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n.paradoxa Booklist

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Notes: Monographs and individual artists' exhibition catalogues are not included in this list, except where they are explicitly feminist and provide a key role model for feminist art practice. You can look at exhibitions and anthologies separately by moving to those pages. For authors' last names use capital letter first. For those beginning with "A", type "A" or use the first 3 letters of their last name.
The country search uses full English names, e.g. The Netherlands, except for USA and UK. "International" (use Capital "I") is the category used for projects where artists from more than 3 countries are involved. Books and exhibitions under "International" are in addition to those listed as individual countries. New sections have been added for geographical regions/ continents: Asia, Africa, Pacific, Middle East, South America, Scandanavia. These categories are in addition to individual countries listed. So, for searches in Africa, look also in Nigeria and Egypt.
The title search is limited to words used in the title, it does not provide a keyword or subject search facility. This search is for one word only, no boolean (multiple) searches are supported. Artists' last names can also be searched in the title section, if they are in a book or exhibition title.

All n.paradoxa articles are listed separately. To search these, Click here

This results of this search will give all books, exhibition catalogues, magazines and special issues, blogs, websites and women's art organisations for a country, including places of exhibition and publication and is compiled from n.paradoxa's database.

The results list is organised with links to organisations/websites first, then journals, then books and exhibition catalogues by date (with most recent first):

2023 Erin Silver Taking place: Building histories of queer and feminist art in North America (Manchester University Press)

2023 Jacqueline Francis, Jeanne Gerrity (Eds.) Is Now the Time for Joyous Rage? (A Series of Open Questions, vol. 4) (Sternberg and CCA Wattis Institute for Contemporary Arts )

2023 Lauren Elkin Art Monsters: Unruly Bodies in Feminist Art (Chatto and Windus)

2023 Andrea Giunta The Political Body: Stories on Art, Feminism, and Emancipation in Latin America (Oakland : University of California Press)

2023 Chérie N. Rivers To Be Nsala's Daughter: Decomposing the Colonial Gaze (Duke University Press)

2023 Jennifer Higgie The Other Side: A Journey into Women, Art and the Spirit World (W & N)

2022 Erika Balsom and Hila Peleg Feminist Worldmaking and the Moving Image (MIT press)

2022 Rosalyn Deutsche Not-Forgetting: Contemporary Art and the Interrogation of Mastry (University of Chicago Press)

2022 Catherine Grant A Time of One's Own: Histories of Feminism in Contemporary Art (Duke University Press)

2022 Lex Morgan Lancaster Dragging Away: Queer Abstraction in Contemporary Art (Duke University Press)

2022 Mindy Seu ed Cyberfeminism Index, book (Inventory press)

2022 Lex Morgan Lancaster Dragging Away: Queer Abstraction in Contemporary Art (Duke University Press)

2022 Megan Sweeney Mendings (Duke University Press)

2022 Rachel Warriner Pain and Politics in Postwar Feminist Art: Activism in the Work of Nancy Spero (Bloomsbury publishing)

2022 Rosalyn Deutsche Not-Forgetting Contemporary Art and the Interrogation of Mastery (University of Chicago Press)

2021 Connie H. Choi, Amanda Donnan, and David Strand Black Refractions: Highlights from The Studio Museum in Harlem (May 22–August 15, 2021) (Washington: Frye Museum)

2021 Lauren Fournier Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT)

2021 Anna Katz With Pleasure: Pattern and Decoration in American Art 1972–1985 (June 26 – November 28, 2021) (Hessel Museum)

2021 Amelia Jones In Between Subjects: A Critical Genealogy of Queer Performance (Routledge)

2021 Apsara DiQuinzio New Time: Art and Feminisms in the 21st Century (August 25, 2021–January 30, 2022) (Berkeley: )

2021 Janell Hobson When God lost her tongue : historical consciousness and the black feminist imagination (Routledge)

2021 Judith Brodsky Dismantling the Patriarchy, Bit by Bit: Art, Feminism, and Digital Technology (Bloomsbury publishing)

2021 Eva Rossetti, Valentina Grande The Women who changed art forever: Feminist art - the Graphic novel (Lawrence King)

2021 Jodi Throckmorton and Brittany Webb Taking Space: Contemporary Women Artists and the Politics of Scale (Pennsylvania Academy of Fine Arts, January 7, 2021–April 11, 2021) (Philadelphia: Pennsylvania Academy of Fine Arts)

2021 Catherine McCormack Women in the Picture: Women, Art and the Power of Looking (Icon Books)

2021 Frima Fox Hofrichter, Midori Yoshimoto eds Women, Aging, and Art: A Crosscultural Anthology (Bloomsbury publishing)

2020 Aída Hurtado Intersectional chicana feminisms : sitios y lenguas (Tucson : The University of Arizona Press)

2020 Jennie Klein, Natalie Loveless eds Responding to site : the performance work of Marilyn Arsem (Bristol: Intellect Books)

2020 Rachel Seligman and Minita Sanghvi Never Done: 100 Years of Women in Politics and Beyond (Sep 17, 2020 - Jun 6, 2021) (Frances Young Tang Teaching Museum and Art Gallery at Skidmore College)

2020 Rebecca DiGiovanna Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present (Touring exhibition, South Bend Museum, October 17, 2020 – January 3, 2021) (Sound Bend Museum)

2020 Karsten Lund and Caroline Picard Nine Lives (Sep 12–Nov 15, 2020) (Renaissance Society, Chicago)

2020 Jillian Hernandez Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment (Duke University Press)

2020 Amy Galpin House to House: Women, Politics, and Place (Florida International University: Patricia & Phillip Frost Art Museum)(September 26, 2020 — February 7, 2021) (Florida International University: Patricia & Phillip Frost Art Museum)

2020 Betty LaDuke Migrants, Border Lands, And Social Justice (Trenton, N.J. : Africa World Press)

2020 Feminist Art Coalition Feminist Art Coalition (2020 Season of feminist art exhibitions across USA, many solo and group exhibitions on this list were postponed into 2021 due to Covid-19 closures) (Feminist Art Coalition)

2020 Meg Duguid ed Where the Future Came From: A Collective Research Project on the Integral Role of Feminism in Chicago's Artists-Run Culture from the nineteenth century to the present. (USA: Soberscove Press) More

2020 Bolton Colburn Women, Surrealism, and Abstraction (Nora Eccles Harrison Museum of Art: August 25, 2020 - July 31, 2021) (Utah University: Nora Eccles Harrison Museum of Art)

2020 Sarah Vargas Here She Stands: Women Artists from the Permanent Collection (Fresno Art Museum)(August 2020-June 2021) (Fresno Art Museum)

2020 Marisa Sage and Laurel Nakadate Labor: Motherhood & Art in 2020 (University Art Museum (UAM) at New Mexico State University (NMSU), February 28–December 6, 2020) Virtual tour (University Art Museum (UAM) at New Mexico State University (NMSU))

2020 Jennifer Inacio MY BODY, MY RULES (Perez Art Museum, Miami, Nov. 19, 2020 – Sept. 5, 2021) (Miami, Perez Art Museum)

2020 Deborah Yasinsky Beasts Like Me: Feminism and Fantasy (October 22-November 21) (Bronx Art Space)

2020 Karen Meninno and Carolyn Wirth FeministFuturist (Boston Center for the Arts)

2020 Barbara Kutis Artist-Parents in Contemporary Art: Gender, Identity, and Domesticity (Routledge)

2020 Cressida J. Heyes Anaesthetics of Existence: Essays on Experience at the Edge (Duke University Press)

2020 Emily L. Newman Female Body Image in Contemporary Art: Dieting, Eating Disorders, Self-Harm, and Fatness (Routledge)

2020 positions () '(En)gendering: Chinese Women’s Art in the Making' Vol 28, no 1. (2020)

2020 Susie Hodge The Short Story of Women Artists: A Pocket Guide to Key Breakthroughs, Movements, Works and Themes (Laurence King)

2019 Sophie Yadong Hao ed Of Other Spaces: Where Does Gesture Become Event? (Sternberg)

2019 Genevieve Hyacinthe Radical Virtuosity: Ana Mendieta and the Black Atlantic (MIT press)

2019 Gabriela Aceves Sepúlveda Women Made Visible: Feminist Art and Media in Post-1968 Mexico City (USA: University of Nebraska Press)

2019 John Corso Esquivel Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect (Routledge)

2019 Alice Wexler, Vida Sabbaghi Bridging Communities through Socially Engaged Art (Routledge)

2019 Elena Marchevska and Valerie Walkerdine eds The Maternal in Creative Work: Intergenerational Discussions on Motherhood and Art (Routledge)

2019 Laura E. Perez Eros Ideologies: Writings on Art, Spirituality, and the Decolonial. (Duke University Press)

2019 Natasha Hoare Sexual Warfare: Alexis Hunter (MIT press)

2019 Hilary Robinson and Maria Elena Buscek eds A Companion to Feminist Art (Wiley Blackwells Companions to Art History series)

2019 Women Take the Floor (Museum of Fine Arts, Boston, September 13, 2019–November 14, 2021) (Boston: Museum of Fine Arts)

2019 Jill Johnston, Axel Wieder, Fiona McGovern, Megan Francis Sullivan The Disintegration of a Critic (Sternberg)

2019 Annette Jael Lehmann, Verena Kittel Tacit Knowledge Feminism – California Institute of the Arts 1970-1977 (Leipziz : Spector Books)

2019 Nancy Princenthal Unspeakable Acts: Women, Art, and Sexual Violence in the 1970s (Thames and Hudson)

2019 Flavia Frigeri Women Artists: Art Essentials (Thames and Hudson)

2019 Na'ama Klorman-Eraqi The visual is political : feminist photography and countercultural activity in 1970s Britain (New Brunswick : Rutgers University Press)

2019 Shannon R. Stratton with Faith Wilding eds Faith Wilding's Fearful Symmetries (Bristol: Intellect)

2019 Kathy Battista New York, New Wave: The Legacy of Feminist Artists in Emerging Practices (IB Tauris)

2019 Jools Gilson, Nicola Moffat eds Textiles, Community and Controversy : The Knitting Map (Bloomsbury Visual Arts)

2019 VoCA Journal () (Spring)Women in Media Arts

2018 Kimberley Lamm Addressing the Other Woman: Textual Correspondences in Feminist Art & Writing (Manchester University Press)

2018 Laura Fantone Local Invisibility, Postcolonial Feminisms: Asian American Contemporary Artists in California (Palgrave Macmillan)

2018 Sasha Su-Ling Welland Experimental Beijing : gender and globalization in Chinese contemporary art (Durham: Duke University Press)

2018 Rachel Middleman Radical Eroticism: Women, Art, and Sex in the 1960s (University of California Press)

2018 Kate Mondloch A Capsule Aesthetic: Feminist Materialisms in New Media Art (University of Minnesota Press)

2018 e-flux journal #92 (June 2018) and #93 (Sept 2018) ()

2018 Mfon: Women Photographers of the African Diaspora (USA: Eye & I Inc.)

2018 Monika Fabijanska The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S.(September 4–November 3, 2018) (Anya and Andrew Shiva Gallery at John Jay College of Criminal Justice, New York)

2018 Helena Reckitt The Art of Feminism:Images that Shaped the Fight for Equality, 1857–2017 (Chronicle Books)

2018 Lisa Ryan Musgrave ed Feminist Aesthetics and Philosophy of Art: The Power of Critical Visions and Creative Engagement (New York: Springer)

2017 Elin Diamond, Denise Varney, Candice Amich eds Performance, Feminism and Affect in Neoliberal Times (Palgrave MacMillan)

2017 Catherine Morris and Rujeko Hockley We Wanted a Revolution: Black Radical Women, 1965–85 (April 21–September 17, 2017) (Brooklyn Museum: Elizabeth Sackler Center)

2017 Michael Darling Riot Grrrls (Dec 15, 2016–Jun 18, 2017) (Museum of Contemporary Art, Chicago) More

2017 Quinn Latimer Like a Woman: Essays, Readings, Poems (Sternberg Press)

2017 Greg Gurley ed Art and Gender: An Intersexual Reader (USA: Cognella Inc.)

2017 Nizan Shaked The synthetic proposition: Conceptualism as political art (Manchester University Press)

2017 Julia Bryan-Wilson Fray: Art and Textile Politics (University of Chicago Press)

2017 Grace Banks Play With Me: Dolls, Women and Art (Lawrence King)

2017 Richard Grusin ed Anthropocene Feminism (University of Minnesota Press)

2017 Amanda Ravetz, Alice Kettle, Helen Felcey eds Collaboration Through Craft (Bloomsbury)

2017 Julia Skelly Radical Decadence: Excess in Contemporary Feminist Textiles and Craft (Bloomsbury)

2017 Art as Caribbean Feminist Practice, Small Axe, Vol 21, 1 (March) (Duke University Press)

2017 Donna Seaman Identity Unknown: Rediscovering Seven American Women Artists (Bloomsbury publishing)

2017 Whitney Chadwick The Militant Muse: Love, War and the Women of Surrealism (Thames and Hudson)

2016 Katherine Behar ed Object-Oriented Feminism (University of Minnesota Press)

2016 Karen Gonzalez Rice Long Suffering: American Endurance Art as Prophetic Witness (University of Michigan Press) More

2016 Amelia Jones and Erin Silver eds Otherwise : imagining queer feminist art histories (Manchester: Manchester University Press)

2016 Olga Kopenkina Feminism is Politics! (Sept 28-Nov 23 2016) (New York: Pratt Manhattan Gallery)

2016 Jo-Anne Reske Kirkman and Laura Mayo WARM Guerrillas: Feminist Visions (February 26th – March 12, 2016) (Minneapolis: The Grain Belt Bottling House Gallery)

2016 Lynn Hershman Leeson and Peter Weibel ed Lynn Hershman Leeson: Civic Radar (Hatje Cantz / ZKM)

2016 Sabra Moore Openings: A Memoir from the Women's Art Movement, New York City 1970-1992 ( forewords by Lucy Lippard and Margaret Randall) (New York: New Village Press)

2016 Alison Gingeras Black Sheep Feminism: The Art of Sexual Politics (17 Jan-March 20) (Dallas Contemporary)

2015 Astria Suparak and Ceci Moss Alien She (Riot Grrrl Movement)(Sep 3, 2015 – Jan 9, 2016) (Miller Gallery, Carnegie Mellon and PNCA)

2015 Christine Gledhill and Julia Knight eds Doing Women's Film History (University of Illinois Press)

2015 ARTnews (June) vol. 114 issue 6 () Special issue on sexism, situation of the woman artist.

2015 Nadya Burton ed Natal Signs: Cultural Representations of Pregnancy, Birth and Parenting (Ontario: Demeter Press)

2015 Guerrilla Girls Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond (1-17 May) (New York: Abrons Arts Center )

2015 Uri McMillan Embodied Avatars: Genealogies of Black Feminist Art and Performance (New York University Press)

2014 Andrew D. Hottle The art of the Sister chapel : exemplary women, visionary creators, and feminist collaboration (Ashgate)

2014 Brooklyn Rail (online) () 2014 (4 Sept) (New York) edited by Kara L. Rooney

2014 Natalie Loveless New Maternalisms: Maternidades y Nuevos Feminismos (26 June-31 August) (Museo de Arte Contemporaneo, Museo Nacional de Bellas Artes)

2013 Women in Art 278 Magazine (Girona Consulting) 2018 published on issuu as a quarterly visual profiling of selected women artists and their work. Last volume, Jan 2018.

