Sunday, April 26, 2009

Responses for May 1


Whitney Chadwick, “New Directions: A Partial Overview,” Chapter 13, “Worlds Together, Worlds Apart,” Chapter 14, and “A Place to Grow: Personal Visions, Global Concerns, 2000-06,” Chapter 15, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 378-495.

Craig Owens, “The Discourse of Others: Feminists and Postmodernism,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 486-502.

Allison Arieff, “Cultural Collisions: Identity and History in the Work of Hung Liu,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 434-445.

John B. Ravenal, “Shirin Neshat: Double Vision,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 446-458.

Friday, April 17, 2009

Responses for April 24


John Berger, Chapter 1, Ways of Seeing (New York: Penguin Books, 1977), 7-33.

Judith K. Brodsky, “Exhibitions, Galleries, and Alternative Spaces,” in The Power of Feminist Art : The American Movement of the 1970s, History and Impact, eds. Norma Broude and Mary
D. Garrard (New York: Harry N. Abrams, 1994), 104-119.

Mira Schor, “Backlash and Appropriation,” in The Power of Feminist Art : The American Movement of the 1970s, History and Impact, eds. Norma Broude and Mary D. Garrard (New York: Harry N. Abrams, 1994), 248-263.

Lucy Lippard, “The Pink Glass Swan: Upward and Downward Mobility in the Art World,” in The Pink Glass Swan: Selected Essays on Feminist Art (New York: New Press, 1995), 117-127.

Josephine Withers, “The Guerilla Girls,” Feminist Studies 14, no. 2 (Summer 1988): 285-300.

Saturday, April 11, 2009

Responses for April 17










Laura Cottingham, “Notes on Lesbian,” Art Journal 55, no. 4, We’re Here: Gay and Lesbian Presence in Art and Art History (Winter 1996): 72-77.

Harmony Hammond, excerpts from Lesbian Art in America: A Contemporary History (New York: Rizzoli, 2000). Introduction, pp. 7-13; Part One “Representing the Lesbian Nation: The ‘70s,” pp. 15-25; Part Two “Remembering the Body: The ’80s,” pp. 51-57; Part Three “Lesbianizing the Queer Field and Other Creative Transgressions: The ‘90s,” pp. 111-123.

James Saslow, “ ‘Disagreeably Hidden,’ Constructing and Constriction of the Lesbian Body in Rosa Bonheur’s Horse Fair,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 187-205.

Maud Lavin, “The New Woman in Hannah Höch’s Photomontages: Issues of Androgyny, Bisexuality, and Oscillation,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 324-341.

Julie Cole, “Claude Cahun, Marcel Moore, and the Collaborative Construction of a Lesbian Subjectivity,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 342-359.

Friday, April 3, 2009

Responses for April 10















Sander Gilman, “Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine, and Literature,” Critical Inquiry 12, no. 1 (Autumn 1985).

Belinda Edmondson, “Black Aesthetics, Feminist Aesthetics, and the Problems of Oppositional Discourse,” in Feminist-Art-Theory: An Anthology 1968-2000, edited by Hilary Robinson (Malden, Massachusetts: Blackwell Publishing, 2001), 325-341.

Judith Wilson, “Getting Down to Get Over: Romare Bearden’s Use of Pornography and the Problem of the Black Female Body in Afro-US Art,” in Feminist-Art-Theory: An Anthology 1968-2000, edited by Hilary Robinson (Malden, Massachusetts: Blackwell Publishing, 2001), 274-280.

Valerie Smith, “Abundant Evidence: Black Women Artists of the 1960s and 70s,” in WACK! Art and the Feminist Revolution, organized by Cornelia Butler (Cambridge, Mass.: MIT Press, for The Museum of Contemporary Art, Los Angeles, 2007), 400-413.

Lowery S. Sims, “Race Riots. Cocktail Parties. Black Panthers. Moon Shots and Feminists: Faith Ringgold’s Observations on the 1960s in America,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), 466-473.

