Written for the twentieth anniversary of the historical Corcoran Conference on Women in the Visual Arts - the first official national conference of women in visual art professions. Contains essays written by many of the artists, critics, and art historians who participated in the 1970 conference. The essays document the first feminist art education programs, the legendary Womanhouse project, trace through the influential publications, organizations, and exhibitions the conference generated, and chronicle different forms of feminist art.

Beginning with the feminist critique of the art exhibition inthe 1970s and concluding with reflections on intersectional curating and globalisation after 2000, this pioneering collection offers an alternative narrative of feminism's impact on art. The essays provide rigorous accounts of developments in Scandinavia, Eastern and Southern Europe as well as theUK and US, framed by an introduction which offers a politically engaging navigation of historical and current positions. Delivered through essays, memoirs and interviews, discussion highlights include the Tate Modern hang, relational aesthetics, the global exhibition, feminism and technology in the museum, the rise of curatorial collectivism, and insights into major exhibitions such as Gender Check on Eastern Europe.Bringing together two generations of curators, artists and historians to rethink distinct and unresolved moments in the feminist re-modelling of art contexts, this volume dares to ask: is there a history of feminist art or one of feminist presentations of artworks?

In this vividly illustrated narrative, author Sabra Moore chronicles twenty-two years of her life and interactions with other women artists finding ways to create politically and personally meaningful artworks, exhibitions, protests, and institutions in response to war, government corruption, struggles for reproductive freedom, and racial tension--all while fighting for greater representation and opportunities for women in the art world. Gracefully mixing bold historical accounts, poignant personal narratives, and nuanced introspection about writing, identity, family, and dreams, Moore illuminates a breadth of women's struggles and triumphs. Moore sets the stage for the dilemma many female artists face: how to make art in a world where art is treated as a commodity for the market and women artists are marginal at best.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction, Vision and Differenceis as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.

In the 1970's, the West Coast feminist arts movement coalesced around the Woman's Building in Los Angeles. Founded by artist Judy Chicago, the Woman's Building was conceived as a "public center for women's culture." Women from across the country were drawn there to be part of a community engaged in the exploration of what a female-centered culture might mean. InInsurgent Muse, Terry Wolverton chronicles her own 13-year involvement in the Woman's Building. Arriving as a young art student in 1976, she stayed on to become a teacher and co-founder of the Lesbian Art Project and, eventually, the Building's executive director. Her journey-emblematic of many women who sought to redefine themselves in the light of feminism-entails confrontation with the damages of sexism, the pitfalls of utopian community, and the forces of social backlash. Insurgent Muse is a powerful testament to the importance of feminist thought and the ongoing need for it-by women and men-today.

Groundbreaking art from a revolutionary era, featuring work by more than 120 international artists, from Louise Bourgeois and Yoko Ono to Martha Rosler, Marina Abramovic, and Cindy Sherman. There had never been art like the art produced by women artists in the 1970s, and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period. The art surveyed in WACK! includes work by more than 120 artists, in all media, from painting and sculpture to photography, film, installation, and video, arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. The topics, including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism, provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.

Offers a detailed history and account of the collaborations, performances, and courses conceived and conducted at the Woman’s Building, as well as reflecting on the organization’s impact on the development of feminist art and literature.

This survey of leading women artists from the late twentieth century examines the crucial feminist contribution to the deconstructivist movement. The practice of deconstructivism, a term describing artwork that examines the imagery of the popular media, was significantly shaped by dozens of important female artists during a critical era in late twentieth-century visual culture. These artists subverted their source material, often by appropriating it, to expose the ways that commercial images express imbalances of power. The mechanisms of power in mainstream art institutions were also subject to these artists' critique. This exhibition catalogue features a diverse group of North American women whose transformative and often provocative work deals with gender, sexual, racial, ethnic, and class-based inequities. Essays by leading critics discuss such topics as the importance of critical theory and sexual politics in the art world of the 1980s; how domesticity is represented in commercial media and the art that addresses it; the importance of psychoanalytic theory as a critical framework; and the sexualization of inanimate objects.

