Reverberating Feminisms: Chronologies of Feminist Art Movements at CalArts: Books & Exhibition Catalogs

A comprehensive collection of feminist manifestos, chronicling rage and dreams from the nineteenth century to the present day.

Los Angeles-based artist Faith Wilding's "By Our Hands" was the first comprehensive historical document of the Women's artist movement in Southern California, and over forty years later remains an invaluable first hand reference.

A raucous, colorful showcase of the nationwide poster campaign waged against discrimination and inequalities in the art world--by a collective of female artists, graphic designers, and art-world professionals whose identities have never been revealed.

Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology.

The official publication celebrating Judy Chicago's feminist art masterpiece, The Dinner Party installation at the Brooklyn Museum, and an introduction to outstanding women in history.

Just as punk created a space for bands such as the Slits and Poly Styrene to challenge 1970s norms of femininity, through a transgressive, strident new female-ness, it also provoked experimental feminist film makers to initiate a parallel, lens-based challenge to patriarchal modes of film making. In this book, Rachel Garfield breaks new ground in exploring the rebellious, feminist Punk audio-visual culture of the 1970s, tracing its roots and its legacies. In their filmmaking and their performed personae, film and video artists such as Vivienne Dick, Sandra Lahire, Betzy Bromberg, Ruth Novaczek, Sadie Benning, Leslie Thornton, Abigail Child and Anne Robinson offered a powerful, deliberately awkward alternative to hegemonic conformist femininity, creating a new "Punk audio visual aesthetic."

Charting over 30 years of debate on the significance of gender in the making and understanding of art, this anthology gathers together 99 representative texts from North America, Europe and Australasia.

Refuting the notion that there is a specifically female way of creating art, and dubious of any generalizing notion of "feminist art practices", Isaak nevertheless argues that contemporary art under the influence of feminism is providing the momentum for a comic critique of key assumptions about art, art history and the role of the artist.

Bringing together key writings on art, film, architecture, popular culture, new media and other visual fields, this key reader combines classic texts by leading feminist thinkers with six previously unpublished polemical new pieces.

International scholars and artists show how feminist art and activism can intervene in social processes.

This book offers intersectional, intergenerational, and international perspectives on nonfiction film- and videomaking by and about women, examining practices that range from activist documentaries to avant-garde experiments. Concentrating primarily on the period between the 1970s and 1990s, the contributions revisit major figures, contexts, and debates across a polycentric, global geography. They explore how the moving image has been a crucial terrain of feminist struggle-a way of not only picturing the world but remaking it.

Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her "numbers shows." Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to London. From Conceptualism to Feminism follows Lippard's curatorial trajectory, analyzing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism.

"From site to vision : the Women's Building in contemporary culture" is a companion publication to "Doin' it in public : feminism and art at the Woman's Building."

"Lucy Lippard is both one of our finest critics of contemporary art and one of the most perceptive and strongest supporters of women artists. These thirty essays, written since the publication of Changing in 1971, delineate the growth of Lippard's feminism and the present status of women's art." -- From back cover.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

Feminist music magazine

Martha Wilson's career encapsulates the contestations of feminist and socially engaged art. In her work and throughout her life, Wilson has explored how identity and positioning are not merely given, self-defined or projected, but also negotiated. The complex nature of her work encompasses conceptually-based performances, videos and photo-text compositions since the early 1970s.

Since its inception nearly 25 years ago, the Feminist Art movement has presented a challenge to mainstream modernism that has radically transformed the art world. The Power of Feminist Art brings together many of the influential art historians, critics, and artists who participated in the events of the 1970s.

Pussy Riot! Is an essential document of this galvanizing historical moment. It includes letters from prison, courtroom statements, defense attorney closing arguments, poems, the infamous punk prayer and tributes by Yoko Ono, Johanna Fateman, Karen Finley, Justin Vivian Bond, Eileen Myles and JD Samson.

In Ruth Page: The Woman in the Work, the Chicago ballerina emerges as a highly original choreographer who, in her art, sought the iconoclastic as she transgressed boundaries of genre, gender, race, class, and sexuality.

