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NWSA CONFERENCE, SUMMER 2000

BOOKS AND ARTICLES

 

A-C  ||  D-G  ||  H-L  ||  M-R  ||  S-Z 


A-C

Art Journal (Summer 1991) [Special issue on Feminist Art Criticism. Joanna Frueh and Arlene Raven, eds.].

Ashburn, Elizabeth. Lesbian Art: An Encounter with Power. Roseville East, NSW: Craftsman House, 1996

Babha, Homi. The Location of Culture. New York: Routledge, 1994.

Baert, Renee (ed). Territories of Difference. Alberta, Canada: Walter Phillips Gallery, 1993.

Bal, Mieke. Quoting Caravaggio. Chicago: University of Chicago Press, 1999.

_________ (ed). The Practice of Cultural Analysis: Exposing Interdisciplinary Interpretation. Stanford, CA: Stanford University Press, 1999. 

_________. Double Exposures: The Subject of Cultural Analysis. New York: Routledge, 1996.

Battersby, Christine. The Phenomenal Woman. Oxford: Polity Press, 1998.

_______________. Gender and Genius: Towards a Feminist Aesthetics
Indianapolis: Indiana University Press, 1990

Betterton, Rosemary. An Intimate Distance: Women, Artists and the Body. London and NY: Routledge, 1996.

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

Boal, Augusto. Legislative Theatre: Using Performance to Make Politics. New York: Routledge, 1998.

Bonner, Frances, et.al. (eds). Imagining Women: Cultural Representations and Gender. Oxford: Polity and the Open University Presses, 1992.

Brand, Peggy Zeglin and Carolyn Korsmeyer (eds). Feminism and Tradition in Aesthetics. State College, PA: Penn State University Press, 1995.

Bright, Deborah (ed). The Passionate Camera: Photography and Bodies of Desire. London and NY: Routledge, 1998.

Broude, Norma and Mary Garrard (eds.). The Power of Feminist Art: The American Movement of the 1970s - History and Impact. New York: Harry N. Abrams, 1994.

___________________________ (eds.). The Expanding Discourse: Feminism and Art History. New York: HarperCollins, 1994.

___________________________. "Discussion: An Exchange on the Feminist Critique of Art History." Art Bulletin (March 1989) 124-137.

Case, Sue-Ellen. "Toward a Butch-Femme Aesthetic." Discourse 8 (Fall-Winter 1988-1989), 55-73.

Chadwick, Whitney (ed). Mirror Images: Women, Surrealism and Self-Representation. Cambridge, MA: MIT Press, 1998.

Cherry, Deborah. Painting Women: Victorian Women Artists. London and New York: Routledge, 1993.

Chicago, Judy and Edward Lucie-Smith. Women in Art. New York: Watson-Guptill,
1999.

Cochran, Jo. Bearing Witness/Sobreviviendo: An Anthology of Native American/Latina Art and Literature. Corvallis, OR: Calyx, Inc., 1984.

Corritore, Regina Araujo. "Vistas Latinas: Exhibitions Since 1989." Heresies 27 (1993) 104-110.

Cottingham, Laura. "Post-'68: the Aesthetic Legacies of Black Power, Women's Liberation and Gay Rights in American Art." Flash Art (January-February 1994), 31-34.

Cruz, Amada and Elizabeth A.T. Smith (eds.).Cindy Sherman: Retrospective. Chicago and Los Angeles: Museum of Contemporary Art (Chicago) and The Museum of Contemporary Art, Los Angeles, 1997.

Cutting Edge, The Women's Research Group (eds). Desire by Design: Bodies, Territories and New Technologies. London: I.B. Tauris, 1999.


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D-G

Davis, Angela Y. Women, Culture and Politics. New York: Vintage Books, 1990.

Deepwell, Katy (ed), New Feminist Art Criticism. Manchester: Manchester University Press, 1995.

Differences: A Journal of Feminist Cultural Studies.[ Special Issue: "More Gender Trouble: Feminism Meets Queer Theory."] 6 (Summer/Fall 1994).

____________. Women Artists and Modernism. Manchester: Manchester University Press, 1998.

Doy, Gen. Seeing and Consciousness: Women, Class and Representation. Oxford: Berg, 1995.

________. Materializing Art History. Oxford: Berg, 1997.

________. Women and Visual Culture in Nineteenth Century France: 1800-1852. Leicester: Leicester University Press,1998.

Duncan, Carol. Aesthetics and Power. New York: Cambridge University Press, 1993.

