke kunstenaars geweest? (Amsterdam: Stichting Vrouwen in de Beeldende Kunst, 1978)

Brenda Schmahmann ed Iconic works of art by feminists and gender activists : mistress-pieces (London: Routledge, 2021)

Margit Schmidt ; Sabine Schütz eds Selbstlaut : autobiographische Aspekte in der Kunst von Frauen Margit Schmidt ; Sabine Schütz (Köln : Richter , 1993)

Carolee Schneemann Imaging Her Erotics: Essays, Interviews, Projects (London & Cambridge, Massachusetts, 2001) More

Mary Schoeser Rozanne Hawksley: Offerings (Lund Humphries and Ruthin Craft Centre, Wales, 2009) More

Daphne Scholinski The Last Time I Wore A Dress (UK:Harmondsworth, Penguin, 1998)

Naomi Schor Bad Objects (USA: Duke University Press, 1995)

Mira Schor Wet: On Painting, Feminism and Art Culture (USA: Duke University Press, 1997) More

Mira Schor A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (USA: Duke University Press, 2009)

Nicole Schröder/Herwig Friedl eds Grenz-Gänge : Studien zu Gender und Raum (Tübingen ; Basel : Francke , 2006)

Marco Scotini, Raffaella Perna ed The Unexpected Subject: 1978 Art and Feminism in Italy (Milan : Flash Art, 2019)

Jill Scott Coded Characters: Media Art by Jill Scott (Germany: Hatje Cantz, 2003) More

Donna Seaman Identity Unknown: Rediscovering Seven American Women Artists (Bloomsbury publishing, 2017)

Heidemarie Seblatnig Einfach den Gefahren ins Auge Sehen: Kunstlerinnen im Gesprach (Wien,Koln,Graz : Bohlau Verlag, 1988)

Geeti Sen Feminine fables : imaging the Indian woman in painting, photography,and cinema (Ahmedabad : Mapin Publishing, 2002)

Marta Seravelli Arte e Femminismo en Roma Negli Anni Settanta (Rome: Biblink Inc, 2013)

Mindy Seu ed Cyberfeminism Index, book (Inventory press, 2022)

Nizan Shaked The synthetic proposition: Conceptualism as political art (Manchester University Press, 2017)

Jo Shaw and Ben Fletcher-Watson eds The Art of Being Dangerous: Exploring Women and Danger through Creative Expression (Leuven University Press, 2021)

Elaine Shemilt, Laura Leuzzi, Stephen Partridge eds Ewva: European Women's Video Art in the 70s And 80s (John Libbey and Co, )

Elizabeth Shepherd Secrets,Dialogues, Revelations: The Art of Betye and Alison Saar (University of Washington Press, 1994)

Margrit Shildrick and Roxanne Mykitiuk eds Ethics of the Body: Postconventional Challenges (MIT press, 2005)

Siobhan Shilton Transcultural encounters: Visualising France and the Maghreb in contemporary art (Manchester: Manchester University Press, 2013)

Andrea Sick and Claudia Reiche eds Technics of Cyber < > Feminism (Bremen: Thealit Frauen. Kultur.Labor, 2002) More

Sid Sid Sachs and Kalliopi Minioudaki eds Seductive subversion : women pop artists, 1958-1968 (University of the Arts ; Abbeville Publishers, 2010)

Ulrike Sieglohr Focus on the Maternal: Female Subjectivity and Images of Motherhood (Vol.4 Nexus. London: Scarlet Press, 1998)

Erin Silver Taking place: Building histories of queer and feminist art in North America (Manchester University Press, 2023)

Gayatri Sinha ed Expressions & Evocations: Contemporary Women Artists of India (India: Marg Publications, 1997) More

Julia Skelly Radical Decadence: Excess in Contemporary Feminist Textiles and Craft (Bloomsbury, 2017)

Jacqueline Skiles The Women Artists Movement (Pittsburgh: PA,Know,Inc, 1972)

Jacqueline Skiles and Janet McDevitt ed A Documentary Herstory of Women Artists in Revolution (New York: Women Artists in Revolution, 1971)

Basia Sliwinska ed Feminist Visual Activism and the Body (Routledge, 2022) More

Patricia Smart Les Femmes du Refus Global (Montreal: Boreal, 1988)

Patricia Smart Les femmes du Refus global (Montreal: Boreal, 1988)

Beryl Smith and Joan Arbeiter, Sally Shearer Swenson eds Lives and works : Vol.2 / talks with women artists. (Lanham, Md. ; London : Scarecrow, 1996)

Sidonie Smith and Julia Watson eds Interfaces: Women/Autobiography/Image/Performance (University of Michigan Press, 2002) More

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.

