Feminist art movement

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The feminist art movement refers to the efforts and accomplishments of feminists internationally to make art that reflects women's lives and experiences, as well as to change the foundation for the production and reception of contemporary art. It also sought to bring more visibility to women within art history and art practice. Corresponding with general developments within feminism, and often including such self-organizing tactics as the consciousness-raising group, the movement began in the 1960s and flourished throughout the 1970s as an outgrowth of the so-called second wave of feminism. It has been called "the most influential international movement of any during the postwar period" and its effects continue to the present.

Origins

West Coast: Feminist art's first steps in Fresno

One of the first feminist art classes in the United States was started at Fresno State University in the fall of 1970, lead by artist Judy Chicago, who was a visiting artist at the university, teaching 15 students. The 15 students, which formed the Feminist Art Program, included Susan Boud, Dori Atlantis, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. The group would rent and refurbish an off-campus studio space, which was located on at 1275 Maple Avenue in downtown Fresno. The intention of the space was to allow the artists to create and discuss their work "without male interference." Participants in the class, which in 1971 became a full-time program at the university, spent extensive amounts of time together. Students lead reading groups and discussion, collaborated on art, and practically living and working in the studio.

The program was different than a standard art class. Instead of the typical teaching of techniques and art history, students were taught to collaborate with each other and focus on raising the students feminist consciousnesses about their artwork and ways of thinking. For example, students would go around the room, during discussions, and share personal experiences about specified topics such as money, relationships, and family. It was believed that by sharing these experiences, students were able to not only individualize their experience and insert more emotion into their artwork, but also learned about the collective experience among the one another, and empower themselves as individuals and a group. Instead of supporting the typical idea of artists being secluded and working as independent "geniuses," the class aimed to emphasize collaboration. The class was described as a "radical departure," for the time period.

Judy Chicago eventually left, with the program developing at the California Institute of the Arts. The class continued at Fresno, and was first taught by Rita Yokoi from 1971 to 1973, and then was taken over by Joyce Aiken in 1973, who taught the class until her retirement in 1992. After taking over the class, Aiken and her students opened Gallery 25 in downtown Fresno, which was an all-women's co-op gallery. With her students, Aiken would also help develop the Fresno Art Museum's Distinguished Women Artist Series and the Council of 100, which helped develop programming and exhibitions about women at the museum.

The Fresno Feminist Art Program would serve as a model for other feminist art projects and programs such as Womanhouse, which was a collaborative feminist art exhibition which is credited with introducing the general public to the movement due to extensive media coverage. Womanhouse was the first project produced after the Feminist Art Program moved to the California Institute of the Arts in the fall of 1971. Womanhouse, like the Fresno project, also developed into a feminist studio space and promoted the concept of collaborative women's art.

Questions about women in art and the movement spreads to Los Angeles

In 1971, the art historian Linda Nochlin published a groundbreaking essay 'Why Have There Been No Great Women Artists?' in ArtNews in which she investigated the social and economic factors that had prevented talented women from achieving the same status as their male counterparts.

In response to the 1971 Art and Technology exhibition at the Los Angeles County Museum of Art, an ad hoc group of women organized, calling themselves the L.A. Council of Women Artists. They researched the number of women included in exhibitions at LACMA and issued a report protesting the absence of women artists from that exhibition, as well as generalized artworld sexism. They set a precedent for later feminist groups (such as the Guerrilla Girls).

Women's Caucus for Art, an offshoot of the College Art Association was founded in 1972 at the San Francisco Conference. A WCA conference is held annually and there are chapters in most areas of the U.S.

The Woman's Building which included the Feminist Studio Workshop was founded by Sheila Levrant de Bretteville, art historian Arlene Raven, and Judy Chicago in 1973. Many of the feminist artists and designers from CalArts joined other feminist artists at the Woman's Building, an important center of the west coast feminist artist movement in the 1970s and 1980s in which meetings, workshops, performances, and exhibitions regularly took place. Womanspace Gallery relocated there. During the first year, there were national conferences on feminist film, writing, ceramics, among others.

Feminist art moves throughout the US

Simultaneously, women artists in New York also began to come together for meetings and exhibitions. Collective galleries such as A.I.R. Gallery in New York (1972–present) and Artemesia in Chicago were formed to provide visibility for art by feminist artists. The strength of the feminist movement allowed for the emergence and visibility of many new types of work by women but also helped facilitate a range of new practices by men. Women Artists in Revolution (WAR) protested the lack of exposure of women artists in 1969. The Ad Hoc Women Artists' Committee (AWC) formed in 1971 to address the Whitney Museum's exclusion of women artists but expanded its focus over time.

The Women's Interart Center in New York, founded in the 1970s in New York City, is still in operation. The Women's Video Festival was held yearly for a number of years in the early 1970s, also in New York City. Many women artists continue to organize working groups, collectives, and nonprofit galleries in various locales around the world.

The Feminist Art Project (TFAP) was founded by the Institute for Women and Arts at Rutgers University. The Feminist Art Project is an international collaborative initiative focusing on the Feminist Art Movement and the aesthetic, intellectual and political impact of women on the visual arts, art history, and art practice, past and present. The project is a strategic intervention against the ongoing erasure of women from the cultural record. The Feminist Art Project promotes diverse feminist art events, education and publications through its website and online calendar and facilitates networking and regional program development worldwide. The Feminist Art Project brings together feminist artists, curators, critics, and educators from all backgrounds to shine a spotlight on the accomplishments of the Feminist Art Movement. Its primary goal is to increase the visibility of feminist art and to promote the recognition of the aesthetic and intellectual impact of women on the visual arts and culture. TFAP facilitates regional networking and program development internationally by linking visitors to TFAP Regional Coordinators, now 40 in number. As a result, many universities have created courses dedicated to surveying women's contributions to the art world, and many workshops around the nation have taught and displayed the dynamic elements of feminist art. The Feminist Art Project Calendar posts over 1300 feminist art events and publications. Educational materials are available for downloading from the site's Resource pages called FARE (Feminist Art Resources in Education)

There are thousands of examples of women associated with the feminist art movement. The following are only a few examples of important artists and writers who can be credited with making the movement visible in culture: Judy Chicago, founder of the first known Feminist Art Program (in Fresno, California), Miriam Schapiro, co-founder of the Feminist Art Program at Cal Arts, Sheila Levrant de Bretteville and Arlene Raven co-founders of the Woman's Building, Suzanne Lacy and Faith Wilding, both participants in all the early programs, Martha Rosler, Mary Kelly, Kate Millett, Nancy Spero, Faith Ringgold, June Wayne, art-world agitators The Guerrilla Girls, and critics, historians, and curators Lucy Lippard, Griselda Pollock, Arlene Raven, and Dextra Frankel.

Women in art and feminist art history in Europe

From 1980 onward, art historian Griselda Pollock continually challenged the dominant museum models of art and history that have been so excluding of women's artistic contributions, and has been articulating the complex relations between femininity, modernity, psychoanalysis and representation.