Frieda High W. Tesfagiorgis, “Afrofemcentrism and its Fruition in the Art of Elizabeth Catlett and Faith Ringgold,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), 474-485.

Saturday, March 28, 2009

Responses for April 3



















Whitney Chadwick, “Feminist Art in North American and Great Britain,” Chapter 12, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 356-377.

Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16: no. 3 (1975): 6-18.

Norma Broude, “Miriam Schapiro and ‘Femmage’: Reflections on the Conflict Between Decoration and Abstraction in Twentieth-Century Art,” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp. 314-329.

Amelia Jones, “The ‘Sexual Politics’ of The Dinner Party: A Critical Context,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 408-433.

Richard Meyer, “Hard Targets: Male Bodies, Feminist Art, and the Force of Censorship in the 1970s,” in WACK! Art and the Feminist Revolution, organized by Cornelia Butler (Cambridge, Mass.: MIT Press, for The Museum of Contemporary Art, Los Angeles, 2007), pp. 362-383.

Faith Wilding, “The Feminist Art Programs at Fresno and CalArts, 1970-75,” in The Power of Feminist Art: The American Movement of the 1970s, History and Impact, eds. Norma Broude and Mary D. Garrard (New York: Harry N. Abrams, 1994), pp. 32-47.

Sunday, March 22, 2009

Responses for March 27

















Whitney Chadwick, “Gender, Race, and Modernism after the Second World War,” Chapter 11, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 316-354.

Helen Gurley Brown, excerpts from Sex and the Single Girl (New York: Random House, 1962).

Betty Friedan, “The Problem that Has No Name,” Chapter 1, and “The Sexual Solipsism of Sigmund Freud,” Chapter 5, The Feminine Mystique (New York: W. W. Norton, 1963).

Art History Essays (in anthologies):
Barbara Buhler Lynes, “Georgia O’Keeffe and Feminism: A Problem of Position,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 436-449.

Anne M. Wagner, “Lee Krasner as L.K.,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 424-435.

Lisa Salzman, “Reconsidering the Stain: On Gender and the Body in Helen Frankenthaler’s Painting,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 372-383.

Julie Nicoletta, “Louise Bourgeois’s Femmes-Maisons, “ in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 360-371.

Sunday, March 15, 2009

Responses for March 20

Whitney Chadwick, “Modernist Representation: The Female Body,” Chapter 10, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 279-315.

Simone de Beauvoir, Introduction, “Woman as Other,” and Conclusion, The Second Sex (1949).

Peter Brooks, “Gauguin’s Tahitian Body,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 330-345.

Mary Ann Caws, “Ladies Shot and Painted: Female Embodiment in Surrealist Art,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 380-395.

Janice Helland, “Culture, Politics, and Identity in the Paintings of Frida Kahlo,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 396-407.

Friday, February 27, 2009

Readings for March 6


Whitney Chadwick, “Modernism, Abstraction, and the New Woman, 1910-25,” Chapter 9, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 252-278.

Sigmund Freud, "Case 5: Elisabeth Von R." in Josef Breuer and Sigmund Freud, Studies on Hysteria, trans. James Strachey (New York: Basic Books, nd), pp. 135-181.

Carol Duncan, “Virility and Domination in Early Twentieth-Century Vanguard Painting,” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp. 292-313.

Carol Duncan, “The MoMA’s Hot Mamas,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 346-357.

Anna C. Chave, “New Encounters with Les Demoiselles D’Avignon: Gender, Race, and the Origins of Cubism,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 300-323.

Friday, February 20, 2009

Responses for February 27


Whitney Chadwick, “Separate but Unequal: Woman’s Sphere and the New Art,” Chapter 8, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 228-251.

Griselda Pollock, “Modernity and the Spaces of Femininity,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 244-267.

Norma Broude, “The Gendering of Impressionism,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 2216-233.

Norma Broude, “Degas’s ‘Misogyny,’” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp. 246-269.

Ruth E. Iskin, “Selling, Seduction, and Soliciting the Eye: Manet’s Bar at the Folies-Bergère,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 234-257.

