Siri Engberg et al., Kiki Smith: A Gathering, 1980-2005, 1st ed. (Minneapolis: Walker Art Center, 2005).
Kiki Smith
Kiki Smith: A Gathering 1980-2005
Siri Engberg et al., Kiki Smith: A Gathering, 1980-2005, 1st ed. (Minneapolis: Walker Art Center, 2005).
I Myself Have Seen It: Photography and Kiki Smith (An exhibit at the Tang Museum at Skidmore College)
Siri Engberg et al., Kiki Smith: A Gathering, 1980-2005, 1st ed. (Minneapolis: Walker Art Center, 2005).
Audre Lorde
I Am Your Siser: Black Women Organizing Across Sexualities
Audre Lorde, I Am Your Sister: Black Women Organizing Across Sexualities, 1st ed., Freedom organizing series # 3 (New York, NY: Kitchen Table, Women of Color Press, 1985).
"black lesbian, mother, warrior poet"~Audre Lorde
From the Left: Audre Lorde, Meridel Lesueur, and Adrienne Rich
The Audre Lorde Project
Audre Lorde, I Am Your Sister: Black Women Organizing Across Sexualities, 1st ed., Freedom organizing series # 3 (New York, NY: Kitchen Table, Women of Color Press, 1985).
From the Left: Audre Lorde, Meridel Lesueur, and Adrienne Rich
Barbara Kruger
Love For Sale: The Words and Pictures of Barbara Kruger
Barbara Kruger, Love for Sale: The Words and Pictures of Barbara Kruger (New York: H.N. Abrams, 1990).
Barbara Kruger was born in Newark, New Jersey, in 1945.
After attending Syracuse University, the School of Visual Arts, and studying
art and design with Diane Arbus at Parson’s School of Design in New York,
Kruger obtained a design job at Condé Nast Publications. Working for
Mademoiselle Magazine, she was quickly promoted to head designer. Later, she
worked as a graphic designer, art director, and picture editor in the art
departments at House and Garden, Aperture, and other publications. This
background in design is evident in the work for which she is now
internationally renowned. She layers found photographs from existing sources
with pithy and aggressive text that involves the viewer in the struggle for
power and control that her captions speak to. In their trademark black letters
against a slash of red background, some of her instantly recognizable slogans
read “I shop therefore I am,” and “Your body is a battleground." Much of
her text questions the viewer about feminism, classicism, consumerism, and
individual autonomy and desire, although her black-and-white images are culled
from the mainstream magazines that sell the very ideas she is disputing. As
well as appearing in museums and galleries worldwide, Kruger’s work has
appeared on billboards, buscards, posters, a public park, a train station
platform in Strasbourg, France, and in other public commissions. She has taught
at the California Institute of Art, The School of the Art Institute of Chicago,
and the University of California, Berkeley. She lives in New York and Los
Angeles.~ The Barbara Kruger Webpage
Andrea Dworkin
Without Apology: Andrea Dworkin's Art and Politics
Cindy Jenefsky, Without Apology: Andrea Dworkin’s Art and Politics, Polemics series (Boulder, Colo: Westview Press, 1998).
Cindy Jenefsky, Without Apology: Andrea Dworkin’s Art and Politics, Polemics series (Boulder, Colo: Westview Press, 1998).
Ana Mendieta
Jane Blocker, Where Is Ana Mendieta?: Identity, Performativity, and Exile (Durham, NC: Duke University Press, 1999).
The Case of Ana Mendieta
Miriam Shapiro
Miriam Schapiro: Shaping the Fragments of Art and Life
Thalia Gouma-Peterson, Miriam Schapiro: Shaping the Fragments of Art and Life (New York: Harry N. Abrams Publishers, 1999).
