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.

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.

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.