Timeline of Feminist Art

• 1964: Yoko Ono, Cut Piece, (20 July 1964), Yamaichi Concert Hall, Kyoto, Japan. For Cut Piece Yoko Ono knelt on stage in the traditional pose of Japanese women while audience members were invited to cut off her clothes one piece at a time. Cut Piece can be seen as part of a larger trend in feminist performance art which comments on violence against women and implicates the audience in the acceptance of such acts.
• 1967: Carolee Schneemann's film Fuses showed her and her then-boyfriend James Tenney having sex as recorded by a 16 mm Bolex camera. Schneemann then altered the film by staining, burning, and directly drawing on the celluloid itself, mixing the concepts of painting and collage; the segments were edited together at varying speeds and superimposed with photographs of nature, which she juxtaposed against her and Tenney's bodies and sexual actions. Fuses was motivated by Schneemann's desire to know if a woman's depiction of her own sexual acts was different from pornography and classical art, as well as a reaction to Stan Brakhage's Window Water Baby Moving.
• 1967: Artwork: Vivienne Binns, Vag dens, 1967, synthetic polymer paint and enamel on composition board. Collection of the National Gallery of Australia, Canberra.
• 1968: In an act of street theater, the New York Radical Feminists crowned a sheep as a beauty queen at the 1968 Miss America pageant. They also threw undergarments into a “freedom trash can,” but despite rumors otherwise did not set any bras on fire.
• 1969: Black Women of Africa Today (1969) was painted by teenage girls at The Alfred E. Smith housing project on the Lower East Side of New York. Process was an important feature; to develop the schema, scenes were acted out, photographed, projected, and traced.
• 1969: Mierle Laderman Ukeles, a Bronx resident, trying to reconcile her artist self with her role as a new mother, wrote a Dadaesque “Maintenance Art Manifesto,” positing housekeeping—or “maintenance”—as an embodiment of what she proposed was an unsung component of the creative process: "maintaining," in contrast to “producing.”
• Late 1960s: Hannah Wilke first gained renown with her "vulval" terra-cotta sculptures in the late 1960s. These sculptures, first exhibited in New York, are often mentioned as some of the first explicit vaginal imagery arising from the feminist movement, and they became her signature form which she made in various media, colors and sizes, including large floor installations, throughout her life.
• 1970: Wanda Gág House placed on the National Register of Historic Places. Gág was an artist and illustrator whose work influenced Eric Rohmann, Ursula Dubosarsky, Susan Marie Swanson, Jan Brett and Maurice Sendak.
• Early 1970s: The Women's Video Festival was held yearly for a number of years in the early 1970s in New York City.
• 1970: Sculptor Eva Hesse died May 29, 1970 in New York City.
• 1970s: The Women's Interart Center in New York was founded in the 1970s in New York City, and is still in operation.
• 1970: A historic 1970 manifesto by a “small guerilla unit,” Women Students and Artists for Black Art Liberation (WSABAL), demanded equal exhibition representation for women, blacks, and students.
• 1970: A full page ad in the October 1970 Artforum announced feminist artist Judy Chicago's name change from Judy Gerowitz. The ad said she made the change to divest "herself of all names imposed upon her through male social dominance..."
• 1970: America's first feminist art education program took place at California State University, Fresno in California in 1970 when fifteen female students and instructor Judy Chicago helped pioneer key strategies of the early feminist art movement, including collaboration, the use of “female technologies” like costume, performance, and video, and early forms of media critique.
• 1970: Westbeth Playwrights Feminist Collective founded by playwrights Dolores Walker, Gwendolyn Gunn, Susan Yankowitz, Sally Ordway, Christina (Chryse) Maile, Patricia Horan, and Helen Duberstein. The plays of the Collective featured such women's issues as religious patriarchy, work place discrimination, dominance-submissive relationships, historical figures, masquerade, and sexual discrimination. One of the few feminist theater groups to be widely reviewed in the NY Times, the plays transcended the limiting context of agit-prop theatre by discarding the revenge themes current in much feminist writing at the time, and instead strove to accurately reflect the complexity of women’s lives and celebrate their accomplishments.
• 1971: Valie Export's groundbreaking video piece, "Facing a Family" was one of the first instances of television intervention and broadcasting video art.
• 1971: Judy Chicago, with abstract painter Miriam Schapiro, cofounded the landmark Feminist Art Program at California Institute of the Arts, north of Los Angeles, which was the only such department in a major art school.
• 1971: An early feminist art coalition, WEB (West-East Bag), was founded in 1971 by Lucy Lippard, Judy Chicago, and Miriam Schapiro, to jump-start the new movement and stimulate cadres in North America and beyond. It advocated a shifting “center,” and its newsletter was produced each month by a group in a different region. (It continued successfully through the mid-seventies.)
• 1971: Linda Nochlin’s landmark 1971 essay “Why Have There Been No Great Women Artists?” asked why women had been excluded from ideas of artistic greatness.
• 1972: First anthology by the Wimmen's Comix collective.
• 1972: The students of the feminist art program at California Institute of the Arts (CalArts) in Los Angeles created a month-long feminist installation in an empty house, entitled Womanhouse.
• 1972: The A.I.R. Gallery (named for "Artists in Residence") was founded in New York and remains active. Twenty co-op members renovated the space themselves; it was then very unusual to exhibit in an all-female environment.
• 1972: Sheila Levrant de Bretteville founded a feminist design program at CalArts.
• 1973: In Los Angeles, the Womanspace Gallery opened in a former laundromat; decision-making was arrived at through a round-robin consensus consciousness raising format.
• 1973: Ana Mendieta, Untitled (Rape Scene), 1973. After the brutal rape and murder of a student on campus at the University of Iowa, Cuban-American artist Ana Mendieta, who was also a student there, staged this performance. Viewers were invited to Mendieta's apartment where they saw Mendieta tied to a table surrounded by broken dishes and her body exposed and covered in fake blood from the waist down.
• 1973: The Woman's Building which included the Feminist Studio Workshop was founded by Sheila Levrant de Bretteville, art historian Arlene Raven, and Judy Chicago, in Los Angeles. Inspired by a Woman’s Building at the 1893 Universal Exposition in Chicago, at its core was a two-year graduate art program, the Feminist Studio Workshop (FSW). “We had a theory of feminist education,” Raven has said, “which was a transition from a situation of oppression—where women related to one another through competition, isolation, and silence—to one of support, a process evolved through criticism, and self-criticism.”
• 1973: Sheila Levrant de Bretteville created a poster/wallwork titled Pink; she handed out pieces of pink paper to friends and to women on the street, asking them to describe what this color, somewhat maligned for its associations with femininity, meant to them. She assembled the results on a poster in a quilt-like format, including blank spaces for audience response. De Bretteville, a mother and wife as well as a noted graphic designer, remarked that the visual structure also expressed "the way I felt my day was broken up into three-hour segments, as much as its form was influenced by notions of de-centering, and the revaluing of women's work, such as quilting."