Exhibition catalog for the REBELLE: Kunst en Feminism 1969-2009 held in the Arnhem Museum of Modern and Contemporary Art in the Netherlands in 2009. Contains a selection of essays regarding the issue of feminist influence on modern art spanning from the late 60’s up until present day, as well as a collection of images of works shown at the exhibition.

Nancy Grossman's work continually returns to the human body and the charged relationships that make up our world. She began as a painter in the late 1950s, working in a style that combined the energy of Abstract Expressionism with figuration. In the mid-1960s, she began incorporating found leather and metal parts into chaotic and explosive wall reliefs. Coming of age in the 1960s, Grossman was painfully aware of the condescending environment in which she and many women artists worked. Soon she began carving lifelike human heads and covering them with black leather--a body of work she continued to create until the early 1990s.

Showcases works by Edna Andrade shown at the Institute of Contemporary Art in Philadelphia, accompanied by essays written to aid the understanding of the works and to describe Andrade’s work thought process.

"Elsa's Housebook" is an auto-biography written by Dorfman that accounts for most of her artistic life. Includes a number of photographs taken by Dorfman to aid in the telling of her life-story.

Shows a collection of drawings by artist Dorothy Hood. Hood's drawings reflect the profound intimacy of the artist's spiritual and emotional growth over thirty years.

Independent Curators International creates a traveling exhibition of national and international importance that focuses on contemporary art. Represents the first full-scale showing of the artists' work since her death.

This groundbreaking book re-evaluates the work of Alice Neel, one of the most renowned American portrait painters of the 20th century. This insightful catalogue examines anew the full range of Alice Neel's work;celebrated paintings of people, still life, and cityscapes. Featuring around seventy paintings spanning the entire length of her career, this handsome book accompanies a major retrospective of her work, and reveals her underlying interest in the history of photography, German painting of the 1920s, and other artists, such as Van Gogh and Cezanne, all of which provided an important precedent for the veracity and raw emotional intensity of her figurative works. Neel is renowned for her visual acuity and psychological depth, and her portraits and nude paintings of friends, family, strangers, and prominent cultural figures alike convey an incredibly consistent intimacy regardless of the relationship to her subject.

A prodigious body of work that has transformed perceptions of women's art and collaborative venture is fully scrutinized in the first book to cover the entire scope of an astonishing and influential career. One of the most controversial artists of our time, Judy Chicago is most famous for her groundbreaking installations The Dinner Party, Birth Project, and Holocaust Project. While these works have been analyzed extensively from artistic and historical perspectives, this book's in-depth discussion also embraces many of the artist's lesser-known pieces. Using a great variety of techniques, from drawing, painting, and printmaking to needlework and sculpture, her search for a personal means of expression is examined through lavish illustrations and edifying text.

Since the 1960s, Lynda Benglis has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. In her new work, documented in this volume, she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black. At other times she leaves the paper virtually bare. These works reflect the environment in which they were made, the "sere and windblown" landscape of Santa Fe, New Mexico, as Nancy Princenthal writes in her essay. "It is possible to see the bleached bones of the land--its mesas and arroyos; its scatterings of shed snakeskins and animal skeletons--in the new sculptures' combination of strength and delicacy." Simultaneously playful and visceral, these works enter into a lively dialogue with Benglis' previous explorations of materials and form.

Offers a view into the works by Edelson, accompanied by various essays that relate to the story of the artist and her works.

Culled from thousands of submissions, the images on these pages comprise the first anthology of self-portraits by women ever published in any art media

Exhibition Guide

The Fertile Crescent examines the work of 24 women artists of Middle East heritage. These artists all explore matters of gender, homeland, geopolitics, theology and the environment. The authors in this volume address transnationalism and the interaction between Muslim culture and Jewish, Christian and Euro-American cultures, resulting in U.S. and European relationships that are sometimes congenial and at other times problematic. The book also addresses the Middle East's cultural diaspora in black Africa and South Asia.

A Decade of Negative Thinking brings together writings on contemporary art and culture by the painter and feminist art theorist Mira Schor. Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art.