Friday, February 13, 2009

Responses for February 20


What is a "true woman"? How does the idea/ideal of the "true woman" relate to questions of power, alterity, and normativity?


Whitney Chadwick, “Sex, Class, and Power in Victorian England,” Chapter 6, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 175-204.

Isabella Beeton, Preface and Chapter 1, Mrs. Beeton’s Book of Household Management (1861).

Barbara Welter, “The Cult of True Womanhood: 1820-1860,” American Quarterly 18, No. 2, Part 1 (Summer 1966): 151-174.

Linda Nochlin, “ Lost and Found: Once More the Fallen Woman,” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp. 221-245.

Anne Higonnet, “Secluded Vision: Images of Feminine Experience in Nineteenth-Century Europe,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 170-185.

Tamar Garb, “L’Art Féminin: The Formation of a Critical Category in Late Nineteenth-Century France,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 206-229.

Sunday, February 8, 2009

Week of February 13















Power? Powerlessness? The "weaker" sex? Any thoughts on women, art, and power are welcome this week.

Whitney Chadwick, “Amateurs and Academics: A New Ideology of Femininity in France and England,” Chapter 5, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 139-174.

Olympe de Gouges, The Rights of Women (1791).

Mary Wollstonecraft, “Chap. II. The Prevailing Opinion of a Sexual Character Discussed,” from A Vindication of the Rights of Women (1792).

Linda Nochlin, “Women, Art, and Power,” in Women, Art, and Power and Other Essays (New York: Harper & Row, 1988), pp. 145-178. [Essay originally published 1988].

Carol Duncan, “Happy Mothers and Other New Ideas in Eighteenth-Century French Art,” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp. 200-219.

Natalie Boymel Kampen, “The Muted Other: Gender and Morality in Augustan Rome and Eighteenth-Century France,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 160-169.

Mary D. Sheriff, “The Portrait of the Queen: Elisabeth Vigèe-Lebrun’s Marie-Antoinette en chemise,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp.120-141.

Friday, January 30, 2009

Week of February 6


This week your readings are focused around the idea of the "heroic" woman--something we identified in class as a potentially transgressive female role. In your blog posts you may wish to consider what qualifies as heroism for a woman, and why that could be transgressive. Of course, you may also consider anything else that interests you!

Whitney Chadwick, “The Other Renaissance,” Chapter 3, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 87-113.

Ruth 1-4 New Oxford Annotated Bible [NOAB].
Judith 2-4, 7-16 NOAB.
Susanna 1: 1-63 NOAB.

Mary D. Garrard, “Artemisia and Susanna,” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp.146-171.

Sheila ffolliott, “Learning to Be Looked At: A Portrait of (the Artist as) a Young Woman in Agnès Merlet’s Artemisia,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 48-61.

Mary D. Garrard, “Artemisia’s Hand,” in Reclaiming Female Agency: Feminist Art History After Postmodernism, eds. Norma Broude and Mary Garrard (Berkeley: University of California Press, 2005), pp. 62-79.

Thursday, January 22, 2009

Week of January 30


Please respond to one ore more of the following readings:

Whitney Chadwick, “The Renaissance Ideal,” Chapter 2, Women, Art, and Society, 4th ed. (New York: Thames and Hudson, 2007), pp. 66-86.

Genesis 1-3 New Oxford Annotated Bible [NOAB].
Luke 1: 26-55 NOAB.
Ephesians 5: 21-25 NOAB.

Christine de Pizan, Excerpts from The Book of the City of Ladies, rev. ed., trans. Earl Jeffrey Richards (New York: Persea Books, 1988).

Henry Kraus, “Eve and Mary: Conflicting Images of Medieval Woman,” in Feminism and Art History: Questioning the Litany, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1982), pp. 78-99.

Margaret R. Miles, “The Virgin’s One Bare Breast: Nudity, Gender, and Religious Meaning in Tuscan Early Renaissance Culture,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard (Boulder, CO: Westview Press, 1992), pp. 26-37.

Welcome!

Welcome to the class blog for AH 380 Women in Art, Spring 2009.