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Heretics Proposal.Pdf
A New Feature Film Directed by Joan Braderman Produced by Crescent Diamond OVERVIEW ry in the first person because, in 1975, when we started meeting, I was one of 21 women who THE HERETICS is a feature-length experimental founded it. We did worldwide outreach through documentary film about the Women’s Art Move- the developing channels of the Women’s Move- ment of the 70’s in the USA, specifically, at the ment, commissioning new art and writing by center of the art world at that time, New York women from Chile to Australia. City. We began production in August of 2006 and expect to finish shooting by the end of June One of the three youngest women in the earliest 2007. The finish date is projected for June incarnation of the HERESIES collective, I remem- 2008. ber the tremendous admiration I had for these accomplished women who gathered every week The Women’s Movement is one of the largest in each others’ lofts and apartments. While the political movement in US history. Why then, founding collective oversaw the journal’s mis- are there still so few strong independent films sion and sustained it financially, a series of rela- about the many specific ways it worked? Why tively autonomous collectives of women created are there so few movies of what the world felt every aspect of each individual themed issue. As like to feminists when the Movement was going a result, hundreds of women were part of the strong? In order to represent both that history HERESIES project. We all learned how to do lay- and that charged emotional experience, we out, paste-ups and mechanicals, assembling the are making a film that will focus on one group magazines on the floors and walls of members’ in one segment of the larger living spaces. -
Student Organizations by Brett Genny Beemyn
Student Organizations by Brett Genny Beemyn Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2004, glbtq, inc. Reprinted from http://www.glbtq.com Although students attracted to others of the same sex had developed semi-private meeting places and informal social networks at many colleges and universities since at least the early twentieth century, the first formally recognized gay student organizations were not established until the late 1960s. But the success of these early groups, along with the inspiration provided by other college-based movements and the Stonewall riots, led to the proliferation of gay liberation fronts on campuses across the country by the early 1970s. At many colleges and universities, these organizations were male-dominated, prompting lesbians to demand greater inclusion and often to form their own groups. In the 1980s and 1990s, bisexual and transgender students likewise sought recognition, both within and separate from lesbian and gay organizations. At the same time, high school and junior high school students have begun to organize Gay- Straight Alliances, enabling even younger glbtq people to find support and better advocate for their needs. Early Student Groups The first student gay rights organization, the Student Homophile League, was formally established at Columbia University by Stephen Donaldson (born Robert Martin) in 1967. Donaldson had been involved in the New York City chapter of the Mattachine Society, but when he arrived at Columbia, he could not find any other openly glbtq people and was forced by school administrators to move out of his residence hall after his roommates complained about living with a bisexual man. -
The Year 1969 Marked a Major Turning Point in the Politics of Sexuality
The Gay Pride March, begun in 1970 as the In the fertile and tumultuous year that Christopher Street Liberation Day Parade to followed, groups such as the Gay commemorate the Stonewall Riots, became an Liberation Front (GLF), Gay Activists annual event, and LGBT Pride months are now celebrated around the world. The march, Alliance (GAA), and Radicalesbians Marsha P. Johnson handing out flyers in support of gay students at NYU, 1970. Photograph by Mattachine Society of New York. “Where Were Diana Davies. Diana Davies Papers. which demonstrates gays, You During the Christopher Street Riots,” The year 1969 marked 1969. Mattachine Society of New York Records. sent small groups of activists on road lesbians, and transgender people a major turning point trips to spread the word. Chapters sprang Gay Activists Alliance. “Lambda,” 1970. Gay Activists Alliance Records. Gay Liberation