2013 Lisa Darms ed The Riot Grrrl Collection (Feminist Press)

2013 Jaishri Abichandani and Josheen Oberoi Her Stories: Fifteen Years of the South Asian Women's Creative Collective (Taubman Museum, Roanoke, VA, May 28- August 24, 2013) (Taubman Museum)

2013 Kate Eichhorn The Archival Turn in Feminism: Outrage in Order (Riot Grrrls) (Temple University Press)

2013 Eleanor Heartney, Helaine Posner, Nancy Princenthal, Sue Scott The Reckoning: Women Artists of the New Millennium (Prestel)

2013 Tal Dekel Gendered: Art and Feminist Theory (Cambridge: Cambridge Scholars Publishing)

2013 Helen Molesworth and Taylor Walsh Louise Lawler (MIT Press (October Files))

2013 Isabelle Thuy Pelaud, Lan Duong, Mariam B. Lam and Kathy L. Nguyen eds Troubling Borders: An Anthology of Art and Literature by Southeast Asian Women in the Diaspora (USA: University of Washington Press)

2013 Diana Almeida eds Women and the Arts Dialogues in Female Creativity (Blackwells)

2013 Clare Johnson Femininity, Time and Feminist Art (Palgrave)

2012- Lenka Clayton An Artist Residency in Motherhood () A self-directed, open-source artist residency to empower and inspire artists who are also mothers. Kit available (mentoring programme in operation). 1,200 Artists-in-Residence-in Motherhood have occurred with residents are now in all 50 US states and 70 countries. Established by Lenka Clayton.

2012 Judith Brodsky and Ferris Olin ed. The fertile crescent : gender, art, and society (New Brunswick, N.J. : Rutgers University Institute for Women and Art ; New York, N.Y. : Distributed by D.A.P./Distributed Art Publishers)

2012 Robert Cozzolino ed The female gaze : women artists making their world (November 17, 2012-April 7, 2013, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania) (Pennsylvania Academy of the Fine Arts)

2012 Catherine Morris and Vincent Bonin eds Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art (Boston: MIT Press)

2012 Frontiers: A Journal of Women's Studies () 2012 Special issue on Feminist Art and Social Movements: Beyond NY/LA (vol 33, no.2)

2012 Leila Pourtavaf ed Féminismes Électriques (Montreal: La Centrale and Les Éditions du rémue-ménage) More

2012 Hye-Seong Tak Lee and Sherri Cornett eds Woman + Body (Gwangju Cultural Foundation)

2012 Andrew Mazzaschi Signs: Virtual issue on Visibility and Visuality: Reframing Gender in the Middle East, North Africa, and Their Diasporas () organised in conjunction with 'The Fertile Crescent: Gender, Art and Society' Rutgers Institute for Women and Art, mid-August 2012-Jan 2013

2012 Jill Fields ed Entering the Picture: Judy Chicago, The Fresno Feminist Art Program and the Collective Visions of Women Artists. (New York: Routledge)

2012 Rachel Epp Buller ed Reconciling Art and Mothering (UK; Ashgate Publishing)

2012 Cornelia Butler From Conceptualism to Feminism: Lucy Lippard's Numbers shows, 1969-1974 (London: Afterall Books)

2012 Joani Blank ed Femalia (Last Gasp, San Francisco)

2012 Meg Linton and Sue Maberry eds Doing it in Public: Feminism and Art at the Woman's Building (Los Angeles: Ben Maltz Gallery, Otis College of Art and Design)

2012 Cheri Gaulke and Laurel Klick eds Feminist Art Workers: A History (LA: Otis College of Art and Design)

2012 Amelia Jones Seeing Differently: A History and Theory of Identification and the Visual Arts (Routledge)

2012 Etheria Film Festival (Boston) () Etheria selects and screens the best new short fantasy and science fiction films directed by women from all over the world. It will take place in September 2012 for the first time. Information link only, current website was hacked.

2011 Lisa Pearson ed It is Almost That: A Collection of Image+Text Work by Women Artists and Writers (Siglio)

2011 Sondra Hale and Terry Wolverton eds From Site to Vision: The Woman's Building in Contemporary Culture (Los Angeles: Ben Maltz Gallery, Otis College of Art and Design)

2011 Maria Elena Buszek ed Extra/Ordinary: Craft and Contemporary Art (Duke University Press)

2011 Women Art Revolution (!WAR) collection: Voices of a Movement () Transcripts and video footage by Lynn Hershman Leeson, used in Women, Art and Revolution

2011 Kristine Stiles ed Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (Duke University Press)

2011 Jennifer Banta ed Cultural Confluences: The Art of Lenore Chinn (San Francisco: APICC)

2011 Martha Wilson Martha Wilson Sourcebook: 40 years of reconsidering performance, feminism, alternative spaces (Independent Curators International) More

2011 Bluestockings Film Series (Portland, Maine) () The Bluestocking Film Series is a bi-annual (May/October) screening series committed to finding and showing short works by women directors but with a unique twist as all films must "pass" the Bechdel Test for Women in Movies. The Bechdel Test, Bechdel-Wallace Test, or the Mo Movie Measure, is a sort of litmus test for female presence in movies and TV. The test is named after Alison Bechdel, creator of the comic strip 'Dykes To Watch Out For'. In order to pass, the film or show must meet the following criteria: it includes at least two women... who have at least one conversation... about something other than a man or men.

2011 Courtney Lee Weida Artistic ambivalence in clay : portraits of pottery, ceramics and gender (Newcastle upon Tyne : Cambridge Scholars)

2011 Nancy Princenthal ed The deconstructive impulse : women artists reconfigure the signs of power, 1973-1991 (New York : Munich ; New York : Neuberger Museum of Art , DelMonico Books/Prestel)

2011 Marta Zarzycka and Bettina Papenburg eds Carnal Aesthetics: Trangressive Imagery and Feminist Politics (London: IB Tauris)

2011 Julia Bryan-Wilson Art Workers: Radical Practice in the Vietnam War Era (University of California Press) More

2011 Myrel Chernick and Jennie Klein The M Word: Real Mothers in Contemporary Art (Ontario: Demeter Press)

2011 Alicia Gaspar de Alba, Alma López eds. Our Lady of Controversy (Alma Lopez) (University of Texas)

2010 Marcia Tucker, Liza Lou (Editor) ed A Short Life of Trouble: Forty Years in the New York Art World (University of California Press)

2010 Amanda Lock Swarr and Richa Nagar eds Critical transnational feminist praxis (Albany : State University of New York Press)

2010 Deborah Willis Black Venus 2010: They Called Her "Hottentot" (Temple University Press)

2010 Sid Sid Sachs and Kalliopi Minioudaki eds Seductive subversion : women pop artists, 1958-1968 (University of the Arts ; Abbeville Publishers)

2010 James Martin Harding Cutting performances: collage events, feminist artists, and the American avant-garde (Ann Arbor : University of Michigan Press)

2010 Suzanne Lacy Leaving Art: Writings on Performance, Politics and Publics, 1974-2007 (Duke University Press) More

2010 Vanessa Corby Eva Hesse: longing,belonging and displacement (London: IB Tauris) More

2010 Kelly Clark Keefe Invoking Mnemosyne: art, memory and the uncertain emergence of a feminist embodied mythology (Rotterdam: Sense Publishers)

2010 Olga M. Mesropova and Stacey Weber-Feve eds Being and becoming visible: women performance and visual culture (Baltimore and London: John Hopkins University Press)

2010 Laura Hein and Rebecca Jennison eds Imagination without Borders: Feminist Artist Tomiyama Taeko and Social Responsibility (Ann Arbor: Center for Japanese Studies, University of Michigan)

2010 Whitney Chadwick, Bia Markel, Alexandra Reiff eds Contemporary feminist studies and its relation to art history and visual studies (conference papers, 2007) (Goteborg: Goteborg Universitet)

2010 Kirsten Pail Buick Child of the Fire: Mary Edmonia Lewis and the Problem of Art History's Black and Indian Subject (Durham: Duke University Press)

2010 Sharon Irish Suzanne Lacy: spaces between (University of Minnesota Press) More

2010 Angela Steif ed Power Up: Female Pop Art (DuMont Literatur und Kunst Verlag GmbH & Co KG)

2010 Portland Women's Film Festival (Portland, Oregon) () The Portland Oregon Women's Film Festival (POWFest) places a spotlight on women directors by showcasing their work and strengthening the community of women in film. It occurs for three days every March. In addition to films there are also numerous lectures and seminars to support young women in film.

2010 Barbara Matilsky Show of Hands: Northwest Women Artists 1880-2010 (Whatcom Museum, Bellingham)

2010 Fabienne Dumont ed La rebellion du deuxieme sexe - L'histoire de l'art au crible des theories feministes anglo-americaines (1970-2000) (Dijon: Les presses du reel)

2009 Mira Schor A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (USA: Duke University Press)

2009 Mary Schoeser Rozanne Hawksley: Offerings (Lund Humphries and Ruthin Craft Centre, Wales) More

2009 Andrea Liss Feminist Art and the Maternal (University of Minnesota Press) More

2009 Lady Filmmaker's Festival (California) () Lady Filmmakers aims to celebrate women in key leadership roles in the making of short and feature length films. A woman must fill the role of Writer, Director, Cinematographer, Editor, Producer, or Production Designer to be eligible. The festival promotes and screens collaborations between men and women filmmakers. The festival takes place every annually October.

2009 Sue-Ellen Case Feminist and Queer Performance: Critical Strategies (Palgrave Macmillan)

2009 Jane Blocker Seeing Witness: Visuality and the Ethics of Testimony (University of Minnesota Press) More

2009 Midori Yoshimoto ed Women & Performance: a journal of feminist theory () vol. 19, no. 3 (2009). Women & Fluxus: Toward a feminist archive of Fluxus, Special issue. guest editor, Midori Yoshimoto

2008 Joanna Frueh Clairvoyance (for those in the desert) Performance Pieces, 1979-2004 (Durham and London: duke University Press) More

2008 Carol Mavor Reading Boyishly: Roland Barthes, J M Barrie, Jacques Henri Lartique, Marcel Proust and DW Winnicott. (Durham and London: Duke University Press) More

2008 Margo Machida Unsettled Visions: Contemporary Asian American artists and the social imaginary (Durham : Duke University Press) More

2008 Karen Mary Davalos Yolanda M. Lopez (Los Angeles: UCLA Chicano Studies Research Center Press)

2008 Zdenek Felix and Martina Pachmanova eds Martha Rosler: Photographic Works, 1965-2008 (Prague: Langhams Galerie) More

2008 Nancy Prinsenthal and Phillip Earenflight eds Joyce Kozloff: Co+ordinates (Pennsylvania: Carlisle, Trout Gallery) More

2008 Yvonne Rainer, Carrie Lambert, Catherine Lord, Catherine Queloz (editor) ed Une femme qui...Ecrits, entretiens, essais critiques (French edition) (JRP Ringier)

2008 Debra J. Blake Chicana sexuality and gender: cultural refiguring in literature, oral history, and art (Durham : Duke University Press)

2007 Judy Chicago The Dinner Party: From Creation to Preservation (London: Merrell)

2007 Graciele Iturbide Eyes to Fly With: Portraits, Self- Portraits, and other photographs (USA: University of Texas Press)

2007 Matthew Knagas Camille Patha: Geography of Desire (Oregon: Halie Ford Museum of Art, Williamette University)

2007 Terry R. Meyers Mary Heilmann: Save the Last Dance for Me (London: Afterall Books)

2007 Linda Nochlin and Maura Reilly Global Feminisms (London and New York: Merrell and Brooklyn Museum) More

Review reproduced from Volume 20, n.paradoxa, July 2007. Katy Deepwell 'Short Book Reviews'

Linda Nochlin and Maura Reilly Global Feminisms London & New York, Merrell and Brooklyn Museum, 2007 ISBN: 978-1-8589-4390-9

The exhibition which launched the Elizabeth Sackler Center for Feminist Art at the Brooklyn Musuem is described by its curators as an example of 'intergenerational feminist approaches'. Thirty years on from Nochlin's and Ann Sutherland Harris' exhibition Women Artists 1550-1950 , Nochlin collaborates with a former student on an international contemporary art show in which none of the selected artists were born before 1960. While transnationalism - understood as post-colonial, anti-racist and feminist - is the stated aim of Reilly's introduction, the selection emerged in a dialogue between the two curators about feminist work as critique and this has informed the result. The four sections of the exhibition, Life Cycles, Identities, Politics and Emotions, are not mirrored in the catalogue. A decision which tends to reinforce the idea that feminism is solely centred in a nuanced "differentiated" body politics about representation of women bodies (rather than particular ideological-social-cultural politics to change women's situation). Essays offering an overview of the show by the curators Linda Nochlin and Maura Reilly are presented alongside some very general assessments of different "regions" in the world: N'Gone Fall (on women artists from Africa), Michiko Kasahara (women artists from Japan), Joan Kee (Asian women artists), Virginia Perez-Ratton (Central American women artists), Elisabeth Lebovici (Western European women), Charlotte Kotik (Eastern and Central European women) and Geeta Kapur (whose essay's focus on five women artists in India escapes this level of generality). Significantly the curatorial argument stresses the 'new global imperative' for feminist curating to encourage the inclusion of non-Western and "minority" women's voices. The disconnect within the catalogue from references to the emergence of feminist art practices in the 1960s in many parts of the world might encourage the rather lazy assumption that feminism did not operate prior to the 1980s or 1990s in many of the regions discussed. But also, the "absent centre", the US, needs its own explanation. Perhaps a clearer comparative account of what "minority" means in America is needed and the recognition that the multicultural politics practiced there is different in kind from those in operation in Japan, Australia or different parts of Europe and Africa or Latin America, where different configurations and histories of racial, ethnic and religious groups have been constructed into either "marginal" or "mainstream" . Feminism's role as a discourse against power, as Geeta Kapur suggests, will then start to frame the effectiveness of feminist interventions in the discourses of art, art history, the museum and cultural politics.

