Provides a uniquely flexible resource for study and research due to its scale and structure; each of the seven sections focuses on a specific a
Table of Contents
Preface x
Acknowledgements and Sources xii
Introduction: Feminism–Art–Theory: Towards a (Political) Historiography 1
1 Overviews 8
Introduction 8
1.1 Gender in/of Culture 12
• Valerie Solanas, ‘Scum Manifesto’ (1968) 12
• Shulamith Firestone, ‘(Male) Culture’ (1970) 13
• Sherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17
• Carolee Schneemann, ‘From Tape no. 2 for Kitch’s Last Meal’(1973) 26
1.2 Curating Feminisms 28
• Cornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28
• Xabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33
• Mirjam Westen, ‘rebelle: Introduction’ (2009) 35
2 Activism and Institutions 44
Introduction 44
2.1 Challenging Patriarchal Structures 51
• Women’s Ad Hoc Committee/Women Artists in Revolution/WSABAL, ‘To the Viewing Public for the 1970 Whitney Annual Exhibition’ (1970) 51
• Monica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52
• Guerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54
• Mary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54
• Lubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60
• Jerry Saltz, ‘Where the Girls Aren’t’ (2006) 62
• East London Fawcett, ‘The Great East London Art Audit’ (2013) 64
2.2 Towards Feminist Structures 66
• WEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66
• Women’s Workshop, ‘A Brief History of the Women’s Workshop of the Artist’s Union 1972–1973’ (c. 1973) 67
• Martha Rosler, ‘Well, is the Personal Political?’ (1980) 68
• Lucy Lippard, ‘Trojan Horses: Activist Art and Power’ (1984) 69
• Anne Marsh, ‘A Theoretical and Political Context’ (1985) 79
• Xabier Arakistain et al., ARCO Manifesto: ‘Politics of Equality between Men and Women in the Art World’ (2005) 85
• Parliament of Spain, ‘Article 26: Equality in Artistic and Intellectual Creation and Production’ (2007) 86
2.3 Activism in Practice 88
• Mierle Laderman Ukeles, ‘Manifesto for Maintenance Art, 1969!’ (1969) 88
• Leslie Labowitz‐Starus and Suzanne Lacy, ‘In Mourning and in Rage …’ (1978) 91
• Zoe Leonard, ‘I Want a President’ (1992) 95
• Andrea Fraser, ‘There’s No Place like Home’ (2012) 96
• Nadezhda Tolokonnikova, ‘Opening Courtroom Statement by Nadya’ (2013) 102
2.4 Education 106
• Miriam Schapiro, ‘The Education of Women as Artists: Project Womanhouse’ (1972) 106
• Lisa Tickner, ‘Retrospect’ (2008) 107
• Griselda Pollock, ‘Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University’ (2010) 114
• Lisa Nyberg and Johanna Gustavsson, ‘Radical Pedagogy’ (2011) 124
3 Historical and Critical Practices 129
Introduction 129
3.1 Interrogating ‘Art History’ 134
• Linda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971) 134
• Griselda Pollock, ‘Women, Art and Ideology: Questions for Feminist Art Historians’ (1983) 149
• Mira Schor, ‘Patrilineage’ (1991) 159
3.2 Feminist/Writing 165
• Carol Duncan, ‘Virility and Domination in Early Twentieth Century Vanguard Painting’ (1973) 165
• Joan Borsa, ‘Frida Kahlo: Marginalization and the Critical Female Subject’ (1990) 169
• Freida High W. Tesfagiorgis, ‘In Search of a Discourse and Critique/s that Center the Art of Black Women Artists’ (1993) 185
• Maureen Connor, ‘Working Notes: Conversation with Katy Deepwell’ (2002) 198
• Martina Pachmanová, ‘In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory’ (2009) 203
4 Materials, Practices, Choices 217
Introduction 217
4.1 Aesthetic Choice 223
• Judy Chicago, ‘Woman as Artist’ (1971) 223
• Marjorie Kramer, ‘Some Thoughts on Feminist Art’ (1971) 225