• 1974: Mother Art, which consisted of Feminist Studio Workshop students, was founded in 1974, in part to show that feminists—at the time predominantly young, single women—could be wives and mothers, too.
• 1974: Exhibition: A Room of One's Own: Three Women Artists Ewing Gallery, University of Melbourne, co-curated by Kiffy Rubbo, Lynne Cooke and Janine Burke. Artists included Lesley Dumbrell, Julie Irving, and Ann Newmarch.
• 1974: Tomie Arai and the Cityarts Workshop created the mural known as the Wall of Respect for Women in New York City.
• 1975: The mural Women Hold Up Half the Sky was created under the direction of Tomie Arai.
• 1975: Exhibition: Australian Women Artists: 1840-1940, Ewing Gallery and George Paton Galleries, University of Melbourne; Art Gallery of NSW; Newcastle Region Art Gallery; Art Gallery of South Australia, curated by Janine Burke.
• 1975: Women's Art Register established in Melbourne. One of the founders was painter Erica McGilchrist.
• 1975: Carolee Schneemann performed Interior Scroll, a Fluxus-influenced piece featuring her use of text and body. In her performance, Schneemann entered wrapped in a sheet, under which she wore an apron. She disrobed and then got on a table where she outlined her body with dark paint. Several times, she would take "action poses", similar to those in figure drawing classes. Concurrently, she read from her book Cézanne, She Was a Great Painter. Following this, she dropped the book and slowly extracted from her vagina a scroll from which she read.
• 1975: Hecate: An Interdisciplinary Journal of Women's Liberation established, edited by Carole Ferrier (1975–present).
• 1975: The first performance of Spiderwoman Theater (named after the Hopi Spider Grandmother, Goddess of Creation, who taught her people to weave) was Woman in Violence (1975). This performance was full of bawdy satire, with the performers conceiving of themselves as “clowns,” using that metaphoric figure as a container to tell their stories of violence, battery, and shame. The style of Spiderwoman Theater, called “story weaving”, involved intertwining personal anecdotes, myths, and feminist insights chanted and repeated in poetic fragments, all with a touch of earthy humor.
• 1976: In I Make Maintenance Art One Hour Every Day (1976), for two months Mierle Laderman Ukeles mopped offices and elevators in a Lower Manhattan building.
• 1976: Launch of Melbourne-based art journal LIP A Journal of Women in the Visual Arts (1975–1983).
• 1976: Women's Art Movement established, Adelaide, South Australia
• 1977: In August, working with the national group Women Against Violence Against Women (WAVAW), Leslie Labowitz crafted a media event, Record Company Executives Drag Their Feet. Beneath a Hollywood billboard advertising Kiss’s new album Love Gun, which was full of S&M overtones, with women writhing underfoot, a gold Cadillac arrived at the head of a motorcade, and “record executives” wearing rooster heads emerged from them, holding gold records. Behind a faux press conference table, a large-scale chart demonstrated correlations between the increasingly graphic marketing of sex and an increase in arrests for rape and spousal abuse—in contrast to a drop in other crimes. Invited local TV stations and newspapers were furnished with “shot sheets” directing the focus of their visual coverage.
• 1977: In Laundryworks, the members of Mother Art displayed artworks hung like wet clothing on lines in Los Angeles laundromats, in performances timed to the wash and dry cycle. California State gave them a $700 arts grant for this multi-event action—which ended up as a political football, however, with the funding used as an example by conservatives of “budgetary fat.”
• 1977: Chrysalis: A Magazine of Women’s Culture started publishing in 1977 out of the Woman's Building and produced ten issues over the next three years. Editors were Kirsten Grimstad, Susan Rennie, Arlene Raven, Ruth Iskin, and Sheila Levrant de Bretteville.
• 1977: The first issue of the feminist art magazine Heresies was produced in 1977. The founding members of the Heresies Collective included Patsy Beckert, Joan Braderman, Mary Beth Edelson, Elizabeth Hess, Harmony Hammond, Joyce Kozloff, Arlene Ladden, Lucy Lippard, Mary Miss, Marty Pottenger, Miriam Schapiro, Joan Snyder, May Stevens, Michelle Stuart, Susana Torre, Elizabeth Weatherford, and Sally Webster.
• 1977: In Lysistrata Numbah! (1977), using Aristophanes’s play Lysistrata in which women refuse to have sex until a war was over, Spiderwoman Theater explored the issues of sex, power, and control.
• 1977: For the piece Three Weeks in May (1977), Suzanne Lacy and Leslie Labowitz posted huge maps in a downtown mall and marked them with occurrences of rapes across the city the night before, alongside locations of rape crisis centers and battered women's shelters. The event combined a performance piece on the steps of Los Angeles City Hall with self-defense classes for women in an attempt to highlight sexual violence against women.
• 1978: Suzanne Lacy's piece In Mourning and in Rage (1978) addressed the coverage given to the Hillside Strangler, a mass killer terrorizing women in the Hollywood Hills; the murders had been granted salacious attention by the media.
• 1978: Artwork: Ann Newmarch, Women hold up half the sky! 1978
• 1978: Exhibition: The Women's Show, Experimental Art Foundation, Adelaide
• 1978: Suzanne Lacy and Leslie Labowitz founded Ariadne: A Social Art Network. The group organized the ten-day event From Reverence to Rape to Respect (1978) in Las Vegas. One memorable installation there equated bejeweled sheep carcasses in headdresses with feathered Vegas showgirls.
• 1978: While on a bus on the way to the 1978 Las Vegas From Reverence to Rape event, The Feminist Art Workers (Nancy Angelo, Candace Compton, Laurel Klick, Cheri Gaulke, and Vanalyne Green) organized a structure of performance-related exercises, called Traffic in Women, in which they guided other passengers in a metaphoric journey from victimhood to self-realization; this involved storytelling, journal-writing, and self-reflection.
• 1978: For the event Take Back the Night (1978), the group Araidne organized a nighttime parade in San Francisco’s Tenderloin district, notorious for vice and corruption. Centrally featured was a float carrying a carved Madonna in front; on its verso side was a devilish three-headed lamb carcass from whose belly pornographic texts spewed.
• 1978: In a 1978 piece by the Feminist Art Workers, “viewers” entered a city phone booth and dialed a specified number, as if to listen to an obscene phone call. Instead they heard messages of empowerment.
• 1978: The first project of a feminist group called The Waitresses, made up of people who had been in the Feminist Studio Workshop, was Ready to Order (1978), conceived as a seven-day conceptual structure, which featured satiric skits. Millie Awards were given for categories such as longest inconsequential conversation and longest smile, and the event also involved community-oriented panel discussions and workshops along the lines of Three Weeks in May, to address issues such as job discrimination and to promote skills—for example, assertiveness training. The Waitresses group was founded in 1977 by Jerri Allyn and Anne Gauldin, and joined by Leslie Belt, Patti Nicklaus, Jamie Wildman, and Denise Yarfitz.