2007 Laura Elisa Perez Chicana art : the politics of spiritual and aesthetic altarities (Durham, N.C. : Duke University Press ; Chesham)

2007 Victoria Vesna ed Database Aesthetics: Art in the Age of Information Overflow (Minneapolis: University of Minnesota Press)

2007 Catherine Wood Yvonne Rainer: The Mind is a Muscle (Massachusetts and London: MIT Press)

2007 Anna Brzyski ed Partisan Canons (Durham and London: Duke University Press)

2007 Art News ((USA))

2007 Strategies for contemporary feminism: Exquisite Acts and Everyday Rebellions () conference papers from California Institute for Arts in Valencia, 2007

2007 Wong Gina See-Yuen Global feminisms in feminist art and their new challenges (Hong Kong University, PhD)

2007 Nadine Käthe Monem Riot grrrl: revolution girl style now! (London: Black Dog)

2007 Eleanor Heartney, Helaine Posner, Nancy Princenthal and Sue Scott After the Revolution: Women Who Transformed Contemporary Art (Munich, Berlin, London and New York: Prestel)

2007 Joanna Inglot WARM: A Feminist Art Collective in Minnesota (Minneapolis: University of Minnesota Press, Weisman Art Museum)

2007 Karen Frostig and Kathy A. Halainka eds Blaze: Discourse on Art, Women and Feminism (US: Cambridge Scholar) More

2007 Cornelia Butler WACK! Art and the Feminist Revolution (Massachussetts: MIT and Los Angeles: MOCA) More

2007 Rhea Anastas, Michael Brenson eds Witness to Her Art: Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne (Bard College)

2007 Elinor Gadon, Wendy Tarlow Kaplan, Roobina Karode Tiger by the Tail! Women Artists of India Transforming Culture (Massachusetts: Women's Studies Research Center - Brandeis University; New Delhi: Indian Council for Cultural Relations )

2007 Alison Rowley Helen Frankenthaler: Painting History, Writing Painting (London: IB Tauris)

2007 Susan Kozel Closer: Performance, Technologies,Phenomenology (Boston: MIT, Leonardo series) More

2007 Zoe Leonard (Intro: Helen Molesworth) Analogue (MIT, Wexner Center for the Arts) More

2007 American Asian Women Artists Association (AAWAA) Cheers to Muses: Contemporary Works by Asian American Women (American Asian Women Artists Association)

2007 NSWA Journal () Vol. 19, No. 1, Spring, 2007. Special issue on Feminist Activist Art

2006 Sarah Nuttal ed Beautiful/Ugly: African and Diaspora Aesthetics (Durham, North Carolina & London: Duke University Press) More

2006 Helen Molesworth ed Twice Untitled and Other Pictures (looking back) Louise Lawler (London: MIT Press and Wexner Art Centre, Ohio) More

2006 Carol Armstrong and Catherine de Zegher eds Women Artists at the Millennium (Cambridge: MIT Press) More

2006 Annmarie Chandler and Norie Neumarkt eds At a Distance: Precursors to Art and Activism on the Internet (Boston: MIT Press) More

2006 Jennifer Doyle Sex objects : art and the dialectics of desire (Minneapolis, Minn. ; London : University of Minnesota Press)

2006 Elvan Zabunyan, Valerie Mavridorakis, David Perreau Martha Rosler sur|sous le pavé (exhibition catalogue) (Universite de Rennes)

2006 Brian P. Kennedy and Britta Konau, Margo W. Smith Dreaming Their Way: Australian Aboriginal Women Painters (Washington DC: Museum of Women in the Arts)

2006 Lisa Bloom Jewish Identities in American Feminist Art: Ghosts of Ethnicity (London & New York: Routledge) More

2006 Amelia Jones Self/Image: Technology, Representation and the Contemporary Subject (London: Routledge) More

2006 Hilary Robinson Reading Art, Reading Irigaray: The Politics of Art by Women (New York/London: I.B. Tauris) More

2006 LA Femme International Film Festival () LA Femme Film Festival is a festival that focuses on women's commercial films in order to broaden their audiences and recognise their work. Equal opportunity in commercial entertainment is the aim and for women to become leaders in the industry as Directors, Writers, Producers or Directors of Photography. This event takes place annually, every October.

2006 Yvonne Rainer Feeling are Facts: A Life (Cambridge: MIT Press) More

2006 Johanna Burton ed Cindy Sherman (October Files series Cambridge, Massachusetts: MIT Press)

2006 Susan Morgan Joan Jonas: I Want to Live in the Country (And Other Romances) (London: Afterall Books)

2006 Johanna Demetrakas (Director) Womanhouse [videorecording about the Feminist Art Program of the California Institute of the Arts] (originally made in 1974) (New York: Women Make Movies)

2005 C. Jill O'Bryan Carnal Art: Orlan's Refacing (University of Minnesota Press) More

2005 Mignon Nixon Fantastic Reality: Louise Bourgeois and a Story of Modern Art (Cambridge: Mass, MIT press, an October book) More

2005 Midori Yoshimoto Into Performance: Japanese Women Artists in New York (Rutgers University Press) More

2005 Erica Rand The Ellis Island Snow Globe (Duke University Press) More

2005 Praba Pilar Cyberlabia: Gendered Thoughts and Conversations on Cyberspace (California: Tela Press) More

2005 Tey Diana Rebolledo The Chronicles of Panchita Villa and other guerrilleras : essays on Chicana/Latina literature and criticism (Austin, Tex. : University of Texas Press)

2005 Norma Broude and Mary Garrard eds Reclaiming Female Agency: Feminist Art After Postmodernism (University of California Press) More

2005 Nan Goldin Nan Goldin : Ten Years After (Scalo Publishers)

2005 Davis Feminist Film Festival (Davis, California) () Their event in April 2012 marks seven years of this Festival "for under-represented artists - particularly women and people of color - to raise consciousness about gender, race, class, sexuality, and other dimensions of social inequality."

2005 Women's International Film Festival () The festival takes place in April and includes; full-length features, documentaries, and shorts made by women directors and producers that reflect universal, gender-free themes in addition to women's issues and concerns. Mainly held in Florida, the 12th festival, 2018, will take place in New York.

2005 Irene von Hardenberg (Photos: Reto Guntli) Künstlerinnen : Atelierbesuche in Berlin, Moskau, New York (Hildesheim : Gerstenberg )

2005 Alexander Alberro ed Andrea Fraser, Museum Highlights: The Writings of Andrea Fraser (Boston: MIT) More

2005 Faith Ringgold we flew over the bridge: the memoirs of Faith Ringgold (Durham: Duke University Press) More

2005 Meredith Tromble ed The Art and Films of Lynn Hershman Leeson. Secret Agents, Private 1 (University of California Press,Henry Art Gallery, University of Washington) More

2005 Margrit Shildrick and Roxanne Mykitiuk eds Ethics of the Body: Postconventional Challenges (MIT press)

2005 Michael Blackwood (Director) Reclaiming the body : feminist art in America (DVD recording, not book, of Bad Girls' exhibitions and artists) (Michael Blackwood Productions in association with Saarlandischer Rundfunk)

2005 Lisa E. Farrington Creating their Own Image: the history of African-Americam Women Artists (Oxford: Oxford University Press)

2004 Josephine Penelope Collet Women Contesting the Mainstream Discourses of the Art World (New York: Lewiston: E Mellen Press)

2004 Carolyn Korsmeyer Gender and Aesthetics: An Introduction (Routledge)

2004 Jane Blocker What the Body Cost: Desire, History, and Performance (University of Minnesota Press)

2004 Diana Taylor and Roselyn Constantino ed Holy Terrors: Latina American Women Perform (Durham, NC: Duke University Press)

2004 Nelly Richard Masculine/Feminine: Practices of Difference (Durham, NC and London: Duke University Press,trans. Silvia R. Tandeciarz and Alice A Neilson.)

2004 Verena Kuni and Claudia Reiche eds Cyberfeminism: Next Protocols (New York: Autonomedia) More

Review reproduced from Volume 15, n.paradoxa, Jan 2005. Katy Deepwell 'Short Book Reviews'

Claudia Reiche and Verena Kuni (eds.) c y b e r f e m i n i s m: next protocols New York: Autonomedia, 2004 ISBN: 1 57027 149 6

A new production, originated through a call for contributions to the Old Boys Network,the first international cyberfeminist alliance. Their definition of cyberfeminism is that it 'carries the fem in its center - fem which hints politically at gender and the female sex, yet exceeds, enjoys, and remodels this relation.' This book contains protocols for the future in the sense that these are both documents and coded commands for digital and human procedures of communication. Contributors include: Marie-Luise Angerer 'Cyber@rexia. Anorexia and Cyberspace'; Irina Aristarkhova 'Femininity, Community, Hospitality: Towards a Cyberethics'; Andrea Sick 'Dream-Machine: Cyberfeminism'; Helene von Oldenburg 'IF [ x ] ... THEN [ y] ...ELSE [XXn]'; Ephemera/Discordia/ Liquid_Nation / Plastique /Efemera_Clone_2 'Thoughts on Submission: Glances from the Warriors of Perception';Yvonne Volkart 'The Cyberfeminist Fantasy of the Pleasure of the Cyborg'; Anne-Marie Schleiner 'Female-Bobs Arrive at Dusk'; Verena Kuni 'Frame/Work'; Shu Lea Cheang 'I.K.U. Seven Pages'; Claudia Reiche 'On/Off-scenity: Medical and Erotic Couplings in the Context of the Visible Human Project'; Julie Doyle/ Kate O'Riordan 'Virtual Ideals: Art, Science and Gendered Cyberbodies'; Prema Murthy 'Ito Ay Panaginip Sa Ibang Pangungusap'; Marina Grzinic 'Monstrous Bodies and Subversive Errors'; Ingeborg Reichle 'Remaking Eden: On the reproducibility of images and the body in the age of virtual reality and genetic engineering' ; Ulrike Bergermann 'Analogue Trees, Genetics, and Digital Diving. Pictures of Human and Reproduction'; Christina Goestl 'If Cyberfeminism is a Monster... then Clitoris Visibility = true'; and Elisabeth Strowick 'Cyberfeminist Rhetoric, or Digital Act and Interfaced Bodies'.

2004 Silvia Kolbowski inadequate...Like...Power (Cologne: Walter Konig) More

2004 Joanna Inglot The Figurative Sculpture of Magadalena Abakanowicz: Bodies, Environments, and Myths (University of California Press) More

2004 Suzanne Anker and Dorothy Nelkin The Molecular Gaze: Art in the Genetic Age (New York: Cold Spring Harbor Laboratory Press) More

2004 Martha Rosler Decoys and Disruptions: Selected Writings, 1975-2001 (Cambridge, Massachusetts: MIT Press) More

2004 Chris Kraus Video Green: Los Angeles Art and The Triumph of Nothingness (Mass: Cambridge, MIT/Semiotext(e) Active Agents Series) More

2004 Girl Fest (Hawaii) () Girl Fest's mission is to prevent violence against women and girls through education and art. Currently, Girl Fest is Hawaii's longest-running all-volunteer anti-violence multimedia festival. Girl Fest incorporates music, film, art, dance and spoken word to get its message out to the public. The festival ran every February. Site documents work, 2004-2012.

2004 San Francisco Women's Film Festival () The festival was founded in 2004 as an affiliate of San Francisco State University, however afer the success of the first event, the festival spread beyond the limits of the campus. The SFWFF accepts films and video of all lengths and genres: narrative, documentary, experimental and animation. Films and videos must be directed by or co-directed by women. The festival takes place every Spring with a combination of low-fee or free screenings. Now running an online film festival, May 2018.

2003 Kristen Frederickson and Sarah Webb eds Singular Woman: Writing the artist: the politics of rediscovery: the monograph and feminist art history (University of California Press)

2003 Amelia Jones The Feminism and Visual Culture Reader (2002, 2003, 2010 editions) (London: Routledge) More

Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'

Amelia Jones (ed)

The Feminism and Visual Culture Reader London: Routledge, 2003

ISBN: 0-415-26706-4

Divided into seven parts with 62 essays or extracts from articles, this book aims to be another definitive reader for feminist teaching. The introduction and the first section Provocation offer six new essays which examine the current state of feminist scholarship for its biases and the relationship of feminism to visual culture. Amelia Jones insists on the intersecting nature of feminism and visual culture, positioning feminism as central rather than an adjunct or specialist area within visual culture. She also draws a distinction between visual culture and cultural studies based on the former's exclusive concern with visuality. Rosemary Betterton discusses the difficulties of students when faced with artworks from the past, in spite of their considerable skills in reading images from popular culture as part of the shift involved in visual culture when moving from a discipline-based study to interdisciplinary analysis. Jennifer Doyle analyses how homophobia and misogyny continue to structure the art world and our knowledge systems; Lisa Bloom considers how feminism must now attend to how (Western) feminist theories may and may not work in different trans-national locations and consider again their own regional context of operation. Judith Wilson considers the semantics involved in thinking about a black feminist visual theory: positioning the first as a social category; the second a political orientation;the third a mode of perception, a category of cultural phenomena. Interestingly, she positions black women artists as ahead of theoretical research in their practice. Faith Wilding discusses cyberfeminist debates and draws attention not only to the bio-tech industry but the pace of modern industrialised life globally. Meiling Chang concludes by discussing a metaphor for feminism as a pool of colours to which ever more pigments are being added.

The book then divides into parts titled: Representation; Difference; Disciplines/Strategies; Mass Culture/Media Interventions; Body; and Technology. In each section eight to ten essays, primarily from the last three decades are included. Amelia Jones based her selection of Anglophone texts (largely US/UK-based) on tracing a history of theory, selecting canonical articles which each represent a shift in methodology, while maintaining overall a heterodoxy of debates and ideas to reveal the intersection between feminist theory and visual culture.

2003 Susan R. Ressler ed Women Artists of the American West (Jefferson North Carolina & London, McFarland) More

2003 Sarah Rich, Joyce Henri Robinson eds Through the Looking Glass: Women and Self-Representation in Contemporary Art (works in Palmer Museum of Art Collection) (Pennsylvania State University Press)

2003 Jill Scott Coded Characters: Media Art by Jill Scott (Germany: Hatje Cantz) More

2003 Judy Malloy ed Women, Art and Technology (Massachussetts: Cambridge, MIT Press) More

2003 María Ochoa Foreword by Amalia Mesa-Bains Creative collectives : Chicana painters working in community (Albuquerque, N.M. : University of New Mexico Press ; Lancaster : Gazelle)

2003 Joan Copjec Imagine There's No Woman: Ethics and Sublimation (Cambridge, Mass: MIT press) More

2003 Hypatia () (Fall/Winter) v.18, No.4 'Women, Art and Aesthetics' More

2003 Kara Walker eds Ian Berry,Darby English, Vivian Patterson, Mar Narratives of a Negress (Cambridge: Massachusetts: MIT press) More

2003 Cinefemme ()

2003 María Ochoa ; foreword by Amalia Mesa-Bains Creative collectives : Chicana painters working in community (Albuquerque : University of New Mexico Press)

2003 Queer Women of Color Film Festival (San Francisco) () The festival takes place annually around the second week of June. It features films that address the vital social justice issues that concern women of color, authentically reflect their life stories, and build community through art and activism. The Queer Women of Color Film Festival showcases new films created through Queer Women of Color Media Arts Project's free Filmmaker Training Program, as well as films created by other queer women of color around the world.