• Pat Mainardi, ‘A Feminine Sensibility?’ (1972) 227
• Judith Stein, ‘For a Truly Feminist Art’ (1972) 228
• Anne‐Marie Sauzeau‐Boetti, ‘Negative Capability as Practice in Women’s Art’ (1979) 229
4.2 Craft 233
• Rozsika Parker, ‘The Creation of Femininity’ (1984) 233
• Catherine Harper, ‘I Need Tracey Emin Like I Need God’ (2004) 237
• Stephanie Syjuco, ‘Anti‐Factory’ (2008) 240
4.3 Painting 241
• Katy Deepwell, ‘Paint Stripping’ (1994) 241
• Alison Rowley, ‘Plan: Large Woman or Large Canvas? A Confusion of Size with Scale’ (1996) 246
• Amy Sillman, ‘AbEx and Disco Balls: In Defense of Abstract Expressionism II’ (2011) 250
4.4 New Media 255
• Mitra Tabrizian, ‘The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble’ (1987) 255
• Faith Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998) 260
• Elisabeth Subrin, ‘Trashing “Shulie”: Remnants from Some Abandoned Feminist History’ (2006) 266
• Alla Mitrofanova, ‘Cyberfeminism in History, Practice and Theory’ (2010) 271
• Stéphanie Jeanjean, ‘Disobedient Video in the 1970s: Video Production by Women’s Collectives’ (2011) 279
5 Representing Women 288
Introduction 288
5.1 Between Image and Representation 293
• John Berger, Chapter 3 of Ways of Seeing (1972) 293
• Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ (1975) 300
• Mary Kelly, Preface to Post‐Partum Document (1983) 310
• Judith Williamson, ‘Images of “Woman”: The Photography of Cindy Sherman’ (1983) 314
• Elizabeth Grosz, ‘Inscriptions and Body‐Maps: Representations and the Corporeal’ (1990) 320
• Lynda Nead, ‘Framing the Female Body’ (1992) 322
• Nelly Richard, ‘Politics and Aesthetics of the Sign’ (2004) 329
5.2 The Artist’s Body in the Artwork 340
• Lucy Lippard, ‘The Pains and Pleasures of Rebirth: European and American Women’s Body Art’ (1976) 340
• Mary Duffy, ‘Disability, Differentness, Identity’ (1987) 343
• VALIE EXPORT, ‘Aspects of Feminist Actionism’ (1989) 345
• Orlan, ‘Intervention d’Orlan’ (1995) 361
• Amelia Jones, ‘Yayoi Kusama’ (1998) 367
6 Sex, Sexuality, Image 372
Introduction 372
6.1 Sexuality and the Sexual Body 376
• Barbara Rose, ‘Vaginal Iconology’ (1974) 376
• Suzanne Santoro, ‘Towards New Expression’ (1974) 378
• Joanna Frueh, ‘Feminism’ (1989) 379
• Buseje Bailey, ‘I Don’t Have to Expose my Genitalia’ (1993) 385
• ‘Interview with Betty Tompkins’ (2006) 388
• Chris Kraus, ‘May ’69’ (2011) 393
6.2 Lesbian and Queer Practices 398
• Monique Wittig, ‘The Straight Mind’ (1980) 398
• Jan Zita Grover, ‘Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs’ (1991) 402
• Shonagh Adelman, ‘Desire in the Politics of Representation’ (1993) 408
• Ridykeulous, ‘Advantages of Being a Woman Lesbian Artist’ (2006) 410
• Zanele Muholi, ‘Ngiyopha: A Photo‐biographical Project’ (2009) 410
• Catherine Lord, ‘Wonder Waif Meets Super Neuter’ (2010) 414
7 Identity, Geography, Citizenship 435
Introduction 435
7.1 Projections 440
• Kass Banning, ‘The Ties That Bind: Here We Go Again’ (1987) 440
• Adrian Piper, ‘The Triple Negation of Colored Women Artists’ (1990) 444
• Diane Losche, ‘Reinventing the Nude: Fiona Foley’s Museology’ (1999) 455
• Jieun Rhee, ‘Performing the Other: Yoko Ono’s Cut Piece’ (2005) 461
7.2 Political Violence 471
• Jill Bennett, ‘Art, Affect, and the “Bad Death”: Strategies for Communicating the Sense Memory of Loss’ (2002) 471
• ‘Regina José Galindo’, interview by Francisco Goldman (2006) 477
• ‘Between the Monument and the Ruin’, interview with Lida Abdul by Candice Hopkins (2007) 482
7.3 Global Citizens 486
• Tracey Rose, ‘The Cant Show’ (2007) 486
• Tanja Ostojić, ‘Crossing Borders Series’ (2009) 488
• Shirin Neshat, ‘Art in Exile’ (2010) 491
Index 494