• 1978-80: Performance: Lyndal Jones, The At Home Series, performances in the series held at La Mama Theatre, Melbourne, George Paton Gallery, University of Melbourne, RMIT, Melbourne, 110 Chambers Street, New York
• 1979: The Dinner Party, an installation artwork by feminist artist Judy Chicago depicting place settings for 39 mythical and historical famous women, which was produced from 1974 to 1979 as a collaboration, was first exhibited in 1979.
• Late 1970s: The New York Feminist Art Institute sponsored a workshop on collaboration in the late 1970s.
• 1980: Artwork: Davida Allen painted her sexual fantasy pictures of actor Sam Neill. While the paintings followed in the tradition of the Burt Reynolds nude centerfold in Cosmopolitan in 1972, in 1980s Australia the artist raised eyebrows for depicting a man as a sex object.
• 1980: Performance: Bonita Ely, Bread Line, Anzart, Christchurch, New Zealand
• 1980: Performance: Bonita Ely, Murray River Punch, George Paton and Ewing Gallery, Melbourne University. Women at Work, a festival of women's performance art.
• 1980: Performance: Jill Orr, Split- Fragile Relationships, George Paton and Ewing Gallery, Melbourne University. Women at Work, a festival of women's performance art.
• 1980: Women at Work : a week of women's performance, June 1980. George Paton and Ewing Gallery, Melbourne University. Artists included Jill Orr and Bonita Ely.
• 1981: In an iconic photograph, Heaven or Hell? (1981), the Feminist Art Workers, dressed as cherubic hunters, fed each other from the tips of long arrows. This is a reference to a fable about a sumptuous banquet whose only dining utensils were forks so long diners were only able to eat if they fed one another—a metaphor for collaboration.
• 1981: Carnival Knowledge, a New York-based collective that explored issues related to women’s sexuality, staged a carnival with a pro-choice theme, called Bazaar Conceptions, in the New School’s Graduate Center. It featured more than 20 sculptures and games, drawing an estimated 2,500 participants.
• 1984: For the satiric Second Coming (1984), Carnival Knowledge, a New York-based collective that explored issues related to women’s sexuality, created a double collaboration with a recently formed support group of female porn stars, including the later infamous performance artist Annie Sprinkle. One aim was exploring whether a kind of pornography could exist that was not degrading “to women—or men or children.” However, the event brought punitive measures launched by conservative members of Congress against the producing venue Franklin Furnace, which had received federal grants.
• 1985: The Guerilla Girls, which rose to some renown, formed anonymously in 1985 in response to a Museum of Modern Art survey that included only 13 women alongside 166 white males. The group launched a highly effective street-postering campaign, simple statistics starkly revealing the lack of representation of women and people of color in galleries and museums. The signature gorilla mask apparently was inspired by one member’s mistake spelling “guerrilla.” However, it turned into a highly effective publicity tool, even as it served to mask participants’ identities, as some feared reprisals for being linked with feminism.
• 1985: Women of Sweetgrass, Cedar, and Sage is a major exhibition of female Native American artists, at the American Indian Community House in New York, curated by Harmony Hammond and Jaune Quick-to-See Smith.
• 1985-7: Suzanne Lacy worked with The Whisper Minnesota Project to create Crystal Quilt, a living tableaux performed by 430 women over the age of 60 on Mother’s Day at the IDS Center’s Crystal Court in Minneapolis. The piece aimed to change public perceptions of older women by providing a creative outlet and an open forum. The performance was staged on an 82-foot rug with tables placed on it designed by Miriam Schapiro to resemble a quilt. The women sat and discussed their lives, and every ten minutes they changed the placement of their arms on the tables thus altering the quilt’s pattern when seen from above. Snippets of their conversations were amplified on speakers and the entire event was broadcast live on public television.
• 1986: First issue of M/E/A/N/I/N/G, ed. Susan Bee and Mira Schor
• 1987: Exhibition: Feminist Narratives, George Paton Gallery, curated by Juliana Engberg. Artists: Pat Brassington, Debra Dawes, Leah MacKinnon, Andrea Paton, Ann Wulf.
• 1988: Exhibition: Judy Chicago (American) The Dinner Party (1979), Melbourne Exhibition Buildings.
• 1989: Artwork: Something More by Tracey Moffatt.
• 1991: Exhibition: Frames of Reference: Aspects of Feminism and Art, Artspace, Sydney, curated by Sally Couacaud.
  Artists: Kathy Temin, Susan Norrie, Vivienne Binns, Rebecca Cummins, Anne MacDonald
• 1991: Manifesto: VNS Matrix (Virginia Barratt, Francesca da Rimini, Juliane Pierce, Josephine Starrs), Cyberfeminist Manifesto for the 21st Century, Adelaide. [2] The manifesto was distributed on street posters around Adelaide. VNS Matrix was an artist collective founded in Adelaide and active 1991-1997. VNS Matrix is pronounced 'Venus Matrix'.
• 1992: Exhibition: Feminisms: An Exhibition of 27 Women Artists, PICA, Perth, curated by Nikki Miller.
• 1994: Exhibition: The Women's Show, Sutton Gallery, Melbourne
• 1994: Marcia Tucker organized the exhibition, Bad Girls at the New Museum and Marcia Tanner a companion show at the Wight Art Gallery at UCLA.
• 1995: Exhibition WWWO : Wollongong Worlds Women Online, first national Australian online women's group exhibition, featuring the first or early digital works from 30 women including Francis Dyson and Mez Breeze. Curators Melinda Rackham, Louise Manner, Ali Smith, Sandy Indlekofer-O’Sullivan.
• 1995: National Women's Art Exhibition, simultaneous exhibitions in over 147 galleries, museums and libraries.
• 1995: Exhibition: VNS Matrix: ALL NEW GEN, (VNS Matrix: Virginia Barratt, Francesca da Rimini, Juliane Pierce, Josephine Starrs), ACCA, Melbourne. Part of the National Women's Art Exhibition.
• 1995: Exhibition: In the Company of Women: 100 years of Australian women's art from the Cruthers Collection, PICA, Perth, curated by Sarah Miller. Part of the National Women's Art Exhibition.
• 1995: Exhibition: Out of the Void: Mad and Bad Women, Queensland Art Gallery, Brisbane, touring Queensland. Part of the National Women's Art Exhibition.
• 1995: Exhibition: Girls Girls Girls, Annandale Galleries, Sydney, also Orange Regional Gallery. Women's show to mark the 20th Anniversary of the United Nations, Year of the Woman.
• 1995: Beyond the Picket Fence: Australian women's art in the National Library of Australia, National Library of Australia
• 1996: "Inside the Visible," organized by Belgian curator Catherine de Zegher at the Institute of Contemporary Art, Boston (ICA), exhibited works by 35 international women artists from the 1930s, 1970s, and 1990s and presented a new theoretical interpretation for the art of the twentieth century (Inside the Visible, MIT press). This exhibition subsequently traveled to the National Museum of Women in the Arts in Washington, D.C., the Whitechapel Gallery in London, and the Art Gallery of Western Australia in Perth.
• 1996: Manifesto: VNS Matrix (Virginia Barratt, Francesca da Rimini, Juliane Pierce, Josephine Starrs) Bitch Mutant Manifesto, Adelaide.
• 1996: Exhibition: Women Hold Up Half the Sky: the Orientation of Art in the Post-War Pacific, Monash University Gallery, Melbourne, curated by Roger Butler.