2002 International Black Women's Film Festival (San Francisco) () Founded by Adrienne Anderson, IBWFF aims to show black women presented in film in strong roles and "to celebrate Black women filmmakers from around the world and to show audiences that there are films about Black women that do not involve negative stereotyping, violence toward Black women, and that don't show Black women being berated and exploited." Selected films include those made by Black women filmmakers as well as those where a strong black female performance is included. The festival takes place annually in June over two days.

2002 Catherine Morris and Ingrid Schaffner Gloria: Another Look at feminist art of the 1970s (New York : White Columns)

2002 M/E/A/N/I/N/G online (2002- (University of Pennslyvania) Edited by Susan Bee and Mira Schor, the journal is a continuation in a different form of M/E/A/N/I/N/G: a journal of contemporary art issues, (1986-1996) and archived at Beinecke Library,Yale University

2002 Ida Applebroog Benjamin Lignel ed Ida Applebroog Are You Bleeding Yet? (New York: la maison Red) More

2002 Diana Burgess Fuller and Daniela Salvioni eds Art/Women/California: Parallels and Intersections, 1950-2000 (California: San Jose Museum of art) More

2002 San Diego Women’s Film Festival () Organised by the San Diego Women's Film Foundation. Last known to have taken place 2007 (5th festival) and 2008.

2002 Anette Kubitza Fluxus, Flirt, Feminismus? : Carolee Schneemanns Körperkunst und die Avantgarde (Berlin : Reimer)

2002 Joanna Zylinska ed The Cyborg Experiments: The Extensions of the Body in the Media Age (London: Continuum) More

2002 Mignon Nixon Eva Hesse (Cambridge: Massachusetts: MIT press, October books) More

2002 Sidonie Smith and Julia Watson eds Interfaces: Women/Autobiography/Image/Performance (University of Michigan Press) More

Review reproduced from Volume 12, n.paradoxa, July 2003. Katy Deepwell 'Short Book Reviews'

Sidonie Smith and Julia Watson (eds) Interfaces: Women/Autobiography/Image/Performance University of Michigan Press, 2002. ISBN: 0-472-06814-8

This book was designed as a reader for teaching - albeit an impressive anthology of new writing about women artists - for it concludes with a syllabus outline for a course on 'narrative autobiography' in women's art practice. The introduction and the essays encourage analysis of the problematic category of autobiography as it might be read into and from women's art practice through the equally problematic notions of memory, experience, identity, embodiment and agency. Although they emphasise the contingency of the autobiographical act, the editors raise the thorny question of "narcissism" in criticism of women's self-portraiture and why women artists so frequently chose themselves as subjects of their work. However, the editors hold onto the older notion of a life narrative revealed in women's art practice, principally as a strong point of identification for the student in a liberal arts education with the artist's work, which oddly reinforces the paradigm they wish to move away from by attention to the visuality/textuality of the work of art. The volume ncludes essays on artists Jo Spence and Hannah Wilke by Jo Anna Isaak; on Cindy Sherman and Laura Aguilar by Amelia Jones; on Orlan by Linda S. Kauffman; on Jenny Saville, Faith Ringgold and Janine Antoni by Sidonie Smith; on Louise Bourgeois by Mieke Bal; on Bobby Baker and Blondell Cummings by Lesley Ferris; on Lorna Simpson and Adrian Piper by Jennifer Drake; on Lorie Novak by Marianne Hirsch; on Claude Cahun by Georgina MM Colville; on Elvira Bach and others by Irene Gammel; on Frida Kahlo by Mimi Y. Yang; on Charlotte Salomon by Julia Watson; on Laurie Anderson by Jessica Prinz; on Erika Lopez by Laura Laffrado; on Susan King and Joan Lyons by Renee Riese Hubert/ Judd D Hubert.

2002 Mary Flanagan and Austin Booth eds Reload: Rethinking Women + Cyberculture (MIT press)

2002 Terry Wolverton Insurgent Muse: Life and Art at the Women's Building (USA: City Lights)

2002 Maria Fernandez and Faith Wilding, Michelle M. Wright eds Domain Errors! Cyberfeminist practices (New York: Autonomedia) More

2002 LTTR () 2008

2002 Mary Beth Edelson The Art of Mary Beth Edelson (New York: Seven Cycles) More

2001 Nicole Eisenman and Kristin Chambers, Ghada Amer, Shahzia Sikander, Lin Tianmiao, Fatimah Tuggar Threads of vision : toward a new feminine poetics (Cleveland, OH : Cleveland Center for Contemporary Art)

2001 Joanna Frueh Monster Beauty: Building the Body of Love (Berkeley:University of California Press) More

2001 Uta Grosenick ed Women Artists in the 20th and 21st Centuries (Germany and UK: Taschen Books. English and German editions) More

2001 Carolee Schneemann Imaging Her Erotics: Essays, Interviews, Projects (London & Cambridge, Massachusetts) More

2001 Helena Reckitt. Survey: Peggy Phelan ed Art and Feminism (London: Phaidon) More

Review reproduced from Volume 9, n.paradoxa, Jan 2002. Katy Deepwell 'Short Book Reviews'

Helen Reckitt (ed) Peggy Phelan (Survey) Art and Feminism Phaidon, 2001 0-7148-3529-3

This book is part of a series by Phaidon on themes and movements in contemporary art. The lavishly illustrated format includes a long introductory survey-type essay, accompanied by extracts from other writers which are designed to contextualise the assembled material in terms of feminist theory. Presenting itself as the first fully illustrated and comprehensive survey of art and feminism from the 1960s to the present (a highly dubious claim given the 1994 anthology by Norma Broude and Mary Garrard The Power of Feminist Art and many other catalogues of feminist art practices!) the book presents over 300 colour plates from 150 artists, including 'rarely published installation shots' and 'previously unpublished artists' statements' (Press Release). On closer examination, the previously unpublished material proves to be one statement by Coco Fusco - and possibly, a little-known pamphlet by Su Richardson, Monica Ross and Kate Walker.

Peggy Phelan's text, albeit enjoyable to read and skillfully crafted with numerous insights, concentrates on only the American version of feminist strategies, key works and models, with occasional nods towards Britain as 'the well-rehearsed plot' of the history and the rise of the women's art movement. This emphasis is further reinforced in the unannounced selection of works: 85 of the artists live/work in the US, 50 in Europe (22 of whom are in the UK) with a further 10 who live/work in Canada, South America, Japan and Australia. While the "image" of the woman artist and the role of re-presentational and aesthetic strategies is discussed in relation to the problems of essentialism, multi-cultural politics (in the US), queer theory and shifts in feminist art history and theory, Emily Kame Kngwarreye, Sophie Calle, Helen Chadwick, Cecile Edefalk, Jenny Saville and Denise Stoklos are the only artists living outside the US whose work is briefly discussed outside the "familiar"account of American feminism.

2001 Reel Sisters of the Diaspora (Long Island) () The festival rigorously selects films made by women of colour which tell of the missing historical, psychological or political point of view of women. The film festival is accompanied by a lecture series each year and takes place in October. Among the many sections of the festival there is a teen genre.

2001 Aruna D'Souza ed Self and History: A Tribute to Linda Nochlin (London: Thames and Hudson) More

2001 High Falls Film Festival (Rochester, NY) () Founded in 2001, the High Falls Film Festival is one of the few film festivals worldwide that celebrates the work of women filmmakers, and is one of the longest running women’s film festivals on the East Coast.

2001 Jacqueline Bobo Black feminist cultural criticism (Malden, Mass. ; Oxford : Blackwell)

2001 Women in Film Dallas, formally Chick Flicks Festival (Dallas) () Each year, Women in Film.Dallas organises the Chick Flicks Festival showcasing short films by female filmmakers. The festival is also an important fundraiser for WIF.D who provide scholarships for women and students in the film industry. Scholarship recipients for the year are presented their monetary award at the conclusion of the festival along with the filmmaker winners.

2001 Martina Pachmanova Virnost v pohybu / Mobile Fidelity (Prague: One Woman Press) More

Review reproduced from Volume 9, n.paradoxa, Jan 2002. reviewed by 'Short Book Reviews'

Martina Pachmanova Vìrnost v pohybu / Mobile Fidelity (text in Czech only)

Prague, One Woman Press, 2001 ISBN 80-86356-10-8 A feminist viewpoint is still not frequently used in the Czech art criticism. Martina Pachmanova, a major supporter of feminist approaches in the field of art history, has decided to provide especially the younger generation of both critics and artists with a dozen views on feminism and its role in art and visual culture.

Pachmanova's searching for a less academic form and a theoretically less structured interview seems to be an ideal vehicle for this purpose. The flow of spoken words makes more visible the general fields of interest of the inteviewees who represent diverse branches of feminist cultural practice. Next to those who helped to shape feminism more than thirty years ago (Linda Nochlin, Martha Rosler) there are the younger academicians or artists (Amelia Jones, Mira Schor) whose attitudes have refreshed feminism and adapted it to current developments in visual culture. The discussed topics are art history, subjectivity and identity, aesthetics, sexual politics, public space and art institutions, However, a thin red line links all the interviews and is formed by a few recurring questions: Is it possible to redefine feminist art history? If yes, then how? Should feminist artists work within or outside the current art institutional structures? How can women be represented in art? Is the social and political involvement of artists, a dated practice? And last but not least, is American feminist practice valid in the new democracies of the Central and Eastern Europe? The book does not provide the reader with clear answers but is definitely food for thought.

Martina interviews Linda Nochlin, Natalie Boymel Kampen, Kaja Silverman, Susan Rubin Suleiman, Amelia Jones, Mira Schor, Jo Anna Isaak, Janet Wolff, Martha Rosler, Marcia Tucker and Carol Duncan.

Editor's note: Martina Pachmanova's interview with Kaja Silverman was Review reproduced in English in n.paradoxa Vol. 6, July 2000.

This book is available in English as a free download on www.ktpress.co.uk/pdf/mpachmanova.pdf, look in "books"

2001 Debra Wacks SMIRK: Women, Art and Humour (New York: Firehouse Gallery Nassau)

2001 Mieke Bal Louise Bourgeois' Spider: the Architecture of Art-Writing (Chicago: University of Chicago Press)

2000 Susan Bee and Mira Schor eds M/e/a/n/i/n/g : an anthology of artists' writings, theory, and criticism (Durham, NC : Duke University Press)

2000 Christina Z. Anderson Tutti Nudi: Reflections on the Nude from the Greeks to the Twenty-First Century (New York: Midmarch) More

2000 Amanda Cruz and Amelia Jones, Elizabeth A.T. Smith eds Cindy Sherman: A Retrospective (London: Thames and Hudson) More

2000 Laura Cottingham Seeing Through the Seventies: Essays on Feminism and Art (Amsterdam: G+B Arts International)

2000 Laura Cottingham Intro by Christine Bard How many "bad" fcminists does it take to change a lightbulb? / Combien de "sales" feministes faut-il pour changer une ampoule? : antifeminisme et art contemporain (Lyon : Tahin Party)

2000 Alicia Craig Faxon and Liana De Girolami Cheney, Kathleen Russo eds Self-Portraits by Women Painters (London: Ashgate) More

2000 Peggy Z. Brand ed Beauty Matters (USA: Indiana University Press) More

2000 Lunafest (a US touring festival) () Lunafest is a travelling film festival of award-winning short films by, for and about women. Organised by LUNA, the makers of a Whole Nutrition Bar for Women, the aim is to raise money for charity, notably Breast Cancer. In 2012, nine films, filled with stories of reflection, hope and humor, were toured to over 150 cities and screened in front of 20,000 people.

2000 Harmony Hammond Lesbian Art in America: A Contemporary History (New York: Rizzoli International Publications Inc) More

2000 Molly H. Mullin Culture in the Marketplace: Gender, Art and Value in the American Southwest (Duke University Press) More

2000 Meridians () current interdisciplinary journal that offers a forum for scholarship and creative work by and about women of color in United States and international contexts

1999-2000 Lucy Lippard On the Beaten Track (New Press/IB Tauris) More

1999 FEMSPEC () current an interdisciplinary feminist journal dedicated to critical and creative works interrogating gender in the realms of science fiction, fantasy, surrealism, magical realism and the supernatural

1999 Daniela Salvioni and Vicki Logan and Kent Logan Looking at ourselves : works by women artists from the Logan Collection (San Francisco Museum of Modern Art, January 09-April 20)

1999 Coco Fusco ed Corpus Delecti: Performance Art in the Americas (Routledge) More

1999 Lisa Bloom ed With Other Eyes: Looking at Race and Gender in Visual Culture (Minneapolis: University of Minnesota Press) More

1999 Shelley Rice Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman (MIT press)

1998 Ida Applebroog Nothing Personal: Paintings, 1987-1997 (USA: DAP/Corcoran Gallery of Art)

1998 Jane Blocker Where is Ana Mendieta? Identity, Performance and Exile (USA: Duke University Press)

1998 Katy Deepwell ed Nuevo Critica Feminista de Arte (Ediciones Cathedra,Universitat de Valencia/Instituto de la Mujer)

1998 Whitney Chadwick ed Mirror Images: Women, Surrealism and Self-Representation (Boston: MIT Press) More

1998 Everett Women's Film Festival (Washington) () Everett film festival is an annual festival in Washington presenting films written, produced or directed by women.

1998 Whitney Chadwick Framed (London: Macmillan) More

1998 Judith Fryer Davidov Women's Camera Work : Self/Body/Other in American Visual Culture (Duke University Press)

1998 Ella Shohat ed Talking Visions: Multicultural Feminism in a Transnational Age (Cambridge, Mass: MIT)

1998 Karen Finley Shut Up and Love Me (Artspace Books)

1998 Coco Fusco et al The Latina Artist: The Response of the Creative Mind to Gender, Race, Class and Identity (New Brunswick, NJ: Rutgers Univ Press)

1998 Amelia Jones Body Art - Performing the Subject (University of Minnesota) More

Review reproduced from Volume 2, n.paradoxa, July 1998. Hilary Robinson 'Book Reviews'

Amelia Jones Body Art: Performing the Subject (Minneapolis: University of Minnesota Press, 1998) ISBN 0 8166 2773 8

This is a book which, I feel, will have a far-reaching effect upon the development of the theoretical discourses around performance, representations of the body, and body art in particular. Amelia Jones develops models for thinking through the representation of the artist's body/self in artworks and the associated problematics of the mediation of subjectivity between artist and audience. Using a phenomenological basis for developing understanding of body art as intersubjective (rather than subject/object), Jones traces body art's disruption of the normative values of the modernist art world. The significance of the particularity of the body used is demonstrated through close readings of certain works: any artist's body/self used in an artwork becomes explicitly non-universal, non-transcendent. In this lies body art's potential for radical (including feminist) practices. Works by Vito Acconci and Hannah Wilke are analyzed in depth against this background, enriched by readings across a host of works by other artists, demonstrating the delicate but insistent play of intersubjectivity.

