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.

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.

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.

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.

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.