  Artists: Micky Allan, Vivienne Binns, Kate Daw, eX de Medici, Diena Georgetti, Joan Grounds, Helga Groves, Indulkana Community, Emily Kame Kngwarreye, Narell Jubelin, Maningrida Arts, Banduk Marika, Ann Newmarch, Margaret Preston, Thancoupie, Kelly Thompson, Utopia Batik, Toni Warburton, Judy Watson, Robin White
• 1996: Exhibition: Inside the Visible, Boston: ICA/ MIT: Kanaal Art Foundation, and Touring to Whitechapel, London, and PICA, Perth, Australia, curated by Catherine de Zegher (USA)
• 1997: Exhibition: Difficult Territory: a postfeminist project, Artspace, Sydney, curated by Kristen Elsby
• 1999: Guerrilla Girls brought to Melbourne by RedPlanet for screenprinting workshops and lectures.
• 1999 Australian feminist art historians Joan Kerr & Jo Holder publish Past present : the national women's art anthology
• 2001, a conference called "Women Artists at the Millennium" was organized at Princeton University in honor of Linda Nochlin’s landmark 1971 essay “Why Have There Been No Great Women Artists?” which asked why women had been excluded from ideas of artistic greatness – and examined the field thirty years after. A book by that name was published in 2006, featuring major art historians such as Linda Nochlin, analysing prominent women artists such as: Louise Bourgeois, Yvonne Rainer, Bracha Ettinger, Sally Mann, Eva Hesse, Rachel Whiteread and Rosemarie Trockel.
• 2002: The exhibit Personal & Political: The Women’s Art Movement, 1969–1975 was held at the Guild Hall Museum, East Hampton, NY, from August 10 until October 20, 2002.
• 2002: The exhibit Gloria: Another Look at Feminist Art in the 1970s was held at White Columns, New York from September 13 until October 20, 2002.
• 2004: Artwork: Lydia Lunch, You Are Not Safe In Your Own Home. Installation at Fierce Festival, Birmingham UK.
• 2005: In December 2005, Serbian artist Tanja Ostojić became well known in Europe as a result of the "EU Panties" poster, a satire of Gustave Courbet's L'Origine du monde. Ostojić's version displayed her own crotch, clothed in blue underwear complete with EU stars. The image was meant as an ironic suggestion that foreign women are only welcome in Europe when they drop their underwear.
• 2006: Exhibition: Feminist Actions, Spacement, Melbourne, curated by Veronica Tello.
  Artists: Andrew Atchison, Pia de Bruyn, Sue Dodd, Sarah Lynch, Alex Martinis Roe, Ali Sanderson, Jessie Scott
• 2007: Forum: Feminism Never Happened, Gertrude Contemporary Art Spaces, Melbourne.
  Panelists included: Julie Rrap, Alex Martinus Roe, Ann Marsh, Lily Hibberd, Felicity Coleman, Lyndall Walker, Emily Cormack
• 2007: Wack! Art and the Feminist Revolution, curated by Connie Butler for Los Angeles' Geffen Center or Museum of Contemporary Art, MOCA, was the comprehensive, historical exhibition, examining the international foundations and legacy of feminist art, focusing on the period of 1965–1980, during which the majority of feminist activism and art-making occurred. The exhibition, traveled to the National Museum of Women in the Arts in Washington, D.C, at the PS1 satellite of the Museum of Modern Art in New York City, and at the Vancouver Art Gallery, focused heavily on artists from the United States but also included the work of a number of women from Central and Eastern Europe, Canada, Latin America, Asia, Australia, and New Zealand.
• 2007-2008: The exhibit Claiming Space: Some American Feminist Originators, at the American University Museum in Washington, D.C., was held from November 6, 2007 until January 27, 2008 curated by Norma Broude and Mary D. Garrard
• 2008: Exhibition: Lauren Berkowitz/ Starlie Geikie, Neon Parc, Melbourne, curated by Rebecca Coates.
• 2008: Exhibition: A Time Like This, VCA Margaret Lawrence Gallery, Melbourne.
  Curated by Samantha Comte, Jirra Lulla Harvey, Kate Rhodes and Meredith Turnbull.
  Artists: Louisa Bufardeci, Bindi Cole, Lorraine Connelly-Northey, Eliza Hutchison, Wietske Maas, Kate Smith, Salote Tawale, Annie Wu.
• 2008: Exhibition: Emily Floyd, Temple of the Female Eunuch, Anna Schwartz Gallery, Melbourne.
• 2008: Exhibition: Girls, Girls, Girls, Carlton Hotel, Melbourne, curated by Lyndal Walker and Nat Thomas.
• 2008: Australian feminist academic Elizabeth Grosz publishes Chaos, Territory, Art: Deleuze and the Framing of the Earth.
• 2008: Essay: On Rage by Germaine Greer, academic, social commentator and collector of Aboriginal art.
• 2008: Carey Lovelace organized "Making It Together: Women’s Collaborative Art + Community" at the Bronx Museum of the Arts which featured women artists, inspired by the 1970s Feminist Movement, who worked collectively in ways that engaged communities and addressed social issues. The essay is available online.
• 2008: CoUNTess blog launched. Blog compiles and reviews gender equality in the Australian art-world.
• 2008: Book: A Field Guide for Female Interrogators by Coco Fusco
• 2010: Exhibition: Feminism Never Happened, IMA, Brisbane.
  Artists: Del Kathryn Barton, Pat Brassington, Kirsty Bruce, Jacqueline Fraser, Anastasia Klose, Fiona Lowry, Fiona Pardington, Yvonne Todd, and Jemima Wyman [3]
• 2010: Exhibition: The View From Here: 19 Perspectives on Feminism, West Space, Melbourne. Curated by Clare Rae and Victoria Bennett.
  Artists: Jessie Angwin, Kiera Brew Kurec, Brown Council, Madeleine Donovan, Mariam Haji, Hannah Raisin, Jessie Scott, Hayley Forward and Jessica Olivieri with the Parachutes for Ladies.
  Writers: Emilie Zoey Baker, Laura Castagnini, Tamsin Green, Anna Greer, Rachel Fuller, Jo Latham, Dunja Rmandic, Daine Singer, Nella Themelios.
• 2010: Exhibition: The Feminist Salon Group, The Envelope Residency, The West Wing, West Space Project Site, Melbourne. Coordinated by Caroline Phillips and Sarah Lynch. A week long residency by a group of artists and writers engaged with reading and discussing feminist texts, in particular the work of Luce Irigaray. The residency included performance, film, visual art, sound, reading, discussion and a lecture by Dr. Louise Burchill. Participants included Sharon Billinge, Dr. Louise Burchill, Victoria Duckett, Catherine Evans, Janice Gobey, Kate Hodgetts, Kate Just, Anastasia Klose, Angie de Latour, Sarah Lynch, Valentina Palonen, Caroline Phillips, Hannah Raisin, Caroline Thew, Inez de Vega and Jane Whitfid.
• 2010-2011 Exhibition: Pompidou Centre in Paris presented its curators' choice of contemporary women artists in a three-volume's exhibition named elles@Centrepompidou [4] The museum showed works by major women artists, from the museum's collection.
• 2011 Exhibition: Doin' It In Public: Feminism and Art at the Woman's Building organized by Otis College of Art and Design not only includes the exhibition, but also two scholarly books, and several public events that document, contextualize and pay tribute to the groundbreaking work of feminist artists and cooperatives that were centered around the Los Angeles Woman's Building in the 1970s and 1980s. Doin' It In Public is part of Pacific Standard Time: Art in LA 1945-1980, an unprecedented collaboration, initiated by the Getty, that brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.
• 2011: !Women Art Revolution, a film by Lynn Hershman Leeson about feminist art, is released. An extensive archive of the additional footage shot for the film is available at Stanford.
• 2012: riart Grrrls founded in Hastings, UK. [discussion group: https://www.facebook.com/groups/riartgrrrls/; links to global feminist art: https://www.facebook.com/feministartistscollective and blog: http://riartgrrrls.blogspot.co.uk/]

