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Copyrighted Material 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,COPYRIGHTED ‘rebelle: Introduction’ (2009) MATERIAL 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 0002230316.indd 5 12/22/2014 9:20:11 PM vi Contents • 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 0002230316.indd 6 12/22/2014 9:20:11 PM Contents vii 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 0002230316.indd 7 12/22/2014 9:20:11 PM viii Contents 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 0002230316.indd 8 12/22/2014 9:20:11 PM Contents ix • 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 0002230316.indd 9 12/22/2014 9:20:11 PM.
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