Cherry Smyth Damn Fine Art by New Lesbian Artists (Cassell, 1996)

Joelynn Snyder-Ott Women and creativity (Millbrae, Calif. : Les Femmes Pub., 1978)

Abigail Solomon-Godeau Photography at the Dock: Essays on Photographic History, Institutions, and Practices (University of Minnesota Press, 1994)

Joanna Speeryn-Jones, Melissa Hamnett, Cheryl Robson eds 50 Women Sculptors: 2 (Aurora Metro Books, 2020)

Jo Spence Putting Myself in the Picture: A Personal and Political Autobiography (London: Routledge, 1988)

Jo Spence Cultural Sniping: The Art of Transgression (London:Routledge, 1995)

Jo Spence and Joan Solomon What Can a Woman Do with a Camera? Photography for Women (London: Scarlet Press, 1995)

Catherine Spencer Beyond the Happening: Performance art and the politics of communication (Manchester University Press, 2020)

Kristine Stiles ed Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (Duke University Press, 2011)

Shannon R. Stratton with Faith Wilding eds Faith Wilding's Fearful Symmetries (Bristol: Intellect, 2019)

Ingrid Straube ed Kreativ, dekorativ : Reflexionen uber Kunst und Aesthetik (Köln : Verein Beitr. zur Feministischen Theorie und Praxis , 2000)

M. Sulter and I.Pollard eds Passion: Discourses on Black Women's Creativity (UK: Urban Fox Press,, 1990)

Vivan Sundaram with G.Kapur, K.G.Sumbramanyan, G.M.Sheikh ed Amrita Sher-Gil (Marg Publications, 1972)

Anniina Suominen & Tiina Pusa eds Feminism and Queer in Art Education (Aalto University, 2018)

Megan Sweeney Mendings (Duke University Press, 2022)

Trinh T Minh-ha Woman, Native, Other: Writing Postcoloniality and Feminism (Bloomington, Indianapolis: Indiana University Press,, 1989)

Diana Taylor and Roselyn Constantino ed Holy Terrors: Latina American Women Perform (Durham, NC: Duke University Press, 2004)

Paula Naanim Telis Mujer nueva : ritoperformance y femiconciencia (Argentina: Milena Caserola, 2018)

Joyce Tenneson Cohen Insights: Self-Portraits by Women (London: Gordon Fraser, 1979)

Mathilde ter heijne Any day now (Kunsthalle Nuremburg and Lentos Museum, Linz, 2010) More

Maria Tippett By a Lady: Celebrating 3 Centuries of Art by Canadian Women (Canada: Penguin Books, 1992)

Maria Theresa Alario Tregueros Arte y Feminismo (Editorial Nerea, 2008)

Suzanne Treister No Other Symptoms: Time Travelling with Rosalind Brodsky (London: Black Dog Publishing, 1999) More

Suzanne Treister and Marek Kohn Suzanne Treister: NATO: The Military Codification System for the Ordering of Everything in the World (London: Black Dog Publishing, 2008) More

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) More

Zing Tsjeng Forgotten Women: The Artists (Cassell, 2018)

Marcia Tucker, Liza Lou (Editor) ed A Short Life of Trouble: Forty Years in the New York Art World (University of California Press, 2010)

Jasmine Tumbas "I am Jugoslovenka!": Feminist performance politics during and after Yugoslav Socialism (Manchester University Press, 2022)

Ada Udechukwu Uli: Different Hands: Different Times (Nigeria: Ada Udechukwu, 1992)

Suzanne Van Hagen Art'Fab;l'art, la femme, l'Europe (Paris: Terrail\(exhibition, Saint Tropez), 2006)

