DOCSLIB.ORG

University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You willa find good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR 7619659 SANDELl# RENEE KUNOWJTZ FEMINIST ART EDUCATION* DEFINITION, a s s e s s m e n t AND APPLICATION TO contemporary ART EDUCATION, THE OHIO STATE UNIVERSITY, PHtD,# 1978 0 1978 RENEE KUNOWITZ SANDELL ALL RIGHTS RESERVED FEMINIST ART EDUCATION: DEFINITION, ASSESSMENT AND APPLICATION TO CONTEMPORARY ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Renee Kunowitz Sandell, B.A., M.A. ****** The Ohio State University 1978 Dr. Kenneth Marantz Approved By Dr. Rogena Degge Dr. Johanna Da Stefano Adviser Department of Art Education "It is the engaged feminist intellect...that can pierce through the cultural-ideological limitations of the time and its specific "professionalism" to reveal biases and inadequacies not merely in the dealing with the question of women, but in the very way of formula­ ting the crucial questions of the discipline as a whole. Thus, the so-called woman question, far from being a minor, peripheral and laughably provincial sub-issue grafted onto a serious, established discipline, can become a catalyst, an intellectual instrument, probing basic and "natural" assumptions, providing a paradigm for other kinds of internal questioning, and in turn providing links with paradigms established by radical approaches in other fields. — Linda Nochlin (1971) ACKNOWLEDGMENTS I wish to express my sincere appreciation to my adviser Dr. Kenneth Marantz for his encouragement, critical insight and guidance throughout my graduate career. His assistance, which fostered my own grappling with and solving my research problems was invaluable. Dr. Rogena Degge generously contributed her time and skills at criti­ cally analyzing and editing the dissertation. Dr. Johanna De Stefano served as a helpful, critical reader. There are other professors whose insights have helped expand my knowledge and growth in the process of problem solving. Drs. Arthur Efland, Donald Saunders and Paul Klohr contributed to my understanding of curriculum theory and research methodology in education. Dr. Paul Klohr generously donated his time in reading the final manuscript and attending my oral defense. Dr. Barbara Groseclose's course on "Women and Art History" offered at The Ohio State University in 1976, served as partial motivation for the study. As an examiner on my general examination. Dr. Groseclose made very useful suggestions. During the long research process, I have received assistance in obtaining relevant materials for my study from several individuals. Professor Charlotte Hanten, of the Art Department at University of Akron was most helpful in send­ ing me up-dated materials from the Women's Caucus for Art of the College Art Association 1977 and 1978 meetings in Los Angeles and New York, respectively. Dr. Lola Gellman, Chairperson of Art at Queenborough Community College, New York, provided me with access to the Women's Caucus for Art 1976-77 Questionnaires on Women's Studies in national art programs. Ms. Marsha Stevenson, reference librarian at The Ohio State University Newark Campus, deserves credit for her excellent assistance in obtaining research materials and information for the study. Mrs. Eleanor Sapp typed the final draft. Finally, I'd like to recognize my family for their enthusiastic support. My husband, Dr. Steven Sandell, deserves special, deeply-felt thanks for his continuous support, encouragement, criticism as well as editing. His partnership has positively contributed to my academic life style, which provided a good place from which to begin to develop my research from a truly nonsexist perspective. The responsibility for any errors remains with me. VITA February 13, 1950 . Born - New York, New York 1972.. ................... B.A., The City College of New York, New York, New York 1972-1973 ............... Art Teacher, Seward Park High School, New York, New York 1973-1975 . Teaching Associate, Department of Art Education, The Ohio State University, Columbus, Ohio 1974.. .................... M.A., The Ohio State University, Columbus, Ohio 1975-present ...... Instructor, Department of Art Education, The Ohio State University Newark Campus, Newark, Ohio . PUBLICATIONS "Female Clique!" in The Report, published by the Women's Caucus of the National Art Education Association (Autumn, 1975), pp. 7-78. "Discrimination and. Other Women's Issues in Art Education," The Ohio Art Education Association Journal 16 (Spring, 1977):5-7. FIELDS OF STUDY Major Field: Art Education Studies in Art History. Professor Barbara Groseclose Studies in Curriculum. Professor Arthur Efland and Professor Paul Klohr Studies in Qualitative Research Methods. Professors Rogena Degge and Donald Sanders v TABLE OF CONTENTS Page DEDICATION................... ii ACKNOWLEDGMENTS ....................................... iii VITA .................................................... V LIST OF TABLES .......................................... viii LIST OF FIGURES ....................................... ix Chapter I. INTRODUCTION: THE NEED FOR CRITICAL ANALYSIS, ASSESSMENT AND APPLICATION OF FEMINIST ART EDUCATION .................................... 