This volume provides an insight into the complex artistic and educational practices that characterized the first decade of the California Institute of the Arts (CalArts). There is a special focus on the conceptual and feminist strategies developed in and from John Baldessari's post-studio class as well as Judy Chicago and Miriam Schapiro's Feminist Art Program, which was initiated in 1970 and brought to the newly founded art school in 1971.

Transnational Perspecives on Feminism and Art, 1960-1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s.

In Visitation, Jennifer DeClue shows how Black feminist avant-garde filmmakers draw from historical archives in order to visualize and reckon with violence suffered by Black women in the United States. DeClue argues that these filmmakers-including Kara Walker, Kara Lynch, Tourmaline, and Ja'Tovia Gary-create spaces of mourning and reckoning, rather than voyeurism and pornotropy.

Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art.

Alexandra Juhasz asked twenty-one women to tell their stories -- women whose names make up a who is (and who will be) who of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today.

In 1975, Alison Knowles (born 1933), founding member of Fluxus, and experimental composer Annea Lockwood (born 1939) co-edited and self-published Womens Work, a magazine of text-based and instructional scores written by women primarily for music and dance performance.This is an important reissue, collecting as it does works in a field whose "classics" are typically confined to male-dominated publications.

A survey of leading women artists from the late twentieth century examining the crucial feminist contribution to the deconstructivist movement.

"Division of Labor' offers the opportunity to acknowledge the feminist movement's influence on art production as well as artists' contributions to the dialogue on feminism and its impact on domestic arrangements and roles.

"This book is published with the assistance of the Getty Foundation as part of a two-volume set in conjunction with the exhibition on Doin' It in Public: Feminism and Art at the Woman's Building, October 1, 2011-January 28, 2012, organized by the Ben Maltz Gallery at Otis College of Art and Design.This project is part of the Getty's initiative Pacific Standard Time: Art in L.A. 1945-1980."--T.p. recto.

Roots of the Dinner Party was published for the first museum exhibition to examine Chicago's evolving plans for The Dinner Party in depth, detailing its development as a multilayered artwork, a triumph of community art-making and a testament to the power of historical revisionism.

Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book. "Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'" -Lucy R. Lippard, Six Years

Catalog of an exhibition held at the Tucson Museum of Art, Tucson, Ariz., Jan. 16-March 7, 1999 and at seven other institutions, Sept. 3, 1999-Nov. 15, 2001.

Exhibition, April 1-27, 1975, Mandeville Art Gallery and September 13-October 19, 1975, Mills College Art Gallery.

'Fashioning a Feminist Vision' is a retrospective exhibition of Youdelman's artistic career and encompasses the 45 years between 1972 and 2017. Exhibition Curator Michele Ellis Pracy has selected 56 pieces, divided by decade, to illustrate the development of the artist's oeuvre beginning with her time as an art student in the early 1970s to her current command of her feminist vision as an established artist today.

This generously illustrated book sheds light on the groundbreaking career of Suzanne Lacy, an artist, writer, and educator whose participatory, socially engaged performances helped define social practice art and continue to resonate with many of the most pressing issues in American culture.

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, Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Iveković, Ana Mendieta, Annette Messager, and others, as well as important works made in those years by artists whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.

The Woman's Building 1973-1991 is a pictorial history and story of the Woman's Building and Feminist Art Education. We are thrilled to include essays as well as personal reflections of many of the prominent writers and artists who built the community over the 18 years of the Woman's Building existence.

"Each of the women, working singly or together, had made rooms or environments...The age-old female activity of homemaking was taken to fantasy proportions. Womanhouse became the repository of the daydreams women have as they wash, bake, cook, sew, clean and iron their lives away." -- Judy Chicago and Miriam Schapiro

Inspired by Judy Chicago and Miriam Schapiro's landmark 1972 installation and performance space Womanhouse, and featuring work by 36 international artists, Women House challenges conventions about gender and the domestic space. Womanhouse was the first female-centered art installation to appear in the Western world. In Women House, women artists working from the 1960s to today examine the persistence of stereotypes about the house as a feminine space through photography, sculpture, installation and video works.