This is not a book 'about' body art, then (and still less is it one 'about' particular artists), so much as one which aims to develop the critical vocabulary and shape the discourses of body art, opening spaces for gender-aware and anti-racist practices. This it does productively and provocatively. Its language is rich and challenging (if with a decided American accent - many nouns extended into adjectives and verbs). Its main fault for the researcher-reader is its lack of separate bibliography: one has to trace back through the notes, which is frustrating, as they take up over a quarter of its pages.

My main problem with the book's argument is tangential to its aim: it lies with one of Jones's definitions of "body art", which I feel is an over-protective handling of a methodological problem. Early on, Jones stresses that body art is dependent upon photographic documentation (p.13), later adding that it [depends] on documentation to attain symbolic status within the realm of culture (p.33). While photographic documentation is crucial for the retrospective researcher, it is important to distinguish between body art intended to be mediated in photographic format (like some of Wilke's work under discussion), and that which is documented through photographs - in which case the photographic evidence remains highly contingent and partial, and the structures of discourse around them differ. A few photographs taken during (say) a 12-hour non-stop body art work can only be understood as a trace record, rather than privileged access to the artist/subject; the most reductive critic would at this point mourn the loss of such access, deeming it only possible through attending/participating in the performance itself. The significance of this distinction is not clear in the book (indeed, the import of time in the processes of body art is notably absent from the discussion). This point (and my terminology) cut across Amelia Jones's intentions of elucidating the intersubjective nature of body art, but it is crucial in the thorny debate about the representation of body art and the possibility not only for adequate documentation but also for a radical (feminist) retrospective critical analysis. Jones positions the reading by Alan Kaprow of Hans Namuth's photographs of Jackson Pollock as crucial to the development of Happenings; but this could only happen with the imaginative leap from reading those photographs as indexical of the (unmediated) subject 'behind' the paintings, to reading them as indexical of a possible repertoire of gestures of mediation. Only then can the subjectivity of the artist be constructed as particular and contingent. What is indicated here is that the strategic reading of the documentary photograph is at stake. This could, I think, have been explored in the book; however, this removes little from Jones's overall, and considerable, achievement of shifting the models of thinking about body art away from the prevalent idealist notions of unmediated access to the artist/subject and into a more radical realm which can only be of benefit to developing feminist critical thought.

1998 Martha Rosler Martha Rosler: Positions in the Life World (Massachussetts/MIT press, Birmingham/Ikon Gallery, Vienna/Generali Foundation) More

1998 Moira Roth Difference Indifference : essays, interviews & performances (G & B Arts International, June)

1998 Lorna Simpson Interior/Exterior, Full/ Empty (USA : Wexner Center, February)

1998 Moira Roth Rachel Rosenthal (USA: John Hopkins University) More

1998 Lydia Lunch Paradoxia: A Predator's Diary (London: Creation Books)

1998 Essay: Dr Ieva Kuiziniene Lithuanian Art / Women Experience (Washington DC: Contemporary Art Centre, October) More

1998 Katy Deepwell ed Nuevo Critica Feminista de Arte (Ediciones Cathedra,Universitat de Valencia/Instituto de la Mujer)

1997, 2013 Margot Mifflin Bodies of Subversion: A Secret History of Women and Tattoo (Random House)

1997, 1998 Arlene Raven JUNE WAYNE (USA: University of Washington Press)

1997 Mary Kelly. Curator: Judith Mastai Social process--collaborative action : Mary Kelly 1970-75 (Vancouver : Charles H. Scott Gallery)

1997 Women's Arts News () 2007 a monthly newsletter from Women's Studio Center Inc., New York

1997 Kyra Belan Earth, Spirit and Gender: Visual Language for the New Reality (American Heritage)

1997 Lucy Lippard, commentary by Laura Cottingham Hot Potatoes: From Minimalism to Activism (New York Critical Voices Series from G+B Arts international, May)

1997 San Francisco Transgender Film Festival (San Francisco) () The San Francisco Transgender Film Festival (SFTFF) screens films that promote the visibility of transgender and gender variant people and challenge the mainstream media's negative stereotypes of our communities. We provide opportunities for transgender and gender variant media artists, build community through our film and performance events, and engage our audiences in cross-community dialogue. The festival takes place in November.

1997 New Art Examiner ((USA)) March v.24

1997 Mira Schor Wet: On Painting, Feminism and Art Culture (USA: Duke University Press) More

1997 McMullen Museum of Art Re/Dressing Cathleen: contemporary works from Irish Women Artists (Boston: McMullen Museum of Art, Boston College, Oct 5-Dec 7)

1997 Salah Hassan ed Gendered Visions: the Art of Contemporary Africana Women Artists (Trenton, NJ: Africa World Press)

1997 Mary Kelly Imaging Desire: Mary Kelly:Selected Writings (MIT Press) More

1997 Carl Haenlein ed Rebecca Horn: The Glance of Infinity (USA, Scalo; Germany, Kestner Gessellschaft)

1996 Joanna Frueh Erotic Faculties (Berkeley: University of California Press)

1996 Bell Hooks Art on My Mind:Visual Politics (New York: New Press)

1996 Francesca Hughes ed The Architect: Reconstructing Her Practice (Boston: MIT Press) More

Review first published in n.paradoxa online (May 1997) by Katy Deepwell -- This book addresses the question of gender in architectural practice. Touching on familiar questions for women practitioners : Do women design differently from men? Is there a feminine architecture? What does it look like? and at the same time trying to move beyond these into more complex questions of the problem of 'Woman' already-inscribed in language in its contradictory even opposition placement against the work of real women architects. The aim is to produce a collective autobiography of practice : one which multiplies that sense of possibility in gender beyond simple binary oppositions of male/female. As one reviewer put it, the book is collected 'with cunning and tact', essays are linked in a tangential but flowing manner.

Contents and Authors:

Beatriz Colomina discusses Eileen Gray's house E.1027 at Cap Martin and the contradictory place of Le Corbusier's gift mural within it. Martine De Maesener's essay plays on the conflicts in language and spatial design embodied in the notion of form and function : a play between up and side, 'Op-Zij' (in Dutch) inside/outside in 'Rear Window'. Francoise-Helene Jourda describes her architectural practice (and collaborations) in terms of principles specifically exploiting contradictory principles. Elizabeth Diller moves from an analysis of time-motion efficency in 1950s Taylorism to a clever pun on the pyschology of housewives dis-/mal-content in pressing the perfect shirt. Dagmar Richter, inspired by Cixous' challenge to put into words the unthinkable/unthought offers reflections on 'A Practice of One's Own' from building the Century City to using 'irony' as a method to redesign Beirut. Nasrine Seraji-Bozorgzad's reflections presented in image/text forms present reflections on territories and models of architectural practice in order to illuminate her own position. Catherine Ingraham takes up Francesca Hughes' suggestion of women operating as both insiders and outsiders in architecture language and its objects: as a site for a lament. Christine Hawley presents aspects of her own practice and offers ideas and salutary warnings about challenging the norms of architecture. Merrill Elam discusses some of her own projects and recollections ; Diana Agrest 'The Return of (the Repressed) Nature in the China Basin project; Magret Hargardottir discusses her design of City Hall, Reyjavick,Iceland and work in Wiesbaden; and Jennifer Bloomer the principles of composition and fascination in still life in her work.

1996 Jo Anna Isaak Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter (London: Routledge) More

1996 Susan L. Stoops and Lynda Benglis, Whitney Chadwick More than minimal : feminism and abstraction in the '70's (Waltham. Mass.: Rose Art Museum, Brandeis University)

1996 Amelia Jones ed Sexual Politics: Judy Chicago's The Dinner Party in Feminist Art History (University of California Press)

1996 National Museum of Women in the Arts Virgin Territory: Women, Gender and History in Contemporary Brazilian Art (Washington, DC: National Museum of Women in the Arts)

1996 Lucy Lippard The Pink Glass Swan: Selected Feminist Essays on Art (New York: New Press )

1996 Adrian Piper Out of Order,Out of Sight (2 Vols) (Boston, Mass: MIT) More

1996 Cecilia Puerto Latin American Women Artists,Kahlo & Look Who Else. A Selective Annotated Bibliography (Westport, Connecticut & London, Art Reference Collection, No.21)

1996 O. Leroux and M Jackson Inuit Women Artists (San Francisco: Chronicle Books )

1996 Maya Angelou, Theresa Robinson et al ed Bearing Witness: Contemporary Works by African American Women Artists (New York, Rizzoli)

1996 Betty Ann Brown ed Expanding Circles: Women, Art & Community (New York: Midmarch Arts Press) More

1996 Susie Bright and Jill Posener Nothing But the Girl: the Blatant Lesbian Image (Cassell)

1996 Lynn Hershman Leeson Clicking In: Hot Links to a Digital Culture (Seattle,Bay Press)

1996 Georgia Collins and Renee Sandell eds Gender issues in art education : content, contexts, and strategies (Reston, Va. : National Art Education Association)

1996 Cherry Smyth Damn Fine Art by New Lesbian Artists (Cassell)

1996 Catherine de Zegher Inside the Visible (Boston: ICA/ MIT: Kanaal Art Foundation)

1995 Geraldine P. Biller ed Latin American Women Artists,1915-1995 (USA:Milwaukee Art Museum)

1995 Whitney Chadwick ed Confessions of the Guerilla Girls: How a Bunch of Masked Avengers Fight Sexism and Racism in the Art World with Facts, Humor and Fake Fur (London: Harper Collins)

1995 Diane Apostolos-Cappadonna and Lucinda Ebersole eds Women Creativity and the Arts: Critical & Autbiographical Perspectives (New York: Continuum)

1995 Kathy Acker and Robin Kahn, Antal Ronell Time Capsule: A Concise Encyclopedia by Women Artists (Creative Time)

1995 Peggy Z. Brand and Carolyn Korsmeyer eds Feminism and Tradition in Aesthetics (Pennsylvanian: Penn State Press)

1995 Faith Ringgold We flew over the Bridge: The Memoirs of Faith Ringgold (USA: Little Brown)

1995 Diane Neumaier ed Reframings: New American Feminist Photographers (Philadelphia: Temple University Press)

1995 Suzanne Lacy ed Mapping the Terrain: New Genre Public Art (Seattle: Bay Press)

1995 Candace Lee A Gathering Place: Art-Making by Asian/Pacific Women (Southern California, Pacific/Asia Museum)

1995 Lynn Zelevansky Sense and Sensibility: Women Artists and Minimalism in the Nineties (Thames and Hudson/New York:MOMA)

1995 Naomi Schor Bad Objects (USA: Duke University Press)

1995 Southwest Art ((USA)) (November) Vol.25. No.6

1995 October ((USA)) (Winter) No.71 pp.103-19

1995 Marcia Tucker Bad Girls (Boston,Mass: MIT)

1995 Carolyn Korsmeyer and Peggy Z. Brand eds Feminism and Tradition in Aesthetics (Pennsylvanian: Penn State Press)

1995 Jo Anna Isaak Laughter Ten Years After (USA: Hobart & William Smith Colleges Press)

1995 Natalie Harris Bluestone Double vision : perspectives on gender and the visual arts (Madison : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses)

1995 Leslie King-Hammond ed Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists (New York: Midmarch Press)

1995 Art Journal ((USA)) (Spring) 'Clothing as subject'

1995 Coco Fusco English is Broken Here: Notes on Cultural Fusion in the Americas (New York)

1995 Nina Felshin But is It Art? : The Spirit of Art as Activism (Seattle,Bay Press)

1995 Lucinda Ebersole and Diane Apostolos-Cappadonna Women Creativity and the Arts: Critical & Autbiographical Perspectives (New York: Continuum)

1994, 1995 Mara Witzling Voicing Todays Visions (London: Women's Press)

1994 Joanna Frueh and C. Langer, A.Raven Feminist Criticism: Art, Identity, Action (Icon/Harper Collins)

1994 Anette Kubitza Die Kunst, das Loch, die Frau : feministische Kontroversen um Judy Chicagos "Dinner Party" (Pfaffenweiler : Centaurus)

1994 Abigail Solomon-Godeau Photography at the Dock: Essays on Photographic History, Institutions, and Practices (University of Minnesota Press)

1994 Paul Von Blum Other visions, other voices : women political artists in greater Los Angeles (Lanham, MD ; London : University Press of America)

1994 Elizabeth Shepherd Secrets,Dialogues, Revelations: The Art of Betye and Alison Saar (University of Washington Press)

1994 Salwa Mikdadi Nashashibi et al Forces of change : artists of the Arab world (Lafayette, Calif. : International Council for Women in the Arts, Also published by National Museum of Women in the Arts)

1994 Jane R. Glaser and Artemis A.Zentou eds Gender Perspectives: Essays on Women in Museums (Washington DC: Smithsonian Institution Press)

1994 Elizabeth Biasio 'The Burden of Women - Women Artists in Ethiopia' New Trends in Ethiopian Studies: Papers of the 12th International Conference of Ethiopian Studies (New Brunswick: The Red Sea Press & Michigan State University)

1994 Art Papers () Vol. 18 No. 6 special issue on Lesbian Artists

1994 Norma Broude and Mary Garrard The Power of Feminist Art : Emergence,Impact and Triumph of the American Feminist Art Movement (New York: Harry N. Abrams) More

This review by Katy Deepwell was first published in Oxford Art Journal 1995 Vol 18 No. 2 p.119-122

The beautiful colour reproductions and the substantial qualities of this new Broude and Garrard anthology (literally its size and weight) create a totality and 'seeming' coherence to art history about the feminist art movement and confirm its importance as an object of study. There is no doubt that here, and not just within the pages of this book, is an important history which needs to be affirmed, celebrated, anthologised and documented. However, much as I and many others might wish to reiterate the importance of feminism, the question remains, what contribution will this book make to shifting the study of feminist art practice from the margins to the centre: from its frequent position as an addendum or one-off topic, into a key subject of study?