Major exhibitions

• 1976: Women Artists: 1550-1950 curated by Ann Sutherland Harris and Linda Nochlin at Los Angeles County Museum of Art, the first major museum survey of the subject of women in the arts and a result of the 1971 protests.
• 1979: The Dinner Party, the installation/artwork by Judy Chicago that depicts place settings for 39 mythical and historical famous women, was produced from 1974 to 1979 as a collaboration. It now has a permanent home at the Brooklyn Museum.
• 1994: Bad Girls, organized by Marcia Tucker at the New Museum and Marcia Tanner, a companion show at the Wight Art Gallery at UCLA.
• 1996: "Inside the Visible," organized by Catherine de Zegher at the Institute of Contemporary Art, Boston (ICA),the National Museum of Women in the Arts in Washington, D.C., the Whitechapel Gallery in London, and the Art Gallery of Western Australia in Perth in 1997.
• 2007: Wack! Art and the Feminist Revolution, curated by Connie Butler for Los Angeles' Geffen Center or Museum of Contemporary Art, MOCA, was a comprehensive, historical exhibition, examining the international foundations and legacy of feminist art, and focusing on the period of 1965–1980, during which the majority of feminist activism and art-making occurred. The exhibition traveled to the National Museum of Women in the Arts in Washington, D.C, to the PS1 satellite of the Museum of Modern Art in New York City, and to the Vancouver Art Gallery. It focused heavily on artists from the United States but also included the work of a number of women from Central and Eastern Europe, Canada, Latin America, Asia, Australia, and New Zealand.
• 2007: Global Feminisms curated by Linda Nochlin and Maura Reilly at the Brooklyn Museum.
• 2008: Making It Together curated by Carey Lovelace at the Bronx Museum of the Arts in New York City explored women artists and collectivity in ways that engage communities and address social issues.
• 2009: A Studio of Their Own: The Legacy of the Fresno Feminist Experiment curated by Laura Meyer showcased the influence and work of artists from the first feminist art program in the world.
• 2010-2011 elles@Centrepompidou at Pompidou Centre, Paris.
• 2011: Doin' It In Public: Feminism and Art at the Woman's Building organized by Otis College of Art and Design not only includes the exhibition, but also two scholarly books, and several public events that document, contextualize and pay tribute to the groundbreaking work of feminist artists and cooperatives that were centered around the Los Angeles Woman's Building in the 1970s and 1980s. Doin' It In Public is part of Pacific Standard Time: Art in LA 1945-1980, an unprecedented collaboration, initiated by the Getty, that brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.
• 2012-2013: Pennsylvania Academy of the Fine Arts exhibits works from the Linda Lee Alter Collection of Art by Women.[5]

Journals about feminist art

• Chrysalis Magazine (1977–80), was organized out of the Los Angeles Woman's Building.
• Feminist Art Journal (Available on JStor).
• Genders: Feminist Art and (Post)Modern Anxieties
• Heresies: A Feminist Publication on Art and Politics(1977–92), is now the subject of a documentary film, The Heretics.
• N.paradoxa is an international feminist art journal that explores the work of contemporary women artists and feminist theory founded in December 1996.
• M/E/A/N/I/N/G, ed. Susan Bee and Mira Schor had 20 issues (1986-1996) and 5 on-line issues (2002-2011)
• Woman's Art Journal

Feminist art online

The Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum is an exhibition and education facility dedicated to feminist art and to raising awareness of feminism's cultural contributions. The Dinner Party (1974–79) by Judy Chicago, is housed there along with a biographical gallery highlighting the women represented in "The Dinner Party".

!W.A.R.: Voices of a Movement, video interviews with artists and critics’ chronicling the founding years of the feminist art movement in the 1970s from Stanford University Digital Collections.

Website of !Women Art Revolution, a documentary about feminist art.

Woman's Building Herstories, a collection of video interviews about early feminist art and artists active within the Southern California area during the 1970s.