Eastmond, Elizabeth and Mari Penfold. Women and the Arts in New Zealand: Forty Works, 1936-1986. London: Penguin Books, 1986.

Farris-Dufrene, Phoebe (ed). Voices of Colour: Art and Society in the Americas. Atlantic Highlands, NJ: Humanities Press, 1997.

Felski, Rita. Beyond Feminist Aesthetics, Cambridge, MA: Harvard University Press, 1989. 

Fiske, John. Understanding Popular Culture. (Boston: Unwin Hyman, 1989).

Florence, Penny (ed). Feminist Subjects, Multi-Media: Cultural Methodologies. Manchester: Manchester University Press, 1995.

Freeman, Alexa and Jackie MacMillian. "Prime Time: Art and Politics." Quest: A Feminist Quarterly. II, no. 1 (Summer, 1975): 27-39.

Freire, Paulo. Pedagogy of the Oppressed. New York: Continuum Publishing Company, 1990.

Fusco, Coco. English is Broken Here: Notes on Cultural Fusion in the Americas. New York: New Press, 1995.

Fuss, Diana. Essentially Speaking: Feminism, Nature and Difference. New York: Routledge, 1989.

Gatens, Moira. Imaginary Bodies: Ethics, Power and Corporeality. London and NY: Routledge, 1995.

Goldman, Schifra M. Dimensions of the Americas: Art and Social Change in Latin America and the United States. Chicago:University of Chicago Press, 1994.

Gouma-Peterson, Thalia and Patrica Mathews. "The Feminist Critique of Art History." Art Bulletin (September 1987), 326-357.

Grosz, Elizabeth. Volatile Bodies. London and NY: Routledge, 1994.


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H-L

Hammond, Harmony. Lesbian Art in America. New York: Rizzoli, 2000.

Hein, Hilde and Carolyn Korsmeyer (eds). Aesthetics in Feminist Perspective. Bloomington, IL: Indiana University Press, 1993.

Heller, Scott. "Visual Images Replace Text as Focal Point for Many Scholars," Chronicle of Higher Education, July 19, 1996, A8.

__________. "Changing Course: Art Historians Replace Traditional Survey with New Approaches," Chronicle of Higher Education, May 3, 1996, A19.

Hernandez, E.J. "Art History's Anxiety Attack," Afterimage (May/June 1994): 6.

hooks, bell. Art on My Mind: Visual Politics. New York: The New Press, 1995.

Jones, Amelia. Body Art: Performing the Subject. Minneapolis and London: University of Minnesota Press, 1998. 

___________(ed). Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History. Los Angeles: UCLA/Hammer Museum of Art, 1996.

Jones, Caroline. Modern Art at Harvard. New York: Abbeville, 1985

____________. Bay Area Figurative Art. Berkeley: University of California Press, 1990.

____________. Machine in the Studio: Constructing the Postwar American Artist Chicago: University of Chicago Press, 1996.

____________. and Peter Galison (eds.) Picturing Science, Producing Art. New York: Routledge, 1998.

Kelly, Oliver. The Portable Kristeva. New York: Columbia University Press, 1989.

King-Hammond, L. Gumbo Ya Ya: An Anthology of Contemporary African-American Women Artists. New York: Middlemarch Press, 1995.

Kirby, Sandy. Sightlines: Women's Art and Feminist Perspectives in Australia. East Roseville, NSW: Craftsman House, 1992. 

Lee, Margaret. "Utopia/Dystopia: Feminist Activism and Art." [Report on the Third Annual Feminist Art/Politics Conference, Yerba Buena Center for the Arts, San Francisco.] The Progressive, 56/6, 16.

Lippard, Lucy R.. Mixed Blessings: New Art in a Multicultural America. New York: Pantheon Books, 1990.

_____________. Get the Message? A Decade of Art for Social Change. New York: E. P. Dutton, 1984.

Lloyd, Fran (ed). Contemporary Arab Women's Art: Dialogues of the Present. London: The Women's Art Library, 1999.

Lorde, Audre. Sister Outsider. Freedom, CA: The Crossing Press, 1984.

Lucie-Smith, Edward. Judy Chicago: An American Artist. New York: Watson-Guptill, 2000.


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M-R

Machida, Margo. Asia/America : Identities in Contemporary Asian American Art. New York: New Perspectives, 1994.

Malvern, Sue. "Virtuous and Vulgar Feminisms: Sexual Politics � and Inside the Visible." (Book review). Art History 20/3 (September 1997) 483-489.

McPherson, Bruce R. (ed)..More than Meat Joy: Performance Works & Selected Writings /Carolee Schneeman. Kingston, NY : McPherson & Co., 1997.