1 Issues Raised by Feminism That Are Applied to the Arts and Education ................. 1 The Problem of Feminist Art Education and an Approach to Its Critical S t u d y ......... 5 Acknowledgment of the Need for Teacher Education Curriculum Modifications To­ wards Recognition of Woman's Place in Art and Art Education ...................... 11 Organization of the Study of Feminist Art Education .............................. 15 II. SURVEY OF THE LITERATURE: WOMEN, EDUCATION AND A R T ......................................... 18 Sexism in Society: Feminism and the Socialization of Women ...................... 18 Sexism in Education: Feminist Concerns in Education ................................ 34 Sexism in Art: Issues of the Women's Art Movement ................................ 45 Sexism in Art Education: Feminist Concerns in Art E d u c a t i o n ................. 57 Page III. AN ANALYSIS OF THE WOMEN'S ART MOVEMENT AS AN EDUCATIONAL F O R C E ....................... 67 Ideology, Manifestations and an Educational Model of the Women's Art M o v e m e n t .......... 68 Ideological Unity and the Aesthetic Splits of Women's Art Movement ................... 83 IV. AN ANALYSIS OF THE NATURE OF FEMINIST ART EDUCATION ......................................... 103 Definition, Overview and Issues of Feminist Art Education ..................... 103 Analysis of Feminist Art Education: Data Sources, Treatment and Analytical C a tego ries ................................ Ill Analysis of Feminist Art Education: Content Analysis Applied to Course Syllabi of Women's Studies in the A r t s ............. 119 Analysis of Feminist Art Education: Critical Assessment ........................ 144 V. MERGING FEMINIST ART EDUCATION AND ART EDUCATION: A THEORETICAL CURRICULAR APPLICATION ........... 172 Towards a Theory of Feminist Art Education . 172 Feminist Art Education and the Needs of Art Education ............................ 177 The Nonsexist Component: Curricular Guidelines for the Preparation and Professional Maintenance of Art Teachers . 181 VI. CONCLUSIONS, SUMMARY AND IMPLICATIONS ......... 199 O v e r v i e w ..................................... 199 Summary of the Investigation............... 199 Implications for the Arts and Education .. 202 Implications for Art E d u c a t i o
Load more

Recommended publications
  • Press Release
    Press Release April 2015 Miss Piggy to Receive Her First Award at the 2015 Sackler Center First Awards at the Brooklyn Museum on June 4 Event to Feature Miss Piggy in Conversation with Gloria Steinem Kermit the Frog to Attend Ceremony Miss Piggy, ultimate diva and star of stage and screen, who has inspired generations throughout the world, will receive her very first award at the annual Sackler Center First Awards at the Brooklyn Museum. Kermit the Frog, who has received numerous awards and accolades in his lifetime, will be in the audience to witness this great honor. The awards ceremony and reception will take place at the Brooklyn Museum on Thursday, June 4, from 5 to 7 p.m. A private reception will be followed by the award presentation to Miss Piggy by Elizabeth Sackler. Miss Piggy, who was recently called “The Gloria Steinem of the Muppet world” by the Daily Beast, will give a brief acceptance speech, followed by a 20-minute video retrospective of her career, after which she will take the stage with Ms. Steinem, who has been on hand for the Sackler Center First Awards since its 2012 launch. The Muppets Studio will be sponsoring several groups attending this special event including children and their families from Ronald McDonald House New York, a temporary home-away-from-home for families battling pediatric cancer; Brooklyn-based Girl Scout Troops 2081 and 2158; Brooklyn-based Girls for Gender Equity; and artists from Groundswell, a community mural project. The annual Sackler Center First Awards celebrates women who have broken gender barriers and made remarkable contributions in their fields.