Born in 1923 in Toronto, Ontario. Schapiro found success early as a hard-edge geometric-style painter. Influenced by the feminist movement of the early 1970s, she changed her style radically, embracing the use of textiles as symbolic of feminine labor. She is credited with establishing the movement called Pattern and Decoration (or P & D). This art movement challenged traditional Western European art by foregrounding decorative patterns and textiles from other cultures such as Chinese, Indian, Islamic, and Mexican. Schapiro coined the term "femmage," which stands for the female laborer's hand-sewn work (such as embroidery, quilting, cross-stitching, etc.) that rivals and precedes the "high-art" collage.~ UAlbany Art Museum
Thalia Gouma-Peterson, Miriam Schapiro: Shaping the Fragments of Art and Life (New York: Harry N. Abrams Publishers, 1999).
Born in 1923 in Toronto, Ontario. Schapiro found success early as a hard-edge geometric-style painter. Influenced by the feminist movement of the early 1970s, she changed her style radically, embracing the use of textiles as symbolic of feminine labor. She is credited with establishing the movement called Pattern and Decoration (or P & D). This art movement challenged traditional Western European art by foregrounding decorative patterns and textiles from other cultures such as Chinese, Indian, Islamic, and Mexican. Schapiro coined the term "femmage," which stands for the female laborer's hand-sewn work (such as embroidery, quilting, cross-stitching, etc.) that rivals and precedes the "high-art" collage.~ UAlbany Art Museum
Linda Nochlin
Nochlin, Linda "Why Have There Been No Great Women Artists?"Art News 69 (January 1971): 22-39.
The Body
Feminist Theory and Practice
Women and Art
Feminist Theory and Practice
Cindy Sherman
Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.~ MOMA
Art Gallery & Study Center Grey and of Contemporary Art (North Miami, Fla.) Museum, Inverted Odysseys: Claude Cahun, Maya Deren, and Cindy Sherman (Cambridge, Mass: MIT Press, 1999).
Judy Chicago
Jones, Amelia, Cottingham, L. Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History (Los Angeles, CA: UCLA at the Armand Hammer Museum of Art and Cultural Center in association with University of California Press, Berkeley, 1996).
The Dinner Party elevates achievement by women in Western culture to a heroic scale traditionally reserved inequitably for men. A massive ceremonial banquet in multi-media art, laid on a triangular table measuring 48 feet on each side, The Dinner Party combines the glory of sacramental tradition with the intimate detail of a social gathering. Thirty-nine guests of honor, mythical and historic women whose accomplishments were largely erased from male-dominated histories, are represented by individually symbolic, china-painted porcelain plates and intricately needleworked table runners. Each plate is essentially an independent work of art and features an image based on Chicago’s vulvar and butterfly iconography, a symbolic representation of the female core intended by the artist as an affirmation of empowered female agency. The plates reside atop elaborate runners decorated with historically significant details associated with the women honored. The first name of each woman begins with an illuminated letter magnificently incorporating a small symbol or motif that references the subject’s importance. The table itself is set upon the enormous Heritage Floor comprised of over two thousand hand-cast, gilded and lustered tiles, inscribed with the names of 999 other women of importance. The Dinner Party dominated art headlines during its early history and, though enormously popular with the more than a million viewers who saw it in a dozen cities worldwide, it bore the brunt of hostile opposition from some quarters of the art world who saw it as an assault on modernist traditions and from the political right who felt threatened by its feminist agenda. Perhaps emblematic of how much things have changed, today it is thought of as, in the words of renowned critic Arthur C. Danto, “one of the major artistic monuments of the second half of the 20th century.” It has influenced the lives and work of thousands of people and has become the iconic example of how art can change the world, the expanded role for the artist in society and women’s freedom of expression. Roberta Smith in The New York Times said that it has become “almost as much a part of American culture as Norman Rockwell, Walt Disney, W.RA. murals and the AIDS quilt.” The Dinner Party was conceived by Chicago and executed by 400 artisans from around the world, working under her supervision from 1974 to 1979. She intentionally chose mediums traditionally associated with women—such as weaving, china painting, ceramics and needlework—that enhanced the impact of the installation’s powerful rejection of female marginalization and erasure. ~The Elizabeth A. Sackler Center for Feminst Art, The Brooklyn Museum
Kate Millett
Kate Millett (born September 14, 1934 in St. Paul,
Minnesota) is an American feminist writer and activist. A seminal influence on
second-wave feminism.