Meskimmon, Marsha. The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century. NY: Columbia University Press, 1996.

_________________. Engendering the City: Women Artists and Urban Space. London: Scarlet Press, 1997.

_________________. We Weren't Modern Enough: Women Artists and the Limits of German Modernism. Berkeley, CA: University of California Press, 1999.

Minh-ha, Trinh. Woman, Native, Other. Bloomington: University of Indiana Press, 1989.


Nochlin, Linda, Joelle Bolloch and Esther Allen (translator). Women in the 19th Century: Categories and Contradictions. New Press, 1998. [This 42-page pamphlet boxed with loose plates is offered as a tool to teach the history ofwomen in 19th-century France via art.]

Perry, Gill. Women Artists and the Parisian Avant-Garde: Modernism and "Feminine" Art, 1900 to the Late 1920s. Manchester: Manchester University Press, 1995.

________. Gender and Art. New Haven and London: Yale University Press, 1999.

Pollock, Griselda. Differencing the Canon: Feminist Desire and the Writing of Art's Histories. New York: Routledge, 1999.

______________(ed.). Generations and Geographies in the Visual Arts: Feminist Readings. London: Routledge, 1996.

______________. "Feminism/Foucault: Surveillance/Sexuality." In Norman Bryson, et al (eds.) Visual Culture: Images and Interpretations. Hanover, NH: Wesleyan University Press, 1994.

______________. "Women, Art and Ideology: Questions for Feminist Art Historians." Woman's Art Journal 4/1 (Spring Summer 1983), 39-47.

"Questionnaire on Visual Culture," October 7 (Summer 1996).

Robinson, Jontyle Theresa (ed.). Bearing Witness: Contemporary Works by African-American Women Artists. Atlanta and New York: Spelman College and Rizzoli International Publications, 1996. [n.b. M. Akua McDonald, "The Visual Education of Spelman Women," 12-15].


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S-Z

Sandoval, Chela. "US Third World Feminism: Theory and Method of Oppositional Consciousness in the Postmodern World." Genders 10 (Spring 1991), 1-24.

Schor, Mira. Wet: On Painting, Feminism and Art Culture. Durham and London: Duke University Press, 1997. 

Shange, Ntozake. for colored girls who have considered suicide/ when the rainbow is enuf. (1977), London: Methuen Drama edition, 1990. 

Shildrick, Margrit (ed). Vital Signs: Feminist Reconfigurations of the Bio/logical Body.
Edinburgh: Edinburgh University Press, 1998.

Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996.

____________. "Dis-Embodying the Female Voice." In Mary Anne Doane, et al (eds.), Re-Vision: Essays in Feminist Film Criticism. Los Angeles: the American Film Institute, 1984.

Sousloff, Catherine (ed.). Jewish Identity in Art History: Ethnicity and Discourse. Berkeley: University of California Press, 1999.

Spivak, Gayatri C. Other Worlds. New York: Routledge, 1988.

Sulter, Maud (ed). Passion: Discourses on Blackwomen's Creativity. Hebden Bridge: Urban Fox Press, 1990.

Vance, Carole S. "Feminist Fundamentalism--Women Against Images." Art in America.
(September 1993): 35-39.

_____________. "Photography, Pornography and Sexual Politics." in The Body in Question. Melissa Harris (ed). New York: Aperture, 1990.

Whitehead, Kim. The Feminist Poetry Movement. Jackson: University of Mississippi Press, 1996.

Williams, Raymond. Problems in Materialism and Culture. London: Verso, 1980.

Williams, Val. Warworks. London: Virago, 1994.

Willis, Deborah. Reflections in Black: A History of Black Photographers, 1840 to the Present . New York: W.W. Norton & Company, 2000.

Wolff, Janet. Aesthetics and the Sociology of Art. (2d ed.) Ann Arbor: University of Michigan Press, 1993. 

_________.Feminine Sentences: Essays on Women and Culture. Berkeley: University of California Press, 1990.

_________. The Social Production of Art. New York: New York University Press, 1984.

Zegher, C. de (ed). Inside the Visible: An Elliptical Traverse through Twentieth Century Art In, Of and From the Feminine. Cambridge, MA: MIT Press, 1996.

Zeitlin, Marilyn, (ed.). Millennial Myths: Paintings by Lynn Randolph. Tempe, Arizona: Arizona State University Art Museum, distributed by University of Washington Press, Seattle, Washington, 1997. [n.b. Donna Haraway, "Living Images: Conversations with Lynn Randolph," 23-33].


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