Press Release
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Feminist Periodicals
The Un vers ty of W scons n System Feminist Periodicals A current listing of contents WOMEN'S STUDIES Volume 26, Number 4, Winter 2007 Published by Phyllis Holman Weisbard LIBRARIAN Women's Studies Librarian Feminist Periodicals A current listing of contents Volume 26, Number 4 (Winter 2007) Periodical literature is the cutting edge ofwomen's scholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing of Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to a journal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table of contents pages from current issues ofmajorfeministjournalsare reproduced in each issue ofFeminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the follOWing information on each journal: 1. Year of first publication. 2. Frequency of pUblication. 3. Subscription prices (print only; for online prices, consult publisher). 4. Subscription address. -
Selected Highlights of Women's History
Selected Highlights of Women’s History United States & Connecticut 1773 to 2015 The Permanent Commission on the Status of Women omen have made many contributions, large and Wsmall, to the history of our state and our nation. Although their accomplishments are too often left un- recorded, women deserve to take their rightful place in the annals of achievement in politics, science and inven- Our tion, medicine, the armed forces, the arts, athletics, and h philanthropy. 40t While this is by no means a complete history, this book attempts to remedy the obscurity to which too many Year women have been relegated. It presents highlights of Connecticut women’s achievements since 1773, and in- cludes entries from notable moments in women’s history nationally. With this edition, as the PCSW celebrates the 40th anniversary of its founding in 1973, we invite you to explore the many ways women have shaped, and continue to shape, our state. Edited and designed by Christine Palm, Communications Director This project was originally created under the direction of Barbara Potopowitz with assistance from Christa Allard. It was updated on the following dates by PCSW’s interns: January, 2003 by Melissa Griswold, Salem College February, 2004 by Nicole Graf, University of Connecticut February, 2005 by Sarah Hoyle, Trinity College November, 2005 by Elizabeth Silverio, St. Joseph’s College July, 2006 by Allison Bloom, Vassar College August, 2007 by Michelle Hodge, Smith College January, 2013 by Andrea Sanders, University of Connecticut Information contained in this book was culled from many sources, including (but not limited to): The Connecticut Women’s Hall of Fame, the U.S. -
Senate Resolution No. 595 Senator STEWART
Senate Resolution No. 595 BY: Senator STEWART-COUSINS MEMORIALIZING Governor Andrew M. Cuomo to proclaim March 2019, as Women's History Month in the State of New York WHEREAS, March is Women's History Month; and WHEREAS, March 8th is International Women's Day; and WHEREAS, Each year New York State officially sets aside time to recognize the unique contributions that New York women have made to New York State and beyond; and WHEREAS, New York State has a distinguished history of monumental achievements in the area of women's rights; and WHEREAS, In 1826, New York State opened one of the first public high schools for girls resulting in a future for women in which they were no longer confined to the home, a future in which they were educated and able to use this education to better their social and economic status; and WHEREAS, In 1848 in New York, the first women's rights convention was held at Seneca Falls to secure for all women the right to vote; and WHEREAS, In 1903, The Women's Trade Union League of New York was formed to represent working women, later becoming the nucleus for the International Ladies' Garment Workers' Union; and WHEREAS, In 1917, New York guaranteed women the right to vote in all elections and in the following year the first two women, Ida Sammis and Mary Lilly, were elected to the New York State Legislature and became the first women to then serve in 1919; and WHEREAS, In 1955, Bessie Buchanan was the first African-American woman to serve in the New York State Legislature; and WHEREAS, In 1967, Muriel Siebert became -
“My Personal Is Not Political?” a Dialogue on Art, Feminism and Pedagogy