Kurt Vanbelleghem ed Orla Barry: Bitter Peacock (Gent: Imschoot, 1997) More

Jorunn Veiteberg Hold stenhårdt fast på greia di. Kunst og feminisme i Norge 1968-1989 [Hold tight on to your thing. Art and feminism in Norway 1968-1989] (Kunsthall Oslo, 2019)

Susana Velasquez and Esther Moncarz, Gilda Mancuso Mujer y expresion plastica: testimonios (Argentina, Buenos Aires: Centro de Estudios de la Mujer, 1984)

Francesco Ventrella, Giovanna Zapperi Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi (Bloomsbury Visual Arts, 2019)

Lea Vergine L'Arte Ritrovata (Milan,Rizzoli, 1982)

VietNamNetBridge Women Paint and Painting on Women (Hanoi: Vietnam Fine Arts Museum, 2007)

Anna Voigt New Visions,New Perspectives: Voices of Contemporary Australian Women Artists (Australia: Craftsman House, 1996) More

Paul Von Blum Other visions, other voices : women political artists in greater Los Angeles (Lanham, MD ; London : University Press of America, 1994)

Zora von Burden Women of the Underground: Art, Cultural Innovators Speak for Themselves (Manic D Press, 2013)

Susanne von Falkenhausen et al ed Medien der Kunst : Geschlecht, Metapher, Code : Beitrage der 7. Kunsthistorikerinnen-Tagung in Berlin 2002: Kunsthistorikerinnentagung ((7th : 2002 : Berlin, Germany) (Marburg : Jonas, 2004), 2002, 2004)

Irene von Hardenberg (Photos: Reto Guntli) Künstlerinnen : Atelierbesuche in Berlin, Moskau, New York (Hildesheim : Gerstenberg , 2005)

Khadija von Zinnenburg-Carroll Botanical Drift: Protagonists of the Invasive Herbarium (Sternberg, MIT, 2017)

Eva Kit Wah Man, Jiehua Wen eds Cross-cultural reflections on Chinese aesthetics, gender, embodiment and learning (Singapore : Springer, 2020)

Kara Walker eds Ian Berry,Darby English, Vivian Patterson, Mar Narratives of a Negress (Cambridge: Massachusetts: MIT press, 2003) More

Brian Wallis ed If You Lived Here: The City in Art,Theory and Social Activism: A Project by Martha Rosler (Seattle: Bay Press, 1991)

Jayne Wark Radical Gestures: Feminism and Performance Art in North America (Montreal: McGill-Queen's University Press, 2006) More

Rachel Warriner Pain and Politics in Postwar Feminist Art: Activism in the Work of Nancy Spero (Bloomsbury publishing, 2022)

Lois Weaver ed Are We There Yet? Live Art Development Agency Study Room Guide on Live Art and Feminism (Live Art Development Agency, 2015)

Courtney Lee Weida Artistic ambivalence in clay : portraits of pottery, ceramics and gender (Newcastle upon Tyne : Cambridge Scholars, 2011)

Gisela Weimann Reflexionen/Reflections (Weimar: VDG, Edition Eselsweg,Text in German and English., 2002) More

Sasha Su-Ling Welland Experimental Beijing : gender and globalization in Chinese contemporary art (Durham: Duke University Press, 2018)

Liz Wells ed Viewfindings: Women Photographers:'Landscape' and Environment (W.England: AvailableLight, 1994) More

While these two books may represent two divergent trends in feminist publishing , they nevertheless are both significant and desirable books to read.

Liao Wen Nuxing Zhuyi zuowei fangshi/ Feminism as Method (Beijing, 1996)

Liao Wen Bu zai you hao nuhai le - Meiguo nuxing zhuyi yishujia fantanhi/ No More Good Girls - Interviews with American Feminist Artists (Beijing, 2000)

Marianne Wex Weibliche und Mannliche Korpersprache als Folge Patriarchalisher Macht ver Haltnisse (Hamburg, 1979)

Laura White ed Herstory: Art by Women in the University of Winnipeg Collection (Canada: ABC Art Books Canada Distribution, 2014)

Faith Wilding By Our Own Hands: A History of Women Artists Movement in South California (Los Angeles, 1977)

Martha Wilson Martha Wilson Sourcebook: 40 years of reconsidering performance, feminism, alternative spaces (Independent Curators International, 2011) More