    [Show full text]
  • Revisiting Cyberfeminism
    AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations.
    [Show full text]
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • Art Power : Tactiques Artistiques Et Politiques De L’Identité En Californie (1966-1990) Emilie Blanc
    Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990) Emilie Blanc To cite this version: Emilie Blanc. Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990). Art et histoire de l’art. Université Rennes 2, 2017. Français. NNT : 2017REN20040. tel-01677735 HAL Id: tel-01677735 https://tel.archives-ouvertes.fr/tel-01677735 Submitted on 8 Jan 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE / UNIVERSITE RENNES 2 présentée par sous le sceau de l’Université européenne de Bretagne Emilie Blanc pour obtenir le titre de Préparée au sein de l’unité : EA 1279 – Histoire et DOCTEUR DE L’UNIVERSITE RENNES 2 Mention : Histoire et critique des arts critique des arts Ecole doctorale Arts Lettres Langues Thèse soutenue le 15 novembre 2017 Art Power : tactiques devant le jury composé de : Richard CÁNDIDA SMITH artistiques et politiques Professeur, Université de Californie à Berkeley Gildas LE VOGUER de l’identité en Californie Professeur, Université Rennes 2 Caroline ROLLAND-DIAMOND (1966-1990) Professeure, Université Paris Nanterre / rapporteure Evelyne TOUSSAINT Professeure, Université Toulouse - Jean Jaurès / rapporteure Elvan ZABUNYAN Volume 1 Professeure, Université Rennes 2 / Directrice de thèse Giovanna ZAPPERI Professeure, Université François Rabelais - Tours Blanc, Emilie.
    [Show full text]
  • Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
    Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”).
    [Show full text]
  • Discover Create Share
    9TH ANNUAL UNDERGRADUATE SYMPOSIUM DISCOVER CREATE SHARE 9 AM – 4 PM J . L e a om wre yd nce Walkup Sk nau.edu/symposium DOME FLOOR MAP 32 29 26 23 20 17 14 11 8 3 AGE ST ST 34 5 AGE i i 31 28 25 22 19 16 13 10 7 2 FCB D 33 4 C 30 27 24 21 18 15 12 9 6 1 HHS T 118 T CEFNS 121 111 43 COE CAL HONORS 114 GL 117 38 120 113 110 42 46 53 T T 106 108 116 48 R2 R3 37 HONORS 119 112 109 45 52 41 50 CAL FLOOR i i 105 115 FLOOR 107 47 36 R1 51 49 40 44 T 104 35 UC 39 SBS 130 127 124 T 94 87 80 73 66 103 100 97 90 83 76 69 62 59 56 129 126 123 93 86 79 72 65 i 128 125 122 A 102 99 96 89 82 75 68 61 58 55 B 92 85 78 71 64 STAGE 101 98 95 88 81 74 67 60 57 54 STAGE 91 84 77 70 63 i Volunteers CEFNS Room Judges’ Room Skydome East Concourse ADA Section i CHECK-IN / Main Entrance IWP - Video Gaming Symposium EAST CONCOURSE FCB CEFNS GL POSTER DISPLAY The W.A. Franke College of Business College of Engineering, Forestry, and Natural Science Global Learning Program PRESENTATION STAGE KIOSK POSTER DISPLAY BOARD COE SBS HHS College of Education Social and Behavioral Sciences College of Health and Human Services ROUNDTABLE T DISPLAY TABLE D B 1-130 C A CAL HONORS UC College of Arts and Letters University Honors Program University College i INFORMATION MAP NOT TO SCALE Message from the President Dear Students, Faculty Mentors, and Guests, I am privileged to welcome you to NAU’s ninth annual Undergraduate Symposium.