Liminalities: A Journal of Performance Studies Vol. 5, No. 2, July 2009 “My Personal Is Not Political?” A Dialogue on Art, Feminism and Pedagogy Irina Aristarkhova and Faith Wilding This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aristarkhova proposes “active distancing” and “strategic withdrawal of personal politics” as two performative strategies to deal with various stereotypes of women's art among students, Faith Wilding responds with an overview of art school’s curricular within a wider context of Feminist Art Movement and the radical questioning of art and pedagogy that the movement represents Using a concrete situation of teaching a women’s art class within an art school environment, this dialogue between Faith Wilding and Irina Aristakhova analyzes the challenges that such teaching represents within a wider cultural and historical context of women, art, and feminist performance pedagogy. Faith Wilding has been a prominent figure in the feminist art movement from the early 1970s, as a member of the California Arts Institute’s Feminist Art Program, Womanhouse, and in the recent decade, a member of the SubRosa, a cyberfeminist art collective. Irina Aristarkhova, is coming from a different history to this conversation: generationally, politically and theoretically, she faces her position as being an outsider to these mostly North American and, to a lesser extent, Western European developments. The authors see their on-going dialogue of different experiences and ideas within feminism(s) as an opportunity to share strategies and knowledges towards a common goal of sustaining heterogeneity in a pedagogical setting. First, this conversation focuses on the performance of feminist pedagogy in relation to women’s art. -
THE KEY VOL 94 NO 2 SUMMER 1977.Pdf
President's Message By Jean Hess Well tl Y -Georgia Fraternity Preside There is a song popular in many of our Kappa chapters our responsibility for campus and community leaders that goes something like this . "And when we tell both on the undergraduate and alumnae level. You h you . how wonderful you are. you'll never be the knowledge, the talent and the ability. Your colle lieve it . that girls so fine could ever be . united and universities need you to step forward and assume t in fraternity . and they all wear the little golden key." leadership. YOU are the "U" in your University! It's a particular song used for many special occasions YOU-the alumnae. As we proceed beyond our coli whenever we want to express some particular senti days, our interests widen. There are careers that lie ah ment-whether it be our way of saying how much we for all of us. Whether these careers are in business, a p want a certain rushee or a very special thank-you to some fession, a family or in a volunteer field, we can ap one very special. In its way, this song expresses in words those same principles of organization we learn in colle and music .. "The Significance of You." YOU-the And most often we combine all of these careers into o collegians. You represent the leadership in your chap- lives at one time. YOU are the "U" in your communiti ters-both present and the future leaders of your alumnae organizations, the future advisers to our chapters, the Our alumnae organizations serve a real purpose in o future province officers and the future officers of the Fra communities. -
Women, Art, and Power After Linda Nochlin
Women, Art, and Power After Linda Nochlin Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00320/1754182/octo_a_00320.pdf by guest on 28 September 2021 MIGNON NIXON In November 2001, thirty years after Linda Nochlin wrote “Why Have There Been No Great Women Artists?,” Carol Armstrong, then director of the Program in the Study of Women and Gender at Princeton, convened a conference, “Women Artists at the Millennium,” to consider the galvanizing effects of the essay on art and art history. Armstrong emphasized that the event’s focus would be “the contemporary situation.” 1 For those two days, we would think with Nochlin about what had changed after 1971—after the essay, after the women’s liberation movement, after the emer - gence of a feminist discourse in art and art history—and about how that discourse continued to evolve as feminism, in all its critical articulations, reimagined the ques - tions art and art history might pose. “At its strongest,” Nochlin declared, “a feminist art history is a transgressive and anti-establishment practice meant to call many of the major precepts of the discipline into question.” 2 But as it turned out, those gathered in Princeton that November weekend were also compelled to think with Nochlin about what was to come after the attacks of 9/11, after the invasion of Afghanistan, and after a political regression to delusions of mastery and supremacy that threatened to undo three decades of collective work on “women, art, and power.” A shadow “hung over us so immediately that the triumphalism that seemed to hover around the notion of ‘women artists at the millennium’ was converted into its epically anxious opposite,” Armstrong recalled. -
WOMAN's. ART JOURNAL