A new wave of feminist publications has arrived both this year and last including, in addition to those reviewed here, two new anthologies from Harper Collins by Joanna Frueh, Arlene Raven, Cassandra Langer (Feminist Art Criticism and Feminist Criticism; Art, Identity,Action) and a continuing stream of publications from both Bay Press in Seattle (see below) and MidMarch Arts Press in New York (e.g. Leslie King-Hammond (ed) Gumbo ya ya: Anthology of African American Women Artists and Laura Brunsman and Ruth Askey (ed) Modernism and Beyond: Women Artists of the Northwest). Both Lucy Lippard and Mary Kelly are publishing new editions of collected writings in 1995. The first feminist anthology from Britain on the visual arts since 1987 has just been published containing contributions by 23 different women artists,curators and writers : Katy Deepwell (ed) New Feminist Art Criticism: Critical Strategies (Manchester University Press,1995). What, collectively, will the impact of this new wave of publications have on teaching about feminist art practice in art schools and art history departments, even in women's studies ? Will it offer a means to redefine the curriculum? And, by this I mean, moving the study of feminist theory, criticism and practice out from the occasional guest lecture or one-off seminar tagged on to the end of the programme, into the centre of issues and debates explored within programmes on contemporary art. Perhaps, here, is the other great problem that art history departments in Universities rather than art schools tend towards, the absence of taught programmes about contemporary art practice in the last twenty-five years. What impact also will such books have in redefining the teaching of what constitutes feminist art practice, beyond the often officially-unacknowledged reassurance that such publications, which are typically out from the library, provide for women students of role models or possibilities for a future as practicing artists, art critics and art historians. After twenty five years, it is very clear , if only to those who have been involved, that the feminist art movement is in the process of redefining its own legacy and redrawing the boundaries and emphases of its own history. Overcoming the incredible backlash of the mid-late 1980's, renewing internal debates and addressing the 'generation gap' amongst its practitioners have emerged as key issues. The longstanding questions of feminism's critique of Greenbergian modernism, its potential interventions in the art world and its new, if tentative, alliances with postmodernism (in addition to its use of post-structuralist theory) remain on the agenda in all the new publications discussed here. Such reassessment is taking place in the context of a renewed interest from a younger generation of women artists in the supposedly brash and deliberately lewd feminist transgressions of the early 1970's to parallel their own in the guise of postmodern 'Bad Girls' or 'Cyberchics'. The Power of Feminist Art ends , appropriately, with an essay by Laura Cottingham ( a contributor to the ICA's 1993/1994 Bad Girls catalogue) which stresses a continuum linking 'Bad Girls' like Sue Williams, Zoe Leonard or Lorna Simpson to a legacy of feminism dating from the early seventies. The point is reiterated, from a different angle in Mira Schor's essay on 'Backlash and Appropriation', the dual themes of a feminist legacy in postmodern times. Schor contrasts David Salle's painting 'Autopsy'(1981) with Kiki Smith's sculpture/installation 'Tale'(1992) amongst other examples to demonstrate the casual sexism and discrediting of any feminist critique by the repitition of images of abject, often deliberately humiliated, women in the work of some of the art world's currently most celebrated 'golden boys' and 'girls'.

Given the increasing number of substantial publications on feminist art practice, isn't it now time to reassess how feminist art practice since the 1970s is now taught or even communicated to succesively younger generations of art students ? Art school culture still does not seem to have updated its ideas of feminism from either the stigmatising of everything feminist (particularly from the 1970's) as essentialist, even more perversely as 'sexist', or the attempt to bury feminism under the prefix of 'post'-feminism by the lads of the new academy.

In this respect it is significant that feminist interventions in teaching form such a central part of the material discussed in The Power of Feminist Art, specifically the impact of Judy Chicago and Miriam Schapiro's feminist art program at Cal Arts and Fresno in the early 1970's (in interviews with both artists) and Linda Nochlin's own recollections of her early feminist teaching programs at Vassar and the vast expansion of work on women artists since the early 1970's. These women's interventions as teachers have had a significant impact as feminist role models, the former in a new focus on women's experience and perspectives as subject matter for works of art; the latter in switching the emphasis away from studying women as bearers of man's meaning into their significant contribution as makers of meaning. Nochlin's emphasis upon analyses of the representations of women ( coupled with developments in cultural studies) have achieved a limited orthodoxy as an appropriate 'academic' approach in many art history departments though they are not always accompanied by the groundswell of research into the work of women artists which developed from this work. I am still amazed at how few students have actually read her pioneering essay 'Why have there Been No Great Women Artists?' and been encouraged to apply her insights to new research on women artists.(The project of recovery is far from exhausted, even as methodologies change). The description of the feminist art program by former students, in Faith Wilding's account, and of the significance of the Womanhouse project which emerged from the work (Arlene Raven) , make exceptionally interesting reading for lecturers. Chicago and Schapiro's use of both a separate teaching space for women students and the intensive use of consciousness-raising techniques as the basis for issue-based work continue to inspire as well as suggest ways to problematise feminist approaches and methodologies.

To a British audience, clear theoretical differences remain in the reception of this American re-assessment of its own legacy. Firstly, the emphasis upon celebration. This appears as an, at times, uncritical celebration of women's creativity and connections within the mainstream, an 'art-world feminism' , which the British art scene has until recently apparently lacked. For we too, now have 'Bad Girls' and a new generation of women sculptors 'making it in the mainstream', e.g. Rachel Whiteread, Rose Finn-Kelcey, Helen Chadwick. What this celebratory element provides cannot be too quickly dismissed , however critical we might remain of the terms of some affirmations of all women's work as feminist statements , particularly those working within mainstream and well-established practices. Affirmation, at least, has the advantage of providing important documentation of works which have rarely been seen over here and a large number of extremely useful descriptive passages about the staging or content of the individual artworks, even while it provides little analytical commentary about the context in which such works were produced or received. It may appear to a more sceptical British audience, that the affirmation of women artist's activities per se is equivalent to all or any feminism, but what is actually being presented in this anthology is a quite well established canon of feminist practitioners, a great and good accounting of the visibility of feminism in the art world since the seventies. This is not to dismiss the usual complaints about the selection of writers and artists represented and its resulting exclusions and emphases. The book has provoked complaints in America because of its lack of representation of certain sections of the feminist art movement (literally its heterodoxy and its East coast/West coast emphasis) but it is certainly no less than the complaints of British feminist practitioners on the publication of Rosika Parker and Griselda Pollock's Framing Feminism: the Women's Art Movement 1970-1985 for its inclusions, exclusions and emphases. The mistake is in assuming that either book is definitive, the only possible account , and that the presentation consists of only those artists worth studying or even, in these cynical times, worth knowing about . For those who have well-established collections of feminist magazines or who have followed the major feminist exhibitions in America, there are no new surprises in this book , but what there is is a vast array of photographs reproduced in colour which had previously only been frequently known in black and white. The documentation of the Womanhouse project and photographs of early performance work are but two good examples.

Much of 'The Power' in the title brings into view the activism of American feminists in the art world, both protests against the status quo from Whitney demos to Guerilla Girls to Women's Art Coalition (WAC) as well as the more organised side of the women's art movement through the Women's Caucus for Arts (WCA) and the Coalition of Women's Organisations and the establishment of a variety of feminist publications and exhibition spaces for women. The broader picture of women artists' activism in terms of political engagement from street theatre to large scale collaborative projects enable links to be seen between the women's movement and content-based work. Overall the book stresses the centrality of activism to the individual and general level of public consciousness-raising about issues like violence against women, the peace movement, enviromental and health issues, the Equal Rights Amendment (ERA), levels of institutionalised discrimination in the art world , analysis of attitudes towards women's bodies and change for women in the workplace. The Power of Feminist Art also supports and enables connections to be seen between feminist practice over the last twenty five years and its centrality to the emergence of 'New Genre Public Art' which form the subject of both Suzanne Lacy's Mapping the Terrain: New Genre Public Art and Nina Felshin's But Is It Art?: The Spirit of Art as Activism (both titles from Bay Press,1995). Activism within a recognised community in these three books provides an argument for overcoming standard oppositional definitions of public art as 'the turd in the plaza' and the incredibly diverse category called 'community arts' by foregrounding a definition of socially engaged and committed practice outside conventional gallery spaces with a specific constituency as both audience and participants. Collaboration (between artists and co-workers as much as the use of non-art audiences as participants in public artworks) becomes the key to challenging modernism's emhpasis on individualism and models of isolated art production as artworks travel from studio to gallery.

Underlying these comments about activism , however, is an important issue which the book does seek to address in a variety of ways, namely the question of the exclusions within feminism and whether or not feminism can be all-inclusive. This debate has a particular character in America which complaints about exclusivity, particularly debates about racism or the Eurocentrism of white feminists here, only superficially share. Firstly, this is because the make-up of constituencies in terms of ethnic and racial backgrounds and their colonial inheritances amongst feminists is different on either side of the Atlantic (see,for example, Lucy Lippard's Mixed Blessings: Art in Multi-Cultural America Panetheon,New York,1990). Secondly, as a consequence, this produces a variety of different emphases in how these factors affect both what constitutes the areas of activism as well as the levels of recognition possible within particular constituencies, specifically feminist, black and hispanic, both inside and outside the art world. In stressing engagement, via consciousness-raising, collaboration, community and activism, Broude and Garrard's anthology presents in a new light what had become a dividing issue amongst feminist constituencies: the question of essentialism versus anti-essentialism. There are side-swipes at recognisably anti-essentialist practices which engage directly at the level of Theory and refutations of the attacks or identification of certain feminist positions as essentialist throughout the book. However, rather than adopting the theoretical ground for a discussion of these issues (a debate here which can be seen in the arguments presented by Barry / Flitterman-Lewis as opposed to A.Partington in Hilary Robinson's Visibly Female Camden Press,London, 1987), this book stresses activism as a means to re-read the question of what makes a work a feminist intervention. Suzanne Lacy, for example, argues that 'deconstruction was tied to an activist project of shifting power relationships in daily life, rather than a theoretical exercise in rarifed language addressed to an art-world viewership' (p.264) and Judy Chicago states that the essentialist/anti-essentialist debate closes down on the real project, feminism's ongoing critique of patriarchy : 'The thing about essentialism is that it's being used by women to attack women . . . and to discredit their foremothers' (p.71). While 'activism' has the effect of foregrounding feminist practice as diverse and manifest in different levels of practical engagement from teaching to participation in feminist publications, street demonstrations or work with particular constituencies and communities, it also short-circuits the much more difficult theoretical questions of 'Woman/women' and analyses of the complexities of racism and multi-culturalism in relation to gender (particularly given the enterprises of feminist post-structuralist approaches in criticism and practice).

Overall The Power of Feminist Art maintains a vital emphasis upon the diversity of positions and perspectives in two and a half decades of feminist art practice but this diversity is stressed in and through a representational politics of identity rather than by sustained argument or dialogue. Two artists quoted within the book show the difficulty of arguing for the centrality of their own position in terms of identity politics which may leave different constitutencies isolated and without dialogue between them. Judith Baca states that feminism (since the 1970's) remains an important body of knowledge and a resource, but that 'Ethnicity won't join a white feminist agenda. It will transform it. It will become the central agenda of feminism, as rightly it should, because we are the majority'(p.274). While Ruth Iskin, in a different essay, argues equally for the centrality of a lesbian perspective, 'The lesbian relationship as metaphor stands at the heart of feminist art and has on some level affected every feminist's work' (p.202), thus echoing Adrienne Rich's arguments prioritising a lesbian continuum precisely for the importance attached to all woman-to-woman relationships. While critiques of the ethnocentrism and the 'invisibility' of lesbian perspectives are acknowledged by this approach which seeks to represent constituencies with equal weight, the arguments are rarely made in full, which may lead toonly tokenistic acknowledgement of their importance for all women.

This model of cultural diversity is, however, extremely useful precisely because it is so easily assimilable into teaching practice, providing a great number of examples for discussion while it at the same time leaving a lot of questions unanswered and a great number of future possibilities to be explored. Certainly this is the important challenge that a book like this offers readers and lecturers who adopt it as core teaching material and it underlines the importance of feminism as a politics and not an artworld style or art historical movement . While The Power of Feminist Art possesses the authority of grounding a potential field it also begs for further research to be undertaken. Hopefully, this publication will go a long way to overcoming the repetitive foregrounding of only Cindy Sherman, Barbara Kruger or Mary Kelly as worthy objects of study, (often as the acceptable face of anti-essentialist feminism in the postmodern art world via Craig Owens essay 'The Discourse of Others: Feminists and Postmodernism ') and the positioning of Judy Chicago as representative of the 'bad' essentialist camp because of her revival of craft or use of core imagery. For, in spite of its celebration of the latter's work, it at least foregrounds a large number of women artists as alternative objects of study and points again to the importance of performance work for feminists from the seventies. There are also frequent references to the use of masquerade and transformative performances and photowork in representation as 'forerunners' of Cindy Sherman. Miriam Schapiro suggests that it is an 'absence of representations, of icons, of memory' (a lack in education as much as in art historical and critical discussion ) which leads contemporary women artists to 'endlessly repeat' images and signs of 'the ills of survival in patriarchy' (p.83). However, as Griselda Pollock, pointed out in her review of the book in Women's Art Magazine (Jan/ Feb 1995) such comments continue to muddy the waters by inaccurately failing to acknowledge the significance of the attribution of feminist readings of images of women produced by Cindy Sherman's work as if that were either the politics of the artist or an internal quality of the work.

1993 Lynda Hart and Peggy Phelan eds Acting out : feminist performances (Ann Arbor : University of Michigan Press)

1993 Vera Norwood Made From This Earth: American Women and Nature (USA Chapel Hill: University of North Caroline Press)

1993 Robert Henkes The Art of Black American Women: Works of 24 Artists of the Twentieth Century (Jefferson:McFarland & Co)

1993 Aracy Amaral and Paulo Herkenhoff UltraModern: The Art of Contemporary Brazil (Washington DC: National Museum of Women in the Arts)

1993 Kathy Vargas and Connie Arismendi Intimate Lives: Work by Ten Contemporary Women Latina Artists (Austin, Texas: Women and their Work)

1993 Hilde Hein and Carolyn Korsmeyer eds Aesthetics in Feminist Perspective (Indiana University Press/Hypatia Inc.)

1993 Pamela Gruininger Perkins and S. Schwartz The Subject of Rape (New York: Whitney Museum)

1993 JoAnn Hanley and Ann-Sargent Wooster The First Generation: Women and Video,1970-1975 (New York:Independent Curators Incorporated)

1993 Margarita Tupitsyn After Perestroika : Kitchenmaids or Stateswomen (New York : Independent Curators. Margarita Tupitsyn, curator; essays by Margarita Tupitsyn and Martha Rosler.)

1993 Carol Duncan The aesthetics of power : essays in the critical art history (Cambridge : Cambridge University Press)

1992 Robert L. Hall Gathered Visions: Selected Works by African American Women Artists (Washington: Smithsonian Institution Press)

1992 San Juan Nuestro Autorretrato. La Mujer artista y la autoimagen en un contexto multicultural (Puerto Rico, San Juan)

1992 Rosalind Krauss The Optical Unconscious (Boston: MIT Press) More

This review was first published by Katy Deepwell in Women's Art Magazine July/August 1993 No.53 --- This is a difficult, provocative and challenging book. Its central themes emerge slowly as one familiarises oneself with the subtle crosscutting of voices, diary quotations, anecdotes, theoretical explorations and close readings which it offers. This "polyvalence" is central to Krauss's project, opening up the possibilities for re-reading modernism "from the inside"

Krauss re-examines what is at stake in the claims and counterclaims concerning some of modernism's heroes and bête noires, its championing critics and dissenting figures. Krauss reads against the grain of Greenbergian modernism, juxtaposing readings of John Ruskin on nature to Mondrian's grid,; of Duchamp on and against Fry; Ernst in relation to Freud; Dali against Bataille and Caillois; Helene Parmelin on Picasso; Twombly, Warhol and Hesse on Pollock. Remapping the structuralist graph which she has previously used so effectively in "Sculpture in the Expanded Field" (reprinted in Hal Foster Postmodern Culture,1985), to delineate the modernist vision of figure against ground, across Lacan's L-schema of a psychoanalytic theory of the subject, with its imaginary relations in the real and the unconscious repression of the Other, Krauss begins to define modernism's optical unconscious. The term borrowed and redeployed from Walter Benjamin's Small History of Photography (1931) refers to that which is externalised within the visual field, not simply in terms of modernism's scientific-technological games with the visual, but what it can reveal of the unconscious conflicts of makers and readers. Sexuality, specifically the carnality of vision, emerges centre-stage disavowing modernism's claims for the visual as autonomous, disinterested and transcendent.