    [Show full text]
  • Beijing, Backlash, and the Future of Women's Human Rights
    C o m m e n t a r y BEIJING, BACKLASH, AND THE FUTURE OF WOMEN'S HUMAN RIGHTS Charlotte Bunch l7he United Nations (UN) FourthWorld Conference on Women, held in Beijing this September 1995, occurs at a historical juncture for women. As we increasingly make our voices heard globally, the urgent need for women to be an integral part of the decision-making processes shaping the twenty-first century has never been more pressing. Indeed, the experience of women is central to a multitude of the world's concerns ranging from religious fundamentalism and chauvinistic nationalism to the global economy. As the old world ordercontinues its process of disintegration, transition, and re-organization, the opportunity for women to be heard is enhanced precisely because new alternatives are so badly needed. However, at the same time, there looms a dangerthat women's gains in the twentieth century will be turned back by religious fundamentalist forces and/or narrowly defined patriarchal nationalisms, which seek cohesion by returning women to traditional roles. In confronting these forces, women's voices must be heard. The first UN Decade for Women, from 1976 to 1985, helped legitimize women's projects and demands for greater participation in civil society at the local, national, and inter- national levels. In the decade since the 1985 World Confer- Charlotte Bunch is Director of the Center for Women's Global Leader- ship at Rutgers University and a Professor in the Bloustein School of Planning and Public Policy at Rutgers University, New Jersey. Please send correspondence to Charlotte Bunch, Center for Women's Global Leadership, Douglass College, 27 Clifton Avenue, New Brunswick, New Jersey 08903, USA.
    [Show full text]
  • Head of a Woman Program Final Digital
    HEAD OF A WOMAN Redressing the Parallel Histories of Collaborative Printmaking and the Women’s Movement Presented by Tamarind Institute with support from Frederick Hammersley Foundation Sixty years ago June Wayne, founder of collaborative printmaking over the past sixty years. The rise of Tamarind Lithography Workshop, submitted contemporary printmaking in the 1960s and 1970s runs parallel to the her proposal to the Ford Foundation to burgeoning women’s movement, which no doubt contributed to the establish a model workshop in Los Angeles, steady surge of women printers and printmakers. Head of a Woman brings together an intergenerational roster of artists, printers, scholars, specifically designed to restore the fine and publishers, with the hopes of reflecting on this intertwined history art of lithography. This symposium pays and propelling the industry--and the thinking around prints--forward. tribute to the creative industry that Wayne imagined, and the many remark- Diana Gaston able women who shaped the field of Director, Tamarind Institute 11:00 | THE LONG VIEW: WOMEN IN THE TAMARIND MORNING WORKSHOP AND THEIR CONTINUED IMPACT PRESENTATIONS CHRISTINE ADAMS holds a BFA in printmaking from Arizona State University and received 9:30 | DOORS OPEN her Tamarind Master Printer certificate in May 10:00 | INTRODUCTION 2019. Her printing experience includes positions at the LeRoy Neiman Center for Print Studies at Columbia University and Lower East Side 10:15 | INKED UP: SIXTY YEARS Printshop. Adams is currently a collaborative printer at Universal Limited Art Editions (ULAE) OF COLLABORATIVE WOMEN PRINTMAKERS and a member of the printmaking faculty at Parsons School of Design in New York City.
    [Show full text]
  • “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.