Further reading

• Armstrong, Carol and Catherine de Zegher (eds.), Women Artists at the Millennium, The MIT Press, Cambridge, 2006.
• Bee, Susan and Mira Schor (eds.), The M/E/A/N/I/N/G Book, Duke University Press, Durham, NC, 20000.
• Bowman, Ruth. "A Grand Melee of Radical Procedures: Miriam Schapiro on CalArts and the Feminist Art Program", East of Borneo (Nov 2011).
• Breslauer, Jan. "California Performance." Performing Arts Journal 14.2 (1992): 87-96.
• Brooke, Kaucyila. "She Does Not See What She Does Not Know." X-TRA 6.3 (2004)[6].
• Brooklyn Museum. "Elizabeth A. Sackler Center for Feminist Art: Feminist Timeline."
• Broude, Norma and Mary D. Garrard, eds. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: Abrams, 1994.
• Brown, Betty Ann, ed. Expanding Circles: Women, Art & Community. New York: Midmarch, 1996.
• Brown, Betty Ann. "Feminist Art Education at the Los Angeles Woman's Building." From Site to Vision, the Woman's Building in Contemporary Culture. Sondra Hale and Terry Wolverton, eds. Ben Maltz Gallery, Otis College of Art and Design, 2011.
• Burnham, Linda. "Running Commentary: The Los Angeles Woman's Building, One of the Oldest Feminist Institutions in the World, Is Folding." High Performance 14 (Fall 1991): 8-9.
• Burton, Sandra. "Bad-Dream House." Time Magazine (Special Issue on The American Woman). March 20, 1972: 77.
• Butler, Connie. WACK! Art and the Feminist Revolution, Los Angeles: Museum of Contemporary Art. 2007.
• Chicago, Judy. Beyond the Flower: The Autobiography of a Feminist Artist. New York: Viking, 1996.
• Chicago, Judy. The Dinner Party: A Symbol of Our Heritage. Garden City, N.Y.: Anchor Press/Doubleday, 1979.
• Chicago, Judy. Embroidering Our Heritage: The Dinner Party. Garden City, N.Y.: Anchor Press/Doubleday, 1979.
• Chicago, Judy. Through the Flower: My Struggle as a Woman Artist. Doubleday, 1975.
• Chicago, Judy and Miriam Schapiro, Womanhouse. Valencia: California Institute for the Arts. 1972.
• Cheng, Meiling. In Other Los Angeleses: Multicentric Performance Art. Berkeley: University of California Press, 2002.
• Chrysalis Magazine. (10 issues published from 1977–1981). Issue 1 (PDF) available at East of Borneo
• Clifton, Leigh Ann. "Separate and Equal." Artweek 6 August 1992: 4-5.
• Cochrane, Diane. "Women in Art: A Progress Report." American Artist. ec. 1972: 52-56+.
• Cottingham, Laura. How Many 'Bad' Feminists Does It Take to Change a Light Bulb? New York: Sixty Percent Solution. 1994.
• Cottingham, Laura. "L.A. Womyn: The Feminist Art Movement in Southern California, 1970-1979." Sunshine & Noir: Art in L.A. 1960-1997. Lars Nittve and Helle Crenzien, eds. Humlebaek, Denmark: Louisiana Museum of Modern Art, 1997. 188-199.
• Cottingham, Laura. Seeing Through the Seventies: Essays on Feminism and Art. Amsterdam, The Netherlands: G+B Arts, 2000.
• Cranston, Meg. "Everything's Important: A Consideration of Feminist Video in the Woman's Building Collection." California Video: Artists and Histories, Glenn Phillips, ed. Los Angeles: Getty Getty Research Institute. 2008. 269-273.
• De Bretteville, Sheila Levrant. "Feminist Design." Space and Society, 6.2 (1983): 98-103.
• De Bretteville, Sheila Levrant. "The Los Angeles Woman's Building: A Public Center for Woman's Culture." New Space for Women, edited by Gerda R. Wekerle, Rebecca Peterson, and David Morley. Boulder, Colo.: Westview Press, 1980.
• de Zegher, Catherine, Inside the Visible, MIT Press, Massachusetts, 1996.
• de Zegher, Catherine and Teicher, Hendel (Eds.), 3 X Abstraction, Yale University Press, New Haven, Drawing Center, New York, 2005.
• de Zegher, Catherine, Eva Hesse Drawing, NY: The Drawing Center//New Haven: Yale University Press, 2006.
• Deepwell, Katy, ed. New Feminist Art Criticism: Critical Strategies. Manchester, New York: Manchester University Press, 1995.
• Dougherty, Cecilia. "Stories from a Generation: Early Video at the LA Woman's Building." Afterimage 26.1 (1998): 8-11.
• Donohue, Marlena Doktorczyk. "The Waitresses in Context." The Waitresses Unpeeled. Los Angeles: Ben Maltz Gallery, 2011.
• Edelson, Mary Beth and Arlene Raven, "Happy Birthday America." Chrysalis Magazine, 1.1 (1977): 49-53.
• Elliott, Maud Howe, ed. Art and Handicraft in the Woman's Building of the World's Columbian Exposition Chicago, 1893. Chicago and New York: Rand, McNally & Company: 1894.
• "Feminist Education" Spinning Off. July 1978. 1.
• Frueh, Joanna and Arlene Raven, "Feminist Art Criticism: Its Demise and Resurrection," Feminist Art Criticism. Spec. issue of Art Journal. 50.2 (1991): 6-10.
• Frueh, Joanna, Cassandra L. Langer, and Arlene Raven, eds. New Feminist Criticism: Art, Identity, Action, 1993.
• Vivien Green Fryd, "Suzanne Lacy's Three Weeks in May: Performance Art as "Expanded Public Pedagogy," National Women's Studies Association Journal 19 (2007): 23–38.
• Diana Fuller and Daniela Salvioni, eds. Art/Women/California 1950–2000: Parallels and Intersections. Berkeley: University of California Press. 2002.
• Gaulke, Cheri. "Acting Like Women" Performance Art of the Woman's Building." Citizen Artist: 20 Years of Art in the Public Arena. Linda Frye Burnham and Steven Durland, eds. Gardiner, NY : Critical Press. 1998.
• Gopnick, Blake. "What Is Feminist Art?" New York Post, April 22, 2007.
• Grenier, Catherine, ed. Catalog L.A.: Birth of an Art Capital: 1955-1985. San Francisco, CA: Chronicle Books, 2007.
• Gouma-Peterson, Thalia and Patricia Mathews. "The Feminist Critique of Art History," The Art Bulletin. 69.3 (1987): 326-357.
• Gouma-Peterson, Thalia. Miriam Schapiro: Shaping the Fragments of Art and Life. New York: Harry N. Abrams, 1999.
• Hale, Sondra and Terry Wolverton, eds. From Site to Vision: the Woman's Building in Contemporary Culture. Los Angeles: Otis College of Art and Design, 2011.
• Hammond, Harmony. Lesbian Art in America: A Contemporary History. New York: Rizzoli, 2000.
• Harper, Paula. "The First Feminist Art Program: A View from the 1980s." Signs 10.4 (1985): 762-781.
• Hess, Thomas B. and Elizabeth C. Baker, eds. Art and Sexual Politics: Women's Liberation, Women Artists, and Art History. New York, Macmillan, 1973
• Hunt, Annette and Nancy Angelo, "Bedtime Stories: Women Speak Out About Incest," Spinning Off, October/November 1979: 1.
• Irish, Sharon. Suzanne Lacy: Spaces Between. Minneapolis: University of Minnesota Press, 2010.
• Isaak, Jo Anna . Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter. New York: Routledge, 1996.
• Iskin, Ruth. "Feminist Education at the Feminist Studio Workshop." Learning Our Way: Essays in Feminist Education, Charlotte Bunch and Sandra Pollack, eds. Trumansburg, NY: Crossing Press. 169-186.
• Iskin, Ruth and Leslie Labowitz. "Moving Out: Leslie Labowitz and Ruth Iskin on Social, Feminist and Performance Art." Spinning Off, April 1979: 1.
• Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
• Jones, Amelia. "Burning Down the House: Feminist Art in California (an interview with Amelia Jones)." Art/Women/California 1950–2000: Parallels and Intersections. Diana Fuller and Daniela Salvioni, eds. Berkeley: University of California Press, 2002. 163-176.
• Jones, Amelia. ed., Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, Los Angeles: Armand Hammer Museum, 1996.
• Judy Chicago & the California Girls. Dir. Judith Dancoff. Perf. Judy Chicago, Faith Wilding, et al. 1973, 1993. DVD.
• Karras, Maria. The Woman's Building Chicago 1893- The Woman's Building Los Angeles 1973–1975.
• Koploy, Shirley. "Art: The Woman's Building—Alive and Living in L.A." Ms. Oct. (1974): 100.
• Kort, Michele. "When Feminist Art Went Public." Ms. Magazine Summer 2011: 40-43.