WOMAN's. ART JOURNAL (on the cover): Alice Nee I, Mary D. Garrard (1977), FALL I WINTER 2006 VOLUME 27, NUMBER 2 oil on canvas, 331/4" x 291/4". Private collection. 2 PARALLEL PERSPECTIVES By Joan Marter and Margaret Barlow PORTRAITS, ISSUES AND INSIGHTS 3 ALICE EEL A D M E By Mary D. Garrard EDITORS JOAN MARTER AND MARGARET B ARLOW 8 ALI CE N EEL'S WOMEN FROM THE 1970s: BACKLASH TO FAST FORWA RD By Pamela AHara BOOK EDITOR : UTE TELLINT 12 ALI CE N EE L AS AN ABSTRACT PAINTER FOUNDING EDITOR: ELSA HONIG FINE By Mira Schor EDITORIAL BOARD 17 REVISITING WOMANHOUSE: WELCOME TO THE (DECO STRUCTED) 0 0LLHOUSE NORMA BROUDE NANCY MOWLL MATHEWS By Temma Balducci THERESE DoLAN MARTIN ROSENBERG 24 NA CY SPERO'S M USEUM I CURSIO S: !SIS 0 THE THR ES HOLD MARY D. GARRARD PAMELA H. SIMPSON By Deborah Frizzell SALOMON GRIMBERG ROBERTA TARBELL REVIEWS ANN SUTHERLAND HARRis JUDITH ZILCZER 33 Reclaiming Female Agency: Feminist Art History after Postmodernism ELLEN G. LANDAU EDITED BY N ORMA BROUDE AND MARY D. GARRARD Reviewed by Ute L. Tellini PRODUCTION, AND DESIGN SERVICES 37 The Lost Tapestries of the City of Ladies: Christine De Pizan's O LD CITY P UBLISHING, INC. Renaissance Legacy BYS uSAN GROAG BELL Reviewed by Laura Rinaldi Dufresne Editorial Offices: Advertising and Subscriptions: Woman's Art journal Ian MeUanby 40 Intrepid Women: Victorian Artists Travel Rutgers University Old City Publishing, Inc. EDITED BY JORDANA POMEROY Reviewed by Alicia Craig Faxon Dept. of Art History, Voorhees Hall 628 North Second St. -
Beyond the Orientalist Canon: Art and Commerce
© COPYRIGHT by Fanna S. Gebreyesus 2015 ALL RIGHTS RESERVED 1 BEYOND THE ORIENTALIST CANON: ART AND COMMERCE IN JEAN-LÉON GÉRÔME'S THE SNAKE CHARMER BY Fanna S. Gebreyesus ABSTRACT This thesis re-examines Jean-Léon Gérôme's iconic painting The Snake Charmer (1879) in an attempt to move beyond the post-colonial interpretations that have held sway in the literature on the artist since the publication of Linda Nochlin’s influential essay “The Imaginary Orient” in 1989. The painting traditionally is understood as both a product and reflection of nineteenth-century European colonial politics, a view that positions the depicted figures as racially, ethnically and nationally “other” to the “Western” viewers who encountered the work when it was exhibited in France and the United States during the final decades of the nineteenth century. My analysis does not dispute but rather extends and complicates this approach. First, I place the work in the context of the artist's oeuvre, specifically in relation to the initiation of Gérôme’s sculptural practice in 1878. I interpret the figure of the nude snake charmer as a reference to the artist’s virtuoso abilities in both painting and sculpture. Second, I discuss the commercial success that Gérôme achieved through his popular Orientalist works. Rather than simply catering to the market for Orientalist scenes, I argue that this painting makes sophisticated commentary on its relation to that market; the performance depicted in the work functions as an allegory of the painting’s reception. Finally, I discuss the display of this painting at the 1893 Chicago World's Fair, in an environment of spectacle that included the famous “Oriental” exhibits in the Midway Plaisance meant to dazzle and shock visitors. -
International Women's Forum
BERMUDA S CANA AMA DA AH ISRAEL B ND ITALY CH A ELA J IC RI IR AM AG ST NEW MEXICO AI O U IA SEY N C A D JER EW A IN W N TENNE YO C NE WEDE SSEE R J H IA S K O I L N TEX R LE A O A AI A N D R H D SP S O A T A A R N S D V TR TH C U I E IA IN O A N N C R ID K L O A A O F D R A G O LI O N R S N & A IC A L S A C T IN A D S O X O K É A S O N N B R A A G M E G K H N T N K R O C O U O E O A O N H O R www.iwforum.org C S T N T T U C U H N C R E A I O E I R K A K C R N N A E Y C T O I O Y I W C R C Z I M F A A U R A H L L T U A E I H N F B T O E I A U T R D R E N A O D N O A A S O N P I N L K A I A N L A I T N A H G N G N S G I E N O I D S L G S O H N O R I M D O O U A A E C I A S N L S I I I A S A A INTERNATIONAL WOMEN’S FORUM WOMEN’S INTERNATIONAL U W T S W O T Y N U A N A K N A R H O L R A C A Celebrating 45 Years of Promoting Women’s Leadership Women’s Promoting of Years 45 Celebrating E M D H M , V H R O M N A E G M O I N A E R T G R A C C I U G N U O B U N S I E U O A T H V T O S S A I D E I S A R R P I O E W M G G M R V R A S O E E T R E O S M N A T N O S S E I N N A P I T O T E P G G W P N I A I P S H C G L A I P I H N H Y P S A U M S P I S E A A I S T E N P A S T C E V N L N Y I S T S N M A F I R M N A F I T C L O H S A I E G N A N N I M N T D S A O F C L N O U R S I D A A D I R F O L Table of Contents IWF History....................................................................................................1 Who We Are & What We Do...................................................................... -