'Who's Come a Long Way, Baby?' 1970, Time, 96, 9, p. 18, Academic Search Complete, EBSCOhost, (viewed April 20, 2012.)
Claude Cahun
Claude Cahun (25 October 1894 – 8 December 1954) was a
French artist, photographer and writer. Her work was both political and
personal, and often played with the concepts of gender and sexuality.
Latimer, Tirza True. "Claude Cahun's Mirror in the Lens." Gay & Lesbian Review Worldwide 18, no. 1 (January 2011): 19-22. Academic Search Complete, EBSCOhost (accessed April 20, 2012).
Bell Hooks
Art on My Mind: Visual Politics
Bell Hooks, Art on My Mind: Visual Politics (New York: New Press, 1995).
Bell Hooks, Art on My Mind: Visual Politics (New York: New Press, 1995).
Bell Hooks (nee Gloria Watkins) is
Distinguished Professor of English at City College in New York. Born in
Hopkinsville, Kentucky in 1952, hooks, received
her B.A. from Stanford University in 1973,
her M.A. in 1976 from the University of Wisconsin and her Ph.D. in 1983
from the University of California, Santa Cruz.
Although hooks is mainly known as a feminist
thinker, her writings cover a broad range of topics on gender, race,
teaching and the significance of media for
contemporary culture. She strongly believes
that these topics cannot be dealt with as separately, but must be
understood as being interconnectedness. As an example,
she refers to the idea of a "White
Supremacist Capitalist Patriarchy" and its interconnectedness, rather
than to its more traditionally separated and component parts.
A passionate scholar, hooks is among the leading public intellectuals of her generation.
Peggy McIntosh
Navigating Public spaces: Gender, Race, and Body Privilege in Everyday Life
Kwan, Samantha. 2010. "Navigating Public Spaces: Gender, Race, and Body Privilege in Everyday Life." Feminist Formations 22, no. 2: 144-166. Academic Search Complete, EBSCOhost (accessed April 20, 2012).
White Male Privilege by Peggy McIntosh
Peggy McIntosh, “White Privilege: Unpacking the Invisible Knapsack,” White Privilege and Male Privilege: A personal Account of Coming to See Correspondences Through Work in Women’s Studies (1988): 4.
Kwan, Samantha. 2010. "Navigating Public Spaces: Gender, Race, and Body Privilege in Everyday Life." Feminist Formations 22, no. 2: 144-166. Academic Search Complete, EBSCOhost (accessed April 20, 2012).
White Male Privilege by Peggy McIntosh
Peggy McIntosh, “White Privilege: Unpacking the Invisible Knapsack,” White Privilege and Male Privilege: A personal Account of Coming to See Correspondences Through Work in Women’s Studies (1988): 4.
Artemisia Gentileschi
The Artemisia Files: Artemisia Gentileschi For Feminists and Other Thinking People
Gentileschi, Artemisia, Bal, M. The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People (Chicago, IL: University of Chicago Press, 2005).
Berthe Morisot
Berthe Morisot (January 14, 1841 – March 2, 1895) was a French Impressionist painter.
Born in Bourges, Cher, France into a successful bourgeois family who encouraged her and her sister Edma Morisot in their exploration of art, she demonstrated the possibilities for women artists in avant-garde art movements at the end of the 19th century. Once Morisot settled on pursuing art, her family did not impede her career.
The Women Impressionists: A sourcebook
Russell T Clement, The Women Impressionists: A Sourcebook, Art reference collection no. 24 (Westport, Conn: Greenwood Press, 2000).
Suzanne Valadon (1865-1938)
Woman Artist - Model, Artist, Muse, & Lover
Suzzane Valadon: Mistress of Montmartre
June Rose, Suzanne Valadon: The Mistress of Montmartre (New York: St. Martin’s Press, 1999).