• L.A. Council of Women Artists Report, "Is Woman A Work of Art?" L.A. Free Press, July 9, 1971.
• Labowitz, Leslie and Suzanne Lacy, “Evolution of a Feminist Art: Public Forms and Social Issues,” Heresies 2 (1978): 80.
• Labowitz, Leslie and Suzanne Lacy, “In Mourning and In Rage,” Frontiers: A Journal of Women’s Studies 3 (1978): 52–55.
• Lacy, Suzanne and Leslie Labowitz. “Feminist Media Strategies for Political Performance.” Cultures in Contention, Douglas Kahn and Diane Neumaier, eds. Seattle: Real Comet Press, 1985.
• Lacy, Suzanne. “In Mourning and In Rage (With Analysis Aforethought),” Ikon 6 (1982).
• Lacy, Suzanne. “The Name of the Game,” Art Journal 50.2. Feminist Art Criticism. Summer, 199: 64-68.
• Lacy, Suzanne. “Three Weeks in May,” Frontiers: A Journal of Woman’s Studies 11 (1977): 9–10.
• Lacy, Suzanne and Leslie Labowitz. "Evolution of a Feminist Art: Public Forms and Social Issues," Heresies: A Feminist Publication of Art and Politics, 2 (Summer 1978), 76-88. [PDF]
• Lesbian Art Project, “An Oral Herstory of Lesbianism,” High Performance 2.4 (1979–80): 17–25.
• Linton, Meg and Sue Maberry, eds. Doin' It In Public: Feminism and Art at the Woman's Building [Exhibition catalog]. Otis College of Art and Design, 2011.
• Lippard, Lucy R. From the Center: Feminist Essays on Women's Art. New York: Dutton, 1976.
• Lippard, Lucy R. “More Alternate Spaces: The LA Woman's Building” in Art in America May/June 1974, 85-85.
• Lippard, Lucy R. The Pink Glass Swan: Selected Essays on Feminist Art. New York: New Press, 1995.
• Lippard, Lucy R. “Projecting a Feminist Criticism,” Art Journal Vol. 35, No. 4 (Summer, 1976), pp. 337–339.
• Lippard, Lucy R. “Sexual Politics, Art Style.” Art in America. Sept.-Oct., 1971.
• Lovelace, Carey. Making It Together. New York: Bronx Museum of the Arts, 2008.
• Marmer, Nancy. "Womanspace: A Creative Battle for Equality in the Art World," Art News, Vol.72, Summer 1973, pp. 38–39.
• Mayer, Mónica. “Art and Feminism: from Loving Education to Education through Osmosis,” N.Paradoxa 26 (2010) 5-16.
• Meyer, Laura, ed. A Studio of Their Own: The Legacy of the Fresno Feminist Experiment. Fresno, Calif.: Press at California State University, Fresno, 2009.
• Meyer, Laura. “The Los Angeles Woman's Building and the Feminist Art Community, 1973-1991.” The Sons and Daughters of Los: Culture and Community in L.A., David E. James, ed. Philadelphia: Temple University Press, 2003. 39-62. [PDF. Login may be required.]
• Lord, Catherine. "The Feminist Vision Thing: Utopias, Memories, Projects," WhiteWalls: A Journal of Language and Art, 33-34 (1994): Chapter 22.
• Nemser, Cindy. “The Women Artists’ Movement,” Feminist Art Journal 2.4 (1973–1974).
• Nochlin, Linda. “Why Have There Been No Great Women Artists?” Artnews (Special Issue on Women’s Liberation, Woman Artists and Art History), Jan. 1971: 22-71.
• Parker, Rozsika and Griselda Pollock, ed. Framing Feminism: Art and the Women's Movement, 1970–85, 1987.
• Phelan, Peggy. Art and Feminism. London: Phaidon, 2001.
• Pollock, Griselda, Generations and Geographies in the Visual Arts, Routledge, London, 1996.
• Pollock, Griselda, Looking back to the Future, G&B Arts, Amsterdam, 2001.
• Pollock, Griselda, Encounters in the Virtual Feminist Museum: Time, Space and the Archive, Routledge, 2007.
• Power, Joan M. "Feminist Education: Everything's Possible," Spinning Off, August 1979.
• Raven, Arlene. Art in the Public Interest. Ann Arbor: UMI Research Press, 1989.
• Raven, Arlene, ed. At Home. [Exhibition] Long Beach Museum of Art. 1983.
• Raven, Arlene. Crossing Over: Feminism and Art of Social Concern. 1988
• Raven, Arlene. “Los Angeles Lesbian Artists,” Cultures in Contention, Douglas Kahn and Diane Neumaier, eds. Seattle: Real Comet Press, 1985: 236-24. [PDF. Login may be required.]
• Raven, Arlene. “Oral Herstory of Lesbianism,” High Performance Magazine 8:17-25.
• Raven, Arlene and Ruth Iskin, “Through the Peephole: Lesbian Sensibility in Art,” Chrysalis: A Magazine of Women’s Culture 4 (1977): 22.
• Robinson, Hilary, ed. Feminism-Art-Theory: An Anthology, 1968–2000, 2001
• Roth, Moira, ed. The Amazing Decade: Women and Performance Art in America, 1970–1980. Los Angeles: Astro Artz, 1983.
• Roth, Moira. "Suzanne Lacy on the Feminist Program at Fresno State and CalArts", East of Borneo (Dec 2011).
• Roth, Moira. “Suzanne Lacy Interview." Transcript, Smithsonian Archives of American Art Oral History Collection.
• Roth, Moira. “Suzanne Lacy: Social Reformer and Witch.” TDR 32, 1 (Spring, 1988): 42-60.
• Roth, Moira. “A Star Is Born: Performance Art in California” Performing Arts Journal 4, 3 (1980): 86-96.
• Schapiro, Miriam. "Oral History Interview." Archives of American Art, Smithsonian Institution, 1989.
• Schor, Mira. Wet: On Painting, Feminism, and Art Culture. Durham, NC: Duke University Press. 1997
• Schor, Mira. A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life. Durham, NC: Duke University Press. 2009.
• Sider, Sandra. "Womanhouse: Cradle of Feminist Art Art Spaces Archive Project."
• Sorkin, Jenni. “Arlene Raven: Homecoming,” Critical Matrix 17 (2008): 82–89.
• Stermer, Dugald. “Sheila de Bretteville.” Communication Arts May/June (1982): 42-47.
• Swartz, Anne. “The Home That the Woman’s Building Built: Cheri Gaulke and Sue Maberry Construct a Visual Narrative of the Lesbian Family,” Journal of Lesbian Studies (special issue on lesbian art and artists), Margo Thompson, ed. 14, 2 & 3, (2010).
• Swartz, Anne and Johanna Burton, editors, “Arlene Raven’s Legacy” from Critical Matrix, Journal of Women, Gender and Culture, 2008.
• Tamblyn, Christine. “No More Nice Girls: Recent Transgressive Feminist Art,” Art Journal 50, 2 (Summer, 1991): 53-57.
• Triggs, Teal. “Where Public Meets Private: The Los Angeles Woman's Building.” Public+Private, Siân Cook and Teal Triggs, eds.: 59-69.
• Wilding. Faith. By Our Own Hands: The Women Artist's Movement, Southern California, 1970-1976.
• Wilding. Faith. “Don’t Tell Anyone We Did It!”
• Wolverton, Terry. “Art Against Incest: Feminist Artists Challenge the Conspiracy of Silence,” FUSE (July/August 1980): 280.
• Wolverton, Terry. “Generations of Lesbian Art,” High Performance 14 (1991): 10–11.
• Wolverton, Terry. Insurgent Muse: Life and Art at the Woman's Building. San Francisco: City Lights Books, 2002.
• Wolverton, Terry. “Lesbian Art Project.” Heresies #7 2.3 (1979): 14–19.
• Wolverton, Terry. and Christine Wong, “An Oral Herstory of Lesbianism,” Frontiers: A Journal of Women Studies: Lesbian History 4.3 (1979): 52–53.
• Wolverton, Terry. "The Women's Art Movement Today." Artweek 21 (February 8, 1990): 20-1.
• Womanhouse. Dir. Johanna Demetrakas. Women Make Movies. 1974. DVD.
• Yee, Lydia. Division of Labor: "Women's Work in Contemporary Art" Bronx Museum of the Arts. 199?.

External links

• Feminist Art Project (Rutgers University)
• The Woman's Building (Los Angeles)
• Oral history interview with Suzanne Lacy about the early years of the Feminist Art Program first at Fresno State and then at CalARTS
• Information about the first Feminist Art Program at Fresno State University
• Women's Caucus for Art
• New York Feminist Art Institute
• Judy Chicago
• In: In Visible Culture Catherine de Zegher presents feminist art theory and women artists
• n.paradoxa:international Feminist Art Journal
• www.guerrillagirlsontour.com
• Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum

See also

• Australian Feminist Art Timeline
• Depiction of women artists in art history
• Feminism in 1950s Britain
• Guerrilla Girls On Tour
• List of 20th century women artists
• Historiography
• Women Artists