Description
Book SynopsisCharting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked.
Table of ContentsPreface 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