Front members marching as articulate constituencies, on Times Square, 1969. Photograph by up across the country, and members fought for civil rights in the politics of sexuality Mattachine Society of New York. Diana Davies. Diana Davies Papers. “Homosexuals Are Different,” 1960s. in their home communities. GAA became a major activist has become a living symbol of Mattachine Society of New York Records. in America. Same-sex relationships were discreetly force, and its SoHo community center, the Firehouse, the evolution of LGBT political tolerated in 19th-century America in the form of romantic Jim Owles. Draft of letter to Governor Nelson A. became a nexus for New York City gays and lesbians. Rockefeller, 1970. Gay Activists Alliance Records. friendships, but the 20th century brought increasing legal communities. -
Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso. -
South Central Modern Language Association
South Central Modern Language Association 73rd Annual Conference November 3-5, 2016 Sheraton Dallas Hotel Dallas, Texas SCMLA CONFERENCE PROGRAM A PDF version of this program is available on our website: www.southcentralmla.orG South Central Modern Language Association University of Oklahoma 780 Van Vleet Oval Kaufman Hall 203 Norman, OK 73019 Phone: (405) 325-6011 Fax: (405) 325-3720 Email: [email protected] Web: www.southcentralmla.orG 1 TABLE OF CONTENTS 2016 Executive Committee ........................................................... 3 Special Thanks .............................................................................. 4 Conference Hosts ......................................................................... 5 Friends of SCMLA ......................................................................... 6 Sustaining Departmental Members .............................................. 7 SCMLA Life and Honorary Members ............................................. 8 2016 Conference Exhibitors .......................................................... 9 Schedule of Events ..................................................................... 10 Summary of Conference by Session Type .................................... 11 Conference Program ................................................................... 19 Reminder to Chairs ..................................................................... 79 2017 SCMLA Deadlines .............................................................. 80 SCMLA Grants, Awards and Prizes ............................................. -
Chapter Six: Activist Agendas and Visions After Stonewall (1969-1973)
Chapter Six: Activist Agendas and Visions after Stonewall (1969-1973) Documents 103-108: Gay Liberation Manifestos, 1969-1970 The documents reprinted in The Stonewall Riots are “Gay Revolution Comes Out,” Rat, 12 Aug. 1969, 7; North American Conference of Homophile Organizations Committee on Youth, “A Radical Manifesto—The Homophile Movement Must Be Radicalized!” 28 Aug. 1969, reprinted in Stephen Donaldson, “Student Homophile League News,” Gay Power (1.2), c. Sep. 1969, 16, 19-20; Preamble, Gay Activists Alliance Constitution, 21 Dec. 1969, Gay Activists Alliance Records, Box 18, Folder 2, New York Public Library; Carl Wittman, “Refugees from Amerika: A Gay Manifesto,” San Francisco Free Press, 22 Dec. 1969, 3-5; Martha Shelley, “Gay is Good,” Rat, 24 Feb. 1970, 11; Steve Kuromiya, “Come Out, Wherever You Are! Come Out,” Philadelphia Free Press, 27 July 1970, 6-7. For related early sources on gay liberation agendas and philosophies in New York, see “Come Out for Freedom,” Come Out!, 14 Nov. 1969, 1; Bob Fontanella, “Sexuality and the American Male,” Come Out!, 14 Nov. 1969, 15; Lois Hart, “Community Center,” Come Out!, 14 Nov. 1969, 15; Leo Louis Martello, “A Positive Image for the Homosexual,” Come Out!, 14 Nov. 1969, 16; “An Interview with New York City Liberationists,” San Francisco Free Press, 7 Dec. 1969, 5; Bob Martin, “Radicalism and Homosexuality,” Come Out!, 10 Jan. 1970, 4; Allan Warshawsky and Ellen Bedoz, “G.L.F. and the Movement,” Come Out!,” 10 Jan. 1970, 4-5; Red Butterfly, “Red Butterfly,” Come Out!, 10 Jan. 1970, 4-5; Bob Kohler, “Where Have All the Flowers Gone,” Come Out!, 10 Jan. -
Female Authorship in the Slumber Party Massacre Trilogy
FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY By LYNDSEY BROYLES Bachelor of Arts in English University of New Mexico Albuquerque, NM 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2019 FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Thesis Approved: Jeff Menne Thesis Adviser Graig Uhlin Lynn Lewis ii Name: LYNDSEY BROYLES Date of Degree: MAY, 2019 Title of Study: FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Major Field: ENGLISH Abstract: The Slumber Party Massacre series is the only horror franchise exclusively written and directed by women. In a genre so closely associated with gender representation, especially misogynistic sexual violence against women, this franchise serves as a case study in an alternative female gaze applied to a notoriously problematic form of media. The series arose as a satire of the genre from an explicitly feminist lesbian source only to be mediated through the exploitation horror production model, which emphasized female nudity and violence. The resulting films both implicitly and explicitly address feminist themes such as lesbianism, trauma, sexuality, and abuse while adhering to misogynistic genre requirements. Each film offers a unique perspective on horror from a distinctly female viewpoint, alternately upholding and subverting the complex gender politics of women in horror films. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................1 -
APWLD Herstory 1986-2017 APWLD HERSTORY
APWLD Herstory 1986-2017 APWLD HERSTORY Published by Asia Pacific Forum on Women, Law and Development (APWLD) 1986-2017 2019 Chiang Mai, Thailand Celebrating over 30 years of advocacy, activism and movement ISBN: 978-616-92225-4-5 building to advance women’s human rights in the Asia Pacific Region Asia Pacific Forum on Women, Law and Development 4 5 Writers and editors: Judy M. Taguiwalo and Trimita Chakma Contributors: Sanam Amin, Ya Gan, Marion Cabrera and Prisana Booth Layout designer: Aileen Familara Photos: Margaret Schuler’s website, The Story of Women, Law and Development (https://www.wld-history.net) and APWLD archive. Foreword from APWLD Regional Coordinator Notes from the Editors As I read through the publication, I could not stop picturing the very first Judy Taguiwalo APWLD Member and consultant meeting of our founding members. I felt like I could feel their breath, hear their voices and see their facial expressions as they critically understand, analyse and envision a new feminist future for women in Asia Pacific, and APWLD’s Herstory was initially about documenting the stories collectively chart out feminist strategies to realise that vision. It is very of the organisation’s founding members in time for its 30th clear that APWLD was founded based on the firm feminist principles and anniversary in 2016. But it took almost five years for the project the trust in the power of grassroots, people’s movements and solidarity. I to be completed and the story has expanded beyond the stories of have never realised how radical APWLD’s founding commitment to use the founding mothers. -
NINA YANKOWITZ , Media Artist , N.Y.C
NINA YANKOWITZ , media artist , N.Y.C. www.nyartprojects.com SELETED MUSUEM INSTALLATIONS 2009 The Third Woman interactive film collaboration,Kusthalle Vienna 2009 Crossings Interactive Installation Thess. Biennale Greece Projections, CD Yankowitz&Holden, Dia Center for Book Arts, NYC 2009 Katowice Academy of Art Museum, Poland TheThird Woman Video Tease, Karsplatz Ubahn, project space Vienna 2005 Guild Hall Art Museum, East Hampton, NY Voices of The Eye & Scenario Sounds, distributed by Printed Matter N.Y. 1990 Katonah Museum of Art, The Technological Muse Collaborative Global New Media Team/Public Art Installation Projects, 2008- 2009 1996 The Bass Museum, Miami, Florida PUBLIC PROJECTS 1987 Snug Harbor Museum, Staten Island, N.Yl 1985 Berkshire Museum, Pittsfield, MA Tile project Kanoria Centre for Arts, Ahmedabad, India 2008 1981 Maryland Museum of Fine Arts, Baltimore, MD 1973 Whitney Museum of American Art, NY, Biennia 1973 Brockton Museum, Boston, MA 1972 Larry Aldrich Museum, Ridgefield, Conn. Works on paper 1972 Kunsthaus, Hamburg, Germany, American Women Artists 1972 The Newark Museum, Newark, New Jersey 1972 Indianapolis Museum of Contemporary Art 1972 The Art Institute of Chicago, "American Artists Today" 1972 Suffolk Museum, Stonybrook, NY 1971 Akron Museum of Art, Akron, OH 1970 Museum of Modern Art, NY 1970 Larry Aldrich Museum, Ridgefield, Conn. "Highlights" 1970 Trinity College Museum, Hartford, Conn. ONE PERSON EXHIBITIONS 2005 Kiosk.Edu. Guild Hall Museum, The Garden, E. Hampton, New York 1998 Art In General, NYC. "Scale -
Does a “Chinese” Woman Become a “Feminist”?