Siona Wilson Art labor, sex politics : feminist effects in 1970s British art and performance (Minneapolis University of Minnesota Press, 2014)

Mara Witzling Voicing Todays Visions (London: Women's Press, 1994, 1995)

Terry Wolverton Insurgent Muse: Life and Art at the Women's Building (USA: City Lights, 2002)

Women's Art Movement Artists Pages: Original Works by Australian Women Artists (Adelaide: WAM, 1984)

Catherine Wood Yvonne Rainer: The Mind is a Muscle (Massachusetts and London: MIT Press, 2007)

Janet Woolf Feminine Sentences:Essays on Women and Culture (Polity, 1990)

Kirsten Work Rasmussen Bibliografie 1976 over Danske Kvindelige Kunstnere (Copenhagen,Kunstakademiets Bibliotek, 1980)

Sophie Yadong Hao ed Of Other Spaces: Where Does Gesture Become Event? (Sternberg, 2019)

Verdi Yahooda Principle of Uncertainty (Cardiff: Howard Gardens Gallery, 1999) More

Midori Yoshimoto Into Performance: Japanese Women Artists in New York (Rutgers University Press, 2005) More

Elvan Zabunyan, Valerie Mavridorakis, David Perreau Martha Rosler sur|sous le pavé (exhibition catalogue) (Universite de Rennes, 2006)

Elvan Zaburiyan, Marie Joseph Bertini, Francoise Gange Keep this Sex Out of My Sight: The Undisplayable of Female Sex as Revealed by Women (Dis Voir, 2002)

Daniella Zalcman and Sara Ickow eds What we see: Women and nonbinary perspectives through the Lens (White Lion Publishing / Women Photograph, 2023)

Lorena Zamora Betancourt El imaginario femenino en el arte: Monica Mayer, Rowena Morales y Carla Rippey (Mexico: Conesjo Nacional para la cultura y les artes, 2007)

Marta Zarzycka and Bettina Papenburg Carnal Aesthetics: Transgressive Imagery and Feminist Politics (London: IB Tauris, 2012)

Marta Zarzycka and Bettina Papenburg eds Carnal Aesthetics: Trangressive Imagery and Feminist Politics (London: IB Tauris, 2011)

Azkuna Zentroa Perspectivas Feministas en las Producciones Artísticas y las Teorías del Arte (2013-2018) (CASTELLANO, 2019)

Angela Ziesche Das Schwere und das Liechte : Kunstlerinnen des 20 Jahrhunderts, Skulpturen, Objekte,Installationen (Koln: Dumont, 1995)

Vivian Ziherl ed LIP Anthology: An Australian Feminist Art Journal, 1976-1984 (Australia: Macmillan Art Publ. and Kunstverein Milan, 2013)

Carla Zipser ed Amazone mit Homepage : Künstlerinnen zwischen Tradition und Internet (Munich : R. Fischer , 2002)

Nina Zivančević, Onze femmes: artistes, slaves et nomades: Ljubinka Jovanovic, Kosara Boksan, Marina Abramovic, Evgenija Demnieska, Kirila Fäeh, Vesna Victoria, Vesna Bajalska, Ljubica Mrkalj, Olivera Majcen, Selena Vickovic, Jelena Miskovic. (Paris: Non Lieu, 2011)

Tamara Zlobina Feminism Is ... (Ukraine: Kiev, 2008)

Ayelet Zohar ed PostGender: Gender, Sexuality and Performativity in Japanese Culture (Cambridge Scholars Publishing, 2009)

Jessica Zychowicz ed Freedom Taking Place: War, Women and Culture at the Intersection of Ukraine, Poland, and Belarus (USA: Vernon Press, 2023) More

Jessica Zychowicz Superfluous Women: Art, Feminism, and Revolution in Twenty-First-Century Ukraine (Toronto: University of Toronto Press, 2020)

Joanna Zylinska ed The Cyborg Experiments: The Extensions of the Body in the Media Age (London: Continuum, 2002) More

KT press

n.paradoxa

n.paradoxa international feminist art journal

All books on feminist art and women artists

Below is a list of key books from the database, listed alphabetical by author's last name. (It's not comprehensive, and your search for names may reveal more!)

n.paradoxa
international feminist art journal