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Feminist Art Criticism
From the Preface:"The essays in Feminist Art Criticism are theoretical, and we selected them for several reasons. First, they show a diversity of concerns. These include spirituality, sexuality, the representation of women in art, the necessary inter-relationship of theory and action, women as artmakers, ethnicity, language itself, so-called postfeminism and critiques of hte art world, the discipline of art history and the practice of art criticism. Second, the contributors' work has not been either widely disseminated or readily available. Third, the essays, especially arranged as they are (chronologically), demonstrate a continuous feminist discourse in art from the early 1970s through the present, a discourse that is neither monolithic nor intellectually trendy but that rather exhibits many elements, the polemical, Marxist, lyrical, and poststructuralist being only a few."
Crossing Over
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Exposures
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Alternative Art, New York, 1965-1985
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)
Feminist Foremothers in Women's Studies, Psychology, and Mental Health
Feminist Foremothers in Women’s Studies, Psychology, and Mental Health is by and about the more recent wave of feminist foremothers; those who were awakened in the 1960s and ’70s to the realization that something was terribly wrong. These are the women who created the fields of feminist therapy, feminist psychology, and women’s mental health as they exist today. The 48 women share their life stories in the hope that they will inspire and encourage readers to take their own risks and their own journeys to the outer edges of human possibility. Authors write about what led up to their achievements, what their accomplishments were, and how their lives were consequently changed. They descri...
Being Antinova
"For three weeks in October of 1980, Eleanor Antin lived in New York as Eleanora Antinova, the once celebrated but now retired Black Ballerina of Diaghilev's Ballet Russe. Darkening herself everyday and appearing in the appropriately glamourous dress of a ballerina, she lived at the shifting boundaries between art and life, the self and the other. To aid her in recalling the multitude of events that would otherwise have slipped away, she kept a daily journal of her encounters and experiences. This book is that journal