Krauss' writing problematises the relationships between theory and an object; the procedures of art-making and reading; post-structuralist thought, modernism and Lacanian forms of psychoanalysis As Krauss herself says of Eva Hesse's work, the process aims to sap "from its very centre" modernism's "bachelor machine", logic and law in her ambition, its high seriousness, its engagement with visual experience and insistent female "Other" voice, striking parallels are constructed between Virginia Woolf (whose observations of Roger Fry delivering a lecture are quoted) and Krauss' own style (specifically her recollections of audiences with Michael [Fried] and Clem [Greenberg] )

The feminism underlying such a perspective remains implicit . For Krauss, like Woolf has an insider's view of what it is to be an Outsider; as a professional woman in a male club. As young initiate, Krauss laughed complicitly at Greenberg's jokes about "nice Jewish girls with typewriters" as she worked to become a "Clemberger" ; now as a mature writer, she freezes the underlying logic within its problematic and clinically and revealingly examines what remains of the corpse

Unlike Lucy Lippard, Krauss' recognition of the sexism within modernism, has not led to determined rejection of its critical apparatus via new definitions of value and a deliberate engagement with the large constituencies of politically engaged practitioners which modernism's narrow perspective refused to acknowledge. Or should, I say, yet. For illuminating and original as this book is about the limitations of Greenbergian modernism's logic seen from a post-structuralist perspective and suggestive as it is about psychoanalytic perspectives, it begs the question, can these tools also prove useful in the examination of that which is still truly repressed within modernist discourse, the work of women artists?

1992 International Review of African American Art ((USA)) v.9 No.2 'African American Women Artists: Another Generation'

1992 Judy Seigel Mutiny and the Mainstream: Talk that Changed Art,1975-1990 (New York:Midmarsh Arts Press)

1992 Lynda Nead The Female Nude: Art,Obscenity and Sexuality (London: Routledge)

1992 Betty La Duke Women Artists:Multi-cultural visions (USA: Red Sea Press)

1992 Norma Broude and Mary Garrard The Expanding Discourse: Feminism and Art History (New York: Icon Harper Collins) More

Norma Broude and Mary D Garrard The Expanding Discourse: Feminism and Art History(eds) IconHarperCollins, 1992 ISBN 0-060430391-8

This review was first published by Katy Deepwell in Women's Art Magazine Jan/Feb 1993 No.50

A decade ago Norma Broude and Mary Garrard published Feminism and Art History: Questioning the Litany (Icon,1982) one of the first anthologies of feminist art history in America. The Expanding Discourse maps the progress and diversity of feminist art history debates through 29 essays written in the 1980s.

In the introduction they outline how the encounter with post-modern Theory has literally expanded and diversified the discourses of feminist art historians producing what they define as 'neo-Marxist'; 'constructivist' and 'poststructuralist' accounts in addition to their own "liberal feminist" project. While they still maintain feminist art history should raise "fundamental questions for art history as a humanist discipline" they do not believe feminist art history should be confined to the documentation of women artists (as a form of additive history). Nor does their selection preclude the work of male writers eg Craig Owens whose classic essay "The Discourse Of Others Feminists and Postmodernism" is included.

The editors argue there are three dominant tropes in feminist an history in the first decade: the female body and the male gaze; femininity as a social construct ; and feminist critiques of essentialism, postmodemism and the woman artist. Under the first category come some trenchant analyses of images of women in "great" male artists' work including Leonardo da Vinci (Mary D Garrard's essay in the book) Botticelli (Lilian Zirpolo); Titian (Rona Goffen); Degas (Norma Broude); Matisse (Marilynn Lincoln Bernard); Renoir (Tamar Garb) and Gauguin exploring his "Invention of Primitivist Modernism'' (Abigail Solomon-Godeau) ; and constructions of a "Tahitian Body" (Peter Brooks)

Mary Ann Caws' illuminating essay on the depiction of women in Surrealist art "Ladies Shot and Painted" is also included. Yael Even examines the images of women's subjugation on the ''Loggia dei Lanzi" sculpture court in Florence. While Carol Duncan's "MoMa's Hot Mamas" explores how the modern (male artists heroic struggle over the body of woman structures the visitor's experience at New York's Museum of Modern Art).

Femininity as a social construct is explored through an analysis of largely 19th century themes - another feature of feminist an history in the 1980s. These include Griselda Pollock's essay which redefines "Modernity and the Spaces of Femininity" through an analysis of the spaces selected for representation in male/female Impressionists' works and Tamar Garb's analysis of a critical category "L'Art Feminin" used to pigeonhole women's work. Linda Nochlin argues that Berthe Morisot's "Wet Nurse" renegotiates the construction of work and leisure in impressionist painting while James Saslow's essay discusses the construction of a lesbian body in Rosa Bonheur's painting "The Horse Fair". Anne Higonnet's essay on 19th century women's "Secluded Vision'' in contrast with the former analyses of women's professional practice explores images of feminine experience in women's albums and "amateur" paintings.

Outside the research on the 19th century is Margaret Miles' study of the "Virgin's One Bare Breasts" which analyses nudity, gender and religion in Tuscan Early Renaissance culture and Natalie Kampen's "The Muted Other: Gender and Morality in Augustan Rome and 18th Century Europe". Helen Langa explores the work of women artists in America's New Deal arts projects of the 1930s. Langa contrasts the rhetoric of an "egalitarian vision" with the gendered experience of identity/difference across a male/public female/private political division.

The volume also includes some valuable studies of individual women artists which discuss the negotiation of feminine/ feminist identities and experiences Frida Kahlo (Janice Helland's essay); Lee Krasner as ''LK" (Anne M Wagner) and Georgia O'Keefe (Barbara Buhler Lynes). Explorations of contemporary feminist artists include Josephine Wither's on Judy Chicago's "Dinner Party" and two essays on Faith Ringgold on her observations of America in the 1960s (Lowery Sims) the other on Afrocentrism in Ringgold's and Elizabeth Catlett's work (Frieda Tesfagiorgis in line with poststructuralist debates about identity and subjectivity femininity is not assumed but explored as contradictory, strategic and fragmentary.

"Along with the dominance of a masculine value system in art and art history has often come a blindness to female existence even when the reality of women's roles is well documented by the art of a given place or period " (Broude and Garrard 1982)

Anyone involved with the teaching of art history today will understand the importance of Broude and Garrard's suggestion that feminist art history will continue to serve "a corrective need" in the next decade until the "values, categories and conceptual structures of our field" are profoundly rearranged.

1992 Heresies vol 26 / IdiomA () 1992 special issue collaboration in English (US) and Russian between these two journals

1992 Susan Bowers and Ronad DoHerer eds Sexuality, the Female Gaze and the Arts: Women, the Arts & Society (Selinsgrove, Susquehanna University Press)

1991 Hot Flashes ((New York: Guerrilla Girls)) 1993

1991 Art Journal ((USA)) Vol. 50, No. 2, Feminist Art Criticism (Summer, 1991)

1991 Gerald L . Belcher and Margaret L. Belcher eds Collecting souls, gathering dust : the struggles of two American artists : Alice Neel and Rhoda Medary (New York : Paragon House)

1991 Mary-Ann Milford-Lutzker Women Artists of India: A Celebration of Independence (Oakland, Mills College Art Museum)

1991 Women's Film Festival (Battleboro, Vermont) () This festival shows films produced or directed by women. It occurs in mid-March for 10 days.

1991 S. Rubin Suleiman 'Feminism and Postmodernism: A Question of Politics' in C.Jencks A Postmodern Reader (London: Academy Editions)

1991 Brian Wallis ed If You Lived Here: The City in Art,Theory and Social Activism: A Project by Martha Rosler (Seattle: Bay Press)

1991 Lucy Lim Six Contemporary Chinese Women Artists (San Francisco: Chinese Culture Center)

1991 Mary Jane Jacob Shikego Kubota: Video Sculpture (University of Washington Press)

1991 Joanna Frueh and C. Langer, A.Raven eds Feminist Art Criticism: An Anthology (Icon Edition)

1991 Nancy Grove Magical Mixtures - Marisol Portrait Sculpture ()

1991 Antiquity ( (USA)) September, Vol.65

1990 Museo de Arte Contemporaneo de Puerto Rico Mujeres Artistas: Protagonistas de los Ochenta (Santo Domingo : Museo de Arte Contemporaneo de Puerto Rico; Museo de las Casas Reales, 7 March-6 April,1990: Puerto Rico, San Juan,Museo de Arte Contempraneo de Puerto Rico,18 May-9 July,1990)

1990 Patricia Mellencamp Indiscretions: Avantgarde Film,Video & Feminisms (USA, Indiana University Press)

1990 Hypatia () v.5 n.2 'Feminist Aesthetics'

1990 Artweek ((USA)) 8 Feb, v.21

1990 Janet Woolf Feminine Sentences:Essays on Women and Culture (Polity)

1990 Journal of Aesthetics and Art Criticism ((USA)) (Fall) v.48 n.4

1990 Edward Sullivan and Linda Nochlin Women in Mexico/La Mujer en Mexico (New York: National Academy of Design)

1990 L. Nicholson ed Feminism/Postmodernism (Routledge)

1990 Faith Ringgold, with essays by Eleanor Flomenhaft,Lowery S.Sims,Thalia Gouma-Peterson & Moira Roth Odyssey of Faith : Faith Ringgold: A 25 Year Survey (Fine Arts Museum of Long Island April-June)

1990 Phoebe Farris ed Women Artists of Colour: A bio-critical Sourcebook to 20th Century Artists in the Americas (Westport, Conneticut: Greenwood Press)

1989 Betty Ann Brown and Arlene Raven, Kenna Love, Alessandra Comini Exposures : women & their art (Pasadena, Calif.: NewSage Press)

1989 Elizabeth Jessie Garber Feminist polyphony : a conceptual understanding of feminist art criticism in the 1980s (Ann Arbor, Mich. : UMI)

1989 Dale K. Haworth et al ed What does she want? : current feminist art from the First Bank Collection (Carleton College Jan. 7-Mar. 12, 1989 ; Women's Art Registry of Minnesota Apr. 8-May 13, 1989) (Minneapolis : First Bank System, Division of Visual Arts)

1989 R. Rosen and C. Brauer Making their Mark:Women Artists Move into the Mainstream,1970-1985 (USA,Abbeville Press)

1989 Sylvia Moore ed Yesterday & Tomorrow: California Women Artists (New York: Midmarch Press)

1988, 1992 Ronald Dotterer, S. Kraft and S. Bowers eds Politics, Gender and the Arts: Women, the Arts and Society (Selingrove, Philadelphia: Susquehanna University Press)

1988 Arlene Raven Crossing Over: Feminism and the Art of Social Concern (USA: Ann Arbor,Michegan: U.M.I.)

1988 Susana Toruella Leval Growing Beyond: Women Artists from Puerto Rico (Museum of Modern Art of Latin America)

1988 Guerrilla Girls The Guerrilla Girls' Bedside Companion to the History of Western Art (UK,Harmondsworth,Penguin)

1988 Salah Hassan ed Genders and Nations: Artistic Perspectives, Shirin Neshat and Chila Kumari Burman, with essays by Octavio Zaya and Katy Deepwell (Ithaca, NY: Herbert F Johnson Museum of Art)

1987 Women's Studies Quarterly ((USA)) Vol.15. No.1-2

1987 Sage: A Scholarly Journal on Black Women ((USA)) (Spring) Vol.4.No.1

1987 Guerrilla Girls The Banana Report: The Guerrilla Girls Review the Whitney (exhibition catalogue, The Clocktower, New York)

1987 Hilary Robinson ed Visibly Female (Camden Press)

1987 Art Papers () Feminist issue

1987 Connexions: An International Women's Quarterly () (Fall) no.24

1986 Rocky Mountain Women's Film Festival, (Colorado) () The Rocky Mountain Women's Film Festival is the longest continuous-running women's film festival in the US. It showcases documentary, feature, short and animated films that are thought-provoking and enriching, and that encourage global awareness and personal growth. The Rocky Mountain Women's Film Festival honors films and filmmakers that present the world as women experience it and that inspire curiosity, educate, entertain, and stimulate conversation. Founded by Donna Guthrie and Jerre Martin in 1986, the festival takes place every November.

1986 Judy Chicago Through the Flower: My Struggle as a Woman Artist (NY:Garden City/Doubleday/ Anchor)

1986 Judy Chicago The Dinner Party: A Symbol of Our Heritage (NY:Garden City/Doubleday/ Anchor)

1985 Judy Chicago The Birth Project (NY:Garden City/Doubleday)

1985 Through Women's Eyes (Sarasota, Florida) () The festival aims to combine the work of domestic and international female filmmakers during a week-long festival in April. The festival is partnered by the film distributors Women Make Movies (WMM).

