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INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9011173 Feminist polyphony: A conceptual understanding of feminist art criticism in the 1080s Garber, Elizabeth Jessie, Ph.D. The Ohio State University, 1989 Copyright ©1989 by Garber, Elizabeth Jessie. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 FEMINIST POLYPHONY: A CONCEPTUAL UNDERSTANDING OF FEMINIST ART CRITICISM IN THE 1980S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Jessie Garber, B.A., M.F.A. * * * * The Ohio State University 1989 Dissertation Committee: Approved by Kathleen Desmond Easter E. Louis Lankford Kenneth A. Marantz Adviser Patricia L. Stuhr Department of Art Education Copyright by izabeth Jessie Garber 1989 TO Granny, Erin, Greta, Johannah, Mom, Alyne, Molly, Aunt Floyd, Roy, Dad, Douglass To May Stevens whose commitment to art, politics, and feminism is a model of inspiration ACKNOWLEDGEMENTS As preface to the acknowledgements for this dissertation, I should like to disclaim any hierarchy of organization for what follows. Intellectual and emotional support have made this document rewarding to write, and the study leading up to it more pleasurable than encumbering. Erin, Greta, and johannah have not only put up with "Mama's Room" (which used to be their playroom) and the long hours I have spent in that room, they have offered their uncompromised support to someone they love. Roy has lent ear and mind to protracted discussions on art criticism and art education in addition to overtime in parenting and housekeeping roles. Kathleen Desmond Easter provided the essential reminder to pursue this topic, along with flexibility, patient support, and reading and re-reading, even when her own commitments grew thirsty. Kenneth Marantz has mentored my thinking, offering difficult conceptual questions and extensions of thoughts. Patricia Stuhr and Louis Lankford have made close and intelligent readers. Together, these i i i people have made a perfect committee, combining insights, concern, and even humor. Clark Magruder prodded me to get on with it, and has backed those gentle words with hours of reading and many a thoughtful comment. Terry Barrett gave hours of invaluable counsel and advice. May Stevens sent articles and located photographs for reproductions. Other artists and critics mentioned in this document have lent photographs and information: Arlene Raven, Cindy Sherman, Suzanne Lacy, Tom Knechtel. The nurturing, safe environment provided by people at OSU Childcare - especially by Elizabeth, Barb, Debbie, Javon, and Erika - has been indispensible. The support of my peers is gratefully acknowledged - especially Kim, Elizabeth, and Paul S. Alyne, Molly, and Aunt Floyd are inspiration. And Lydia and Jay. My stepfather, Douglass, has supported each hurtle with a parent's satisfaction and pride. My parents and grandmother, though not able to be part of this process, taught me to believe in myself. VITA October 1951............ Born - Washington, D.C. 1973...................... B. A. , University of Arizona 1981-83...................Instructor, Cochise College, Sierra Vista, Arizona 1984...................... Teaching Associate, University of Arizona 1975-1984................ Exhibiting and Professional Artist 1984...................... M.F.A., University of Arizona 1985-198 9 ................ Graduate Associateships, The Ohio State University 1986-198 9................ Managing Editor, Columbus Art 1987-198 9................ Editorial Assistant, Studies in Art Education 1988-198 9................ Managing Editor, The Arts Education Review of Books PUBLICATIONS "Live from Canada," Ceramics Monthly (Summer 1989). "Tom Kreager: Absence of Conscience," [co-author with Roy Pearson] Dialogue: An Art Journal (1989). Outside/Inside: Sculpture by Marilyn Poeppelmeyer and Jeff Raymond [exhibition catalog], Gund Gallery, Ohio Arts Council (1988). "Sue Coe: Police State and Jerri Allyn: The Waitresses, A Working Woman's Moment," Columbus Art (May-June 1989) . v "Verbal mediation effects on comprehending works of art in multi-cultural educational settings" [secondary author with Judith Koroscik and Laurie R. Baxter], Journal of Multi-cultural and Cross-cultural Research in Art Education (Fall 1987). "Alfred Quiroz: Medal of Honor," Columbus Art (January-February 1987). "Establishing a Position for Ceramics in Contemporary Criticism," Abstracts of Research Presentations, National Art Education Association Conference, New Orleans, La., 1986 "Barbara Vogel and Marian Murphy: Ladies of Our Club," Columbus Art (October-November 1986). "Robert Studzinski: Photographs of Nicaragua," Columbus Art (June-July 1986). "Family Photographs: Judy Spence and John Gelles," Columbus Art (April-May 1986). FIELDS OF STUDY Major Field: Art Education Studies in Art Criticism in Art Education. Professors Terry Barrett and Louis Lankford, Studies in Photographic Communication and History of Photography. Professors Clayton Lowe and Clyde Dilley. Women's Studies. Professors Joanna Frueh, Lynette Molnar, and Marlene Longnecker. TABLE OF CONTENTS ACKNOWLEDGEMENTS i i i VITA...............................................................V LIST OF FIGURES................................................ix LIST OF PLATES.................................................. X CHAPTER PAGE I. INTRODUCTION.......................................... 1 About the Study..................................... 1 A Definition...................................3 Lirai tat ions.................................... 7 About Feminist Art Criticism...................... 8 Early Commentators: the 1970s............. 9 Commentators in the 1980s................. 15 Reference Notes....................................28 II. A CONCEPTUAL UNDERSTANDING OF FEMINIST ART CRITICISM IN THE 1980S...........41 Contemporary Projects............................ 43 Self-Knowledge and Subjectivity......... 43 Political Consciousness Raising......... 45 Social Analysis..............................47 Woman-Centered Feminist Art Criticism: Celebrating Women, Self-Knowledge, and Subjectivity................................. 49 Activist Feminist Art Criticism: Working to Raise the Political Consciousness of Audiences.....................55 Social Analysis and Feminist Art Criticism: "The Fault Lies Not in Our Stars, Our Hormones, Our Menstrual Cycles, or Our Empty Internal Spaces, but in Our Institutions and Our Education".............. 61 Discussion.......................................... 72 Reference Notes....................................82 vi i CHAPTER PAGE III. FEMINIST ART CRITICISM AND MAY STEVENS' ORDINARY. EXTRAORDINARY SERIES...............91 Background to the Series and the Artist ..................................... 91 Selected Woman-Centered Interpretations 99 Selected Activist Interpretations............115 Selected Postmodern Interpretations......... 126 Summary and Discussion..........................135 Reference Notes...................................146 IV. IMPLICATIONS OF FEMINIST ART CRITICISM FOR ART EDUCATION................................ 155 The Context: Women and Art.....................156 The Context: Art Education.....................159 The Context: Art Criticism in Art Education.................................... 160 Feminism, Art Education, and Feminist Art Criticism.........................165 Reference Notes...................................174 BIBLIOGRAPHY..................................................180 vi i i LIST OF FIGURES FIGURE PAGE 1. May Stevens, The Second International, photomural, 11' x 17', 1988.................. 120 2. May Stevens, Eden Hotel, photomural, 11' x 17', 1988 .................. 120 ix LIST OF PLATES PLATE PAGE I. Tom Knechtel, Progeny, gouache on paper, 14 3/8" x 14 3/.". 1981.................. 52
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