Xomen's Rights, Historic Sites
Women’s Rights, Historic Sites: A Manhattan Map of Milestones African Burial Ground National Monument (corner of Elk and Duane Streets) was Perkins rededicate her life to improving working conditions for all people. Perkins 71 The first home game of the New York Liberty of the Women’s National Basketball 99 Barbara Walters joined ABC News in 1976 as the first woman to co-host the Researched and written by Pam Elam, Deputy Chief of Staff dedicated. It is estimated that 40% of the adults buried there were women. became the first woman cabinet member when President Franklin Delano Roosevelt Association (WNBA) was played at Madison Square Garden (7th Avenue between network news. ABC News is now located at 7 West 66th Street. Prior to joining Layout design by Ken Nemchin appointed her as Secretary of Labor in 1933. Perkins said: “The door might not be West 31st – 33rd Streets) on June 29, 1997. The Liberty defeated Phoenix 65-57 ABC, she appeared on NBC’s Today Show for 15 years. NBC only officially des- 23 Constance Baker Motley became the first woman Borough President of Manhattan opened to a woman again for a long, long time and I had a kind of duty to other before a crowd of 17,780 women’s basketball fans. ignated her as the program’s first woman co-host in 1974. In 1964, Marlene in 1965; her office was in the Municipal Building at 1 Centre Street. She was also the 1 Emily Warren Roebling, who led the completion of the work on the Brooklyn Bridge women to walk in and sit down on the chair that was offered, and so establish the Sanders -
A Tribute to Linda Nochlin | the Brooklyn Rail
6/13/2017 A Tribute to Linda Nochlin | The Brooklyn Rail MAILINGLIST Editor's Message July 13th, 2015 GUESTCRITIC A Tribute to Linda Nochlin by Maura Reilly Linda Nochlin (b. 1931) grew up an only child in Crown Heights, Brooklyn, in a secular, leftist Jewish family where intellectual achievement and artistic appreciation were among the highest goals, along with social justice. Of her youth, Nochlin recalled in a recent email to me: We lived near Ebbets Field and whenever the Dodgers made a home run all the ornaments on the mantelpiece shook from the wild applause. We little girls did a lot of roller-skating and jump rope. We were a cultured group all right. I took piano lessons from the same person who had taught my mother. Bach was and still is my super favorite. In high school, my friend Paula and I would take the subway up to the Cloisters on Sunday for the medieval music concerts. Ballet lessons in Manhattan on Saturdays and lots of ballet and modern dance recitals—Martha Graham and José Limón—with my mother or friends. My friend Ronny and I went to hear our adored Wanda Landowska play harpsichord from the back row of City Center and then threw roses at her. Also Lewisohn Stadium. Took lots of trips to [the] Brooklyn Museum, both for ethnic dance performances and, of course, for art. Remember especially the exhibition “100 Artists and Walkowitz” in 1944 because my grandfather knew artist Abraham Walkowitz and introduced me. Many, many trips to the new Brooklyn Public Library, often with my grandfather who liked Irish authors like Lord Dunsany, but also James T. -
Dinner in the City: Reclaiming the Female Half of History: Christine De Pisan's the Book of the City of Ladies and Judy Chicago's the Dinner Party
Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program Summer 2007 Dinner in the City: Reclaiming the Female Half of History: Christine de Pisan's The Book of the City of Ladies and Judy Chicago's The Dinner Party Marsha M. Pippenger Wright State University - Main Campus, [email protected] Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the History of Gender Commons, and the Women's History Commons Repository Citation Pippenger, M. M. (2007). Dinner in the City: Reclaiming the Female Half of History: Christine de Pisan's The Book of the City of Ladies and Judy Chicago's The Dinner Party (Master’s thesis). Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. DINNER IN THE CITY RECLAIMING THE FEMALE HALF OF HISTORY: CHRISTINE DE PISAN'S THE BOOK OF THE CITY OF LADIES AND JUDY CHICAGO'S THE DINNER PARTY An essay submitted in partial fulfillment ofthe requirements for the degree of Master of Humanities By MARSHA MONROE PIPPENGER B.F.A, Ohio Northern University, 1979 2007 Wright State University WRIGHT STATE UNIVERSITY SCHOOL OF GRADUATE STUDIES JULY 23, 2007 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY MARSHA MONROE PIPPENGER ENTITLED DINNER IN THE CITY RECLAIMING THE FEMALE HALF OF HISTORY: CHRISTINE DE PISAN'S THE BOOK OF THE CITY OF LADIES AND JUDY CHICAGO'S THE DINNER PARTY BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF HUMANITIES.