1985 Craig Owens 'The Discourse of Others' in H.Foster Postmodern Culture (Pluto, also reprinted as The Anti-Aesthetic)

1985 Betty La Duke Companeras: Women,Art & social Change in Latin America (San Francisco)

1984 Lucy Lippard Get the Message? A Decade of Art for Social Change (New York: E.P.Dutton)

1984 Cindy Lyle and Silvia Moore, Cynthia Navaretta eds Women Artists of the World (New York: Midmarch Arts Press)

1984 Harmony Hammond Wrappings : essays on feminism, art, and the martial arts (New York, N.Y. : TSL Press)

1984 Diane L. Fowlkes and Charlotte S. McClure eds Feminist visions : towards a transformation of the liberal arts curriculum (Papers from "A fabric of our own making" : southern scholars on women, held Mar. 4-7, 1981, at Georgia State University, Atlanta) (University of Alabama Press)

1984 Georgia Collins and Renee Sandell Women, Art and Education ((USA) National Art Education Association )

1983 The Journal of Women and Performance ((New York)) current

1983 Women in the Arts ( (National Museum of Women in the Arts,Washington)) -present quarterly from National Museum for Women in the Arts, (1983-present), now published on issuu

1983 Hurricane Alice () 1985

1983 Mary Kelly Post-Partum Document (London: Routledge)

1983 Lucy Lippard Overlay: Contemporary Art and the Art of PreHistory (New York:Pantheon Press)

1983 Moira Roth The Amazing Decade:Women & Performance Art in America,1970-1980 (Los Angeles: Astro Artz)

1982 Deborah Wye Louise Bourgeois (New York: MOMA)

1981 Southwest Art ((USA)) (April) Vol.10.No.11

1981 Linda Weintraub Women Look at Women: Feminist Art for the 1980s (USA: Allentown,PA: Center for the Arts,Muhlenberg College)

1981 Lynn F. Miller and Sally S. Swenson Lives and Works: Talks with Women Artists (New York,Metuchen, London: Scarecrow Press)

1981 The Blatant Image ((Wolfcreek,OR,USA)) 1983

1980 Women in Photography ((Los Angeles)) 2017 replaced by f2 eZine online

1980 Judy Chicago Embroidering Our Heritage: The Dinner Party Needlework (NY:Garden City/Doubleday/ Anchor)

1980 Women's Art Registry of Minnesota (WARM) Journal ((Minneapolis,USA)) 2010 now published online as a blog

1980 Woman's Art Journal () current

1980 Arna Alexander Bontemps Forever Free: Art by African-American Women (Alexandria, Va.: Stephenson)

1980 Woman Tide ((USA: Boston Women's Art Alliance)) 1981

1980 Lucy Lippard Issue: Social Strategies by Women Artists (London: ICA)

1980 Art News ((USA)) October, Vol.70 No. 8

1980 Elaine Hedges and Ingrid Wendt In Her Own Image: Women Working in the Arts (New York:Feminist Press)

1980 Elaine Hedges and Ingrid Wendt eds In Her Own Image: Women Working in the Arts (New York: Feminist Press)

1979 The Southern Quarterly : A Journal of Arts in the South "Art & Feminism" ((USA)) (Winter) Vol.17 No.2

1979 Judy Loeb ed Feminist Collage: Educating Women in the Visual Arts (USA: Columbia University:Teachers College Press)

1979 Eleanor Munro Originals: American Women Artists (New York: Simon Schuster)

1979 New Art Examiner ( (USA)) (Summer) 'Sexuality in Art' issue

1979 Nancy Buchanan ed Social Works (Los Angeles: LA Institute of Contemporary Arts)

1979 Art Criticism ((USA)) Vol.1.No.2.

1979 Helicon Nine: A Journal of Women's Art and Letters ((Kansas City,USA)) 1989

1978, 1994 Sherry Piland and Donna Bachmann eds Women artists : an historical, contemporary, and feminist bibliography (Metuchen, N.J. : Scarecrow Press)

1978 Kassandra: Feministische Zeitschrift fur die VisuellenKunste ((Berlin, Germany)) (one issue only)

1978 Washington Women's Art Center News ((USA)) 1986 newsletter of Washington Women's Art Center

1978 Joelynn Snyder-Ott Women and creativity (Millbrae, Calif. : Les Femmes Pub.)

1978 Women Studies ((USA)) Vol.6 No.1 'Women Artists on Women Artists'

1977 Artweek ((USA)) 22 Jan, v.8 no.4.

1977 Artweek ((USA)) 5 Feb, v.8. no.6

1977 Faith Wilding By Our Own Hands: A History of Women Artists Movement in South California (Los Angeles)

1977 Creative Woman ((Arlington Heights,IL,USA)) 1994

1977 Heresies ((New York)) 1996

1977 Chrysalis: A Magazine of Women's Culture ((Los Angeles)) 1980

1976 - 1977 Visual Dialog ((USA)) (Winter) Vol.2 No.3

1976 Lucy Lippard From the Center:Feminist Essays on Women's Art (New York: Dutton)

1976 Aline Dallier, Ruth Brandon Combative acts, profiles and voices : an exhibition of women artists from Paris : works by Bour, Hessie, Janicot, Maglione and a collective work by Aballea, Blum, Croiset, Mimi, and Yalter (New York: AIR Gallery)

1976 Camera Obscura: Feminism, Culture and Media Studies ((Berkeley, CA,USA)) current

1976 Art Journal ((USA)) (Summer) Vol 35 No.4

1976 Womenart ((New York)) 1978

1975, 1995 Cindy Nemser Art Talk:Conversations with 12 Women Artists (USA)

1975 - 1976 Visual Dialog ((USA)) (Winter) Vol.1 No. 2

1975 - 1976 National Sculpture Review () (Winter) Vol.24. No.4

1975 National Sculpture Review () (Summer- Fall) Vol.24 nos.2-3

1975 Feminist Art Program Art: A Woman's Sensibility (Valencia: California Institute of the Arts)

1975 Christine Craig The Changing Status of Women in the Arts: A Preliminary Reference (Kingston,Jamaica: Women's Bureau)

1975 Margery Mann, Ann Noggle Women of Photography: An Historical Survey (an exhibition catalogue) (USA: San Francisco: SFMOA)

1975 Women's Art News Book Review/ Women Artists' Newsletter ((New York)) 1998

1974 Miriam Schapiro Anonymous was a Woman: A Documentation of the Women's Art Festival : A Collection of Letters to Young Women Artists (Valencia: California Institute of the Arts)

1974 Arts in Society ((USA)) (Spring/ Summer) Vol 11 No.1. 'Women and the Arts'

1973 Womanspace Journal ((USA)) 1973 v.1, no.1-3

1973 Lucy Lippard c. 7,500 (Valencia: California Institute of the Arts, also shown in London)

1972 Feminist Art Journal ((New York)) 1977

1972 Amazon Quarterly ((Oakland: California)) 1975 A lesbian feminist arts quarterly

1972 Take One ((USA)) (February) Vol.3 No.2

1972 Jacqueline Skiles The Women Artists Movement (Pittsburgh: PA,Know,Inc)

1971 Women in the Arts Newsletter ((Women in the Arts Foundation)) current (formerly Women in the Arts Bulletin), irregular mainly annual publication since 2010.

1971 E. Baker and T.Hess eds Art and Sexual Politics (New York,London)

1971 Jacqueline Skiles and Janet McDevitt ed A Documentary Herstory of Women Artists in Revolution (New York: Women Artists in Revolution)

IMAN, International Muslimah Women Artists Network () Established by Nora Hammoude and Safiya Godlas, a network and online member's gallery, based in the USA, site no longer operates: http://www.imanworld.org/Site_7/IMAN_.html

Women's Art Coalition (1989-2003) at New York Public Library, Archives and Manuscripts ()

Broad Humor (Venice, CA) () The festival has recently altered its criteria to allow films with men in one of the three main roles (director, producer or writer). However these films cannot be entered into the prize for best director or best film award to maintain the female focus of the festival. The festival takes place in late September over four days.

Womanhouse () Faith Wilding's site about the Womanhouse (Los Angeles, 1972) project, with works, photos, essays describing it.

Chicks Fliks Film Festival (Texas) () Chick Flicks supports the mission of Women In Film Dallas by providing opportunities for female filmmakers to showcase their work.Throughout the year Chick Flicks offers special screenings of features or short films from local and international women.In the fall, Chick Flicks produces an annual Chick Flicks Festival featuring short films by Texas women

M.A.L.I. Women's Film & Performance Arts Conference (Austin, Texas) () The MALI Women’s Film & Performance Arts Conference is wholly focused on the contributions of all women, with a special emphasis on womyn of Latin, African, African-American, Asian, Middle Eastern, Pacific Islander, European and Indigenous descent. Held events in 2009 and 2011.

African American Women in Cinema (AAWIC) Film Festival (New York) () The festival is held over three days in New York. Specific information on the festival is released on the organisation's website closer to that date. The remit of the festival is work produced by talented women of minorities.

The Athena Centre Film Festival (New York) () In connection with the Athena Centre at Barnard University in New York, the film festival will celebrate Women's leadership. The festival happens every year in February.

Pan-African Women's Film Festival (Minneapolis) () Open to anyone who registers for the Pan-African Women's Summit, the Film Festival includes films that document the history, culture and life of the black diaspora. There are facilitated discussions to accompany each film hosted by activists and commentators. The summit, festival and related events take place every August.
Site currently down.

Baltimore Women's Film Festival () "This non-profit festival is held during October, breast cancer awareness month. 50% of all ticket sale proceeds are donated to breast cancer research and the outreach/survivorship program for breast cancer patients. The Baltimore Women's Film Festival was founded by women who want to merge cinematic creativity, art and innovation surrounding film festival events with a focus on seeking advancement and change in women's health issues."

Virago Gallery (formerly Twilight Gallery), Seattle ()

Women Artists of the West, Inc ()

World's Women On-line () a project by Muriel Magenta

Artwomen.org () an American-based gallery and list for feminist art history, 2001-2006 (website deleted)

WomenArts (formerly) Fund for Women Artists () Based since Summer 2012 in Berkeley, runs SWAN (Support Women Artists Now) days, active since 1994.

Guerrilla Girls ()

A.I.R.: Women's art cooperative gallery () founded in 1972 located in New York City

Women's Studio Workshop () since 1974 has provided working studios, artists residencies, artists book publishing. Located in the Hudson Valley ninety miles from NYC.

National Art Education Association's Women's Caucus () Founded in 1973, this organisation compiled in 2019 a booklist of (US) sources on Zotero for teaching feminisms in art education.

American Women Artists' Association ()

Wild Women Artists (Reno, USA) () Founded in 1995, holds 2 annual shows a year.

Wikipedia Edit-a-Thon on Feminism and Art ()

Siglio Press The Feminist Portal: the heterodoxical, sprawling expanse of work by women (Ruver Hudson Valley: Siglio Press) This feminist portal lists additional information on women artists covered by Siglio Press

Pen and Brush ()

Go! Push Pops () The Push Pops are a radical, transnational queer performance feminist art collective (started 2010).

New York Society of Women Artists (1925- ) ()

The Coven () (2012 - 2016)

Art Baby Gallery () Art Baby Gallery is a digital exhibition space founded by Grace Miceli 2011-2017, and organising exhibitions in different venues in Asia, USA and UK.

Las Comadres: A Feminist Collective () 1998-2013, San Diego/Tijuana

Women Artists in Revolution records, 1970-1978 (at Archives of American Art, Washington, DC) ()

Suzanne Lact and Leslie Labowitz Ariadne: 1977-1982 () Official website about ARIADNE, documenting their performances and actions.

Citizen Jane Film Festival () The Citizen Jane Film Festival, an festival celebrating and showcasing the work of female filmmakers from around the world takes place in Columbia, Missouri. CJFF grew out of a collaboration with Stephens College.

Bunny Collective ()

She Loves Collective (Los Angeles) ()

Anonymous was a Woman () This organisation offers awards of an unrestricted grant of $25,000 that enables women artists, over 40 years of age and at a significant juncture in their lives or careers, to continue to grow and pursue their work.

Feminist_Art_Base at Elizabeth Sackler Centre for Feminist Art, Brooklyn Museum, New York () Beginning with the artists in Global Feminisms, the database has expanded considerably in recent years especially on several generations of artists in New York.

National Museum of Women in the Arts, Washington DC, Artist's Profiles (formerly Clara database, now focused on their collection) ()

Girls Like Us ()

Women's Art Resource of Minnesota (WARM) ()

Moore Women Artists () network for women artists from Moore College of Art and Design, Canada

The Feminist Museum () 2013-2014, activities of exhibitions organised by 5 women at University of Oregon: Britt Bowen, Cat Bradley, Stephanie Johnson, Mattie Reynolds, and Sarah Turner.

International Foundation for Women in the Arts ()

International Museum of Muslim Women: Muslima: Muslim Women's Art & Voices () An offshoot of the Global Fund for Women aiming to profile Muslim women's voices in art and culture

Feminist Fiber Art (Boston) ()

Feminist Art Coalition () FAC fosters collaborations between arts institutions that aim to make public their commitment to social justice and structural change. It seeks to generate cultural awareness of feminist thought, experience, and action.

The Dinner Party Institute () A week long workshop held to consider Judy Chicago's The Dinner Party in 2016.

Kentucky Foundation for Women ()

Art Table () ArtTable is a national membership organization dedicated to advancing women's professional leadership in the visual arts.

Arkansas Committee: National Museum of Women in the Arts: Artist Registry () A registry of US artists

South Asian Women’s Creative Collective (SAWCC) ()

Sisters Arts Organisation () founded 2015. Former group: Women Artists of Bend, Oregon (2012).

Miriam Schapiro Papers on women artists at Rutgers University ()

IOWA Women Artists Oral History Project () An oral history project of 79 women artists interviewed in 1998-1999

Mary H. Dana Women Artists Series Exhibits () from the Mabel Smith Douglass Library, Douglass College Rutgers-the State University of NJ,USA

Midmarch Arts Press ()

National Association of Women Artists USA ()

National Museum of Women in the Arts,Washington DC () also runs the Clara database on women artists

Asian American Women Artists Association () Organises exhibitions, publications, education projects and administers a support network for its US-wide members

Madcat Film Festival (San Francisco) () MadCat has established a strong reputation for programming series of acute and insightful films audiences would be hard pressed to find anywhere else. MadCat sets itself apart from other women's festivals by curating its programs thematically as opposed to looking for films solely about women's issues. The festival takes place in September.

Retracing the Feminist Art Program () a site exploring the history of women artists involved in the Feminist Art program in the early 1970s

Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum () Permanently houses and presents Judy Chicago's The Dinner Party alongside a rolling programme of exhibitions, projects and events.

Feminist Art Project (at Rutgers University) () started in 2006 to list events and commemorate historic anniversaries in the American Women's Art Movement from the 1970s, continues as news service, archived site and annual day of events at College Art Associations' annual conferences. Aims to Recognise the Aesthetic and Intellectual Impact of Women on the Visual Arts and Culture.

Varo Registry formerly, the Women Artists Online Registry ()

Women Artists Archives National Directory (WAAND) () A database of archives of women artists in the USA which possess material on or about women artists, run by Rutgers University

The Women's Building, Los Angeles, USA () see also e-book From Site to Vision

Women Artists page of Women's Resource Project, North Carolina ()

Women in the Arts Foundation (WIA) () founded in 1971, incorporated in 1973 as a not-for-profit.

Women Make Movies () A non-profit feminist distributor of more than 400 films and videotapes

Women Painters of Washington () founded 1930

Women Printmakers of Austin () A US printmakers group

WomEnhouse () a virtual Womanhouse project curated/edited by Amelia Jones et al.
Site currently down.

Womens Caucus for the Arts () A national organisation for women in the arts

Women's Environmental Artists Directory ()

San Francisco women artists association and gallery ()

Mommy by Susan Silas and Chrysanne Stathacos () Interviews with contemporary women artists working for more than 20 years.

Central Illinois Feminist Film Festival, Women Resources Center, Eastern Illinois University () The festival screenings take place in late March. CIFFF have several facebook pages.

Women Art and Revolution () Website for Lynn Hershman Leeson's film Women, Art and Revolution

Korean American Women Artists and Writers Association (KAWAWA) () Site - http://www.kawawa.org/ - no longer active. Group still registered in San Francisco. Facebook page has replaced this link.

Judy Chicago's Through the Flower official website ()

The Women's Film Festival (Philadelphia) () 2016-

Woman Made Gallery, Chicago ()