Rosa Bonheur
The Case For Rosa Bonheur : Why Should a Woman Want to be More Like a Man?
Boime, Albert. "THE CASE OF ROSA BONHEUR: WHY SHOULD A WOMAN WANTTO BE MORE LIKE A MAN?." Art History 4, no. 4 (December 1981): 384-409. Academic Search Complete, EBSCOhost (accessed April 20, 2012).
"I was forced to recognize that the clothing of my sex was a constant bother. That is why I decided to solicit the authorization to wear men's clothing from the prefect of police. But the suit I wear is my work attire, and nothing else. The epithets of imbeciles have never bothered me...." (Bonheur)
The feminine Mystique by Betty Friedan
Betty Friedan (February 4, 1921 - February 4, 2006) was an
American writer, activist, and feminist. A leading figure in the Women's
Movement in the United States, her 1963 book The Feminine Mystique is often
credited with sparking the "second wave" of American feminism in the
20th century. In 1966, Friedan founded and was elected the first president of
the National Organization for Women, which aimed to bring women "into the
mainstream of American society now in fully equal partnership with men".
The Feminine Mystique
A Vindication of the Rights of Women by Mary Wollstonecraft
“In tracing the causes that have degraded woman, I have confined my
observations to such as universally act upon the morals and manners of
the whole sex, and to me it appears clear, that they all spring from
want of understanding. Whether this arises from a physical or accidental
weakness of faculties, time alone can determine; for I shall not lay
any great stress upon the example of a few women who, from having
received a masculine education, have acquired courage and resolution; I
only contend that the men who have been placed in similar situations
have acquired a similar character.”
Vindication of the Rights of Woman, 1792.
A vindication of the Rights of Women
Mary Wollstonecraft, A Vindication of the Rights of Woman, New ed. (London: Verso, 2010).
Vindication of the Rights of Woman, 1792.
A vindication of the Rights of Women
Louise Bourgeois 1911-2010
Louise Bourgeois was born in Paris in 1911. She studied art at various
schools there, including the Ecole du Louvre, Académie des Beaux-Arts,
Académie Julian, and Atelier Fernand Léger. In 1938, she immigrated to
the United States and continued her studies at the Art Students League
in New York. Though her beginnings were as an engraver and painter, by
the 1940s she had turned her attention to sculptural work, for which she
is now recognized as a twentieth-century leader. Greatly influenced by
the influx of European Surrealist artists who immigrated to the United
States after World War II, Bourgeois’s early sculpture was composed of
groupings of abstract and organic shapes, often carved from wood. By the
1960s, she began to execute her work in rubber, bronze, and stone, and
the pieces themselves became larger and more referential to what has
become the dominant theme of her work: her childhood. She has famously
stated, “My childhood has never lost its magic, it has never lost its
mystery, and it has never lost its drama.” Deeply symbolic, her work
uses her relationship with her parents and the role sexuality played in
her early family life as a vocabulary in which to understand and remake
that history. The anthropomorphic shapes her pieces take—the female and
male bodies are continually referenced and remade—are charged with
sexuality and innocence and the interplay between the two. Bourgeois’s
work is in the collections of most major museums around the world. She
lived in New York, where she passed away in May 2010.
Nixon, Mignon. "Losing Louise." October no. 134 (Fall2010 2010): 122-132. Academic Search Complete, EBSCOhost (accessed April 20, 2012).
Losing Louise
Nixon, Mignon. "Losing Louise." October no. 134 (Fall2010 2010): 122-132. Academic Search Complete, EBSCOhost (accessed April 20, 2012).Losing Louise
The Second Sex by Simone De Beauvoir
Simone De Beauvoir (January 9, 1908 – April 14, 1986) was a
French existentialist philosopher, public intellectual, political activist,
feminist theorist and social theorist. She did not consider herself a
philosopher but her significant contributions to existentialism and feminist
existentialism have solidified her legacy as a philosopher and feminist.
Simone de Beauvoir, The Second Sex, Everyman’s library 137 (New York: Alfred A. Knopf, 1953)
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