    [Show full text]
  • Resolution 1325 and Post Cold-War Feminist Politics
    Resolution 1325 and post Cold-War Feminist Politics Paper under review with the International Feminist Journal of Politics – please do not circulate or quote without consulting the author. [email protected] ABSTRACT Social movement scholars credit feminist transnational advocacy networks with putting violence against women on the UN security agenda, as evidenced by resolution 1325 and numerous other UN Security Council statements on gender, peace, and security. Such accounts neglect the significance of super power politics for shaping the aims of women’s bureaucracies and NGOs in the UN system. This article highlights how the fall of the Soviet Union transformed the delineation of ‘women’s issues’ at the United Nations and calls attention to the extent that the new focus upon ‘violence against women’ has been shaped by the post Cold War US global policing practices. Resolution 1325’s call for gender-mainstreaming of peacekeeping operations reflects the tension between feminist advocates’ increased influence in security discourse and continuing reports of peacekeeper perpetrated sexual violence, abuse and exploitation. Key Words: Transnational advocacy networks, Cold War, New Wars, Democratization, Peacekeeping, Human Rights, Feminism, Violence against Women, United Nations. In October 2000, the unanimous passage of United Nations Security Council Resolution 1325 linked gender, peace, and security and recognized the need to ‘mainstream a gender perspective in peacekeeping operations.’ The Resolution authorizes monitoring of peacekeeping operations by gender experts and condemns military sexual violence. As a policy artifact this Resolution gives evidence of startling tensions in the gender politics of mainstream international security discourse in the final years of the twentieth century.
    [Show full text]
  • Ray Johnson Drawings and Silhouettes, 1976-1990. RJE.FA02L.2012 RJE.01.2012 Finding Aid Prepared by Finding Aid Prepared by Julia Lipkins
    Ray Johnson drawings and silhouettes, 1976-1990. RJE.FA02L.2012 RJE.01.2012 Finding aid prepared by Finding aid prepared by Julia Lipkins This finding aid was produced using the Archivists' Toolkit August 18, 2015 Describing Archives: A Content Standard Ray Johnson Estate January 2013 34 East 69th Street New York, NY, 10021 (212) 628-0700 [email protected] Ray Johnson drawings and silhouettes, 1976-1990. RJE.FA02L.2012 Table of Contents Summary Information ................................................................................................................................. 3 Biographical Note.......................................................................................................................................... 4 Scope and Contents Note.............................................................................................................................. 4 Administrative Information .........................................................................................................................5 Related Materials ........................................................................................................................................ 6 Controlled Access Headings..........................................................................................................................6 Bibliography...................................................................................................................................................7 Collection Inventory.....................................................................................................................................
    [Show full text]
  • Cassandra Langer Interviewed by Katie Cercone Date: Dec
    NYFAI - Interview: Cassandra Langer interviewed by Katie Cercone Date: Dec. 15th, 2008 K.C. This is December 15th, 2008, Katie Cercone interviewing Cassandra Langer. C.L. I think it was important for most of us during the early 70s when the movement started up to establish institutions that would be accommodating to the radical new ideas that we had. We rejected the idea of accepting the old roles; of getting married being wives, and mothers . I think it’s hard for young people to understand that was the life you were groomed for. If you aspired to anything else, you were deemed oddball out , rushed off to a psychoanalyst or worse yet, thrown into a mental institution for readjustment. Establishing the Feminist Art Institute was an extremely revolutionary thing to do at that time. NYFAI provided a safe space for creative women who were trying to break out of those stereotypes. There was the California site that my friend Arlene Raven and others including Mimi Schapiro and Judy Chicago set up within the heart of a traditionally patriarchal art department spawning Woman House and other alternative spaces. Mimi, Nancy and people in New York, set up their own versions to begin with but they evolved into the Feminist Art Institute. For people like myself who were outsider-insiders, because I was teaching in South Carolina in the heart of limitation land and bigotry it was an oasis. The freedom of being able to talk with like-minded people was empowering. Founding the Collage Art Association’s Women’s Caucus for Art helped a lot.
    [Show full text]