Towards an Ethics of Transnational Encounter, or “When” Does a “Chinese” Woman Become a “Feminist”? Shu-Mei Shih differences: A Journal of Feminist Cultural Studies, Volume 13, Number 2, Summer 2002, pp. 90-126 (Article) Published by Duke University Press For additional information about this article http://muse.jhu.edu/journals/dif/summary/v013/13.2shih.html Access provided by University of Toronto Library (17 Aug 2013 09:07 GMT) shu-mei shih Towards an Ethics of Transnational Encounter, or “When” Does a “Chinese” Woman Become a “Feminist”? To begin, two narratives: A Chinese woman who had rehearsed for the lead role in the model opera “Red Azalea” [Dujuan shan] during the waning years of the Cultural Revolution in the 1970s decided to emigrate to the U.S.1 Upon arriving in 1984, she struggled to learn the English language and to make a living. In the span of a few short years, she successfully mastered English sufficiently to accom- plish the unlikely task of writing a bestselling autobiographical novel, Red Azalea, named after the opera. The autobiography chronicles the traumas of the Cultural Revolution from a female perspective and clearly proclaims that America is the end of the author’s search for freedom and self-expression as a woman. Another Chinese woman, who in the 1980s had single-handedly created the discipline of “women’s studies” in the hinterland of China, the city of Zhengzhou in Henan Province, and had freely drawn from Western feminist classics in her writings, was invited to come to an academic conference on Chinese feminism in 1992 at Har- vard University. -
Miriam Schapiro, 91, a Feminist Artist Who Harnessed Craft and Pattern, Dies by William Grimes June 24, 2015
Miriam Schapiro, 91, a Feminist Artist Who Harnessed Craft and Pattern, Dies By William Grimes June 24, 2015 Miriam Schapiro, a pioneering feminist artist who, with Judy Chicago, created the landmark installation Womanhouse in Los Angeles in the early 1970s and later in that decade helped found the Pattern and Decoration movement, died on Saturday in Hampton Bays, N.Y. She was 91. Her death was confirmed by Judith K. Brodsky, the executor of her estate. Ms. Schapiro, who broke through as a second-generation Abstract Expressionist in the late 1950s, embraced feminism in the early 1970s and made it the foundation of her work and career. From that point, she dedicated herself to redefining the role of women in the arts and elevating the status of pattern, craft and the anonymous handiwork of women in the domestic sphere. “Mimi came to feminism later than most of us, in early middle age,” said Joyce Kozloff, one of Ms. Schapiro’s allies in the Pattern and Decoration movement. “It shook her world, transformed her into a radical thinker. She was a vocal, outspoken presence — a force.” In 1971, at the newly created California Institute of the Arts, she and Ms. Chicago founded the Feminist Art Program. (An earlier version of the program had been established at Fresno State College the year before.) It quickly became an important center for formulating and disseminating a new understanding of art based on women’s history and social experience. That year they enlisted 21 students and several local artists to create Womanhouse, taking over a decaying Hollywood mansion that made an effective set for dramatizing the American home as a prison for women and their dreams. -
Apr May. 1972, Vol. 16 No. 07-08
THE bADBER APRIL/MAY, 1972 $1-25 THE LADDER, pubEshdd by Lesbians and directed to ALL women seeking full VOLUME 16 No. 7 and 8 human dignity, had its beginning in 1956. It was then the only Lesbian THE publication in the U.S. It is now the only women’s magazine openly supporting APRIL/MAY, 1972 Lesbians, a forceful minority within the women’s liberation movement. LADDER Initially THE LADDER’S goal was limited to achieving the rights accorded THE LADDER STAFF heterosexual women, that is, full second-class citizenship. In the 1950’s women as a whole were as yet unaware of their oppression. The Lesbian knew. And she Editor ...................................................................................................Gene Damon wondered silently when her sisters would realize that they too share many of the Production Editor ...................................................................... Hope Thompson Lesbian’s handicaps, íhose that pertained to being a woman. Circulation Manager .............................................................................Ann P. Buck Production Assistants ................................................Lyn Collins, Kim Stabinski, THE l a d d e r ’s purpose today is to raise all women to full human status, with Jan Watson, King Kelly, Ann Brady, all of the rights and responsibilities this entails; to include ALL women, whether Phyllis Eakin, Robin Jordan Lesbian or heterosexual. Staff C artoonist....................................................................................................