Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked.

Preface x Acknowledgements and Sources xii Introduction: Feminism–Art–Theory: Towards a (Political) Historiography 1 1 Overviews 8 Introduction 8 1.1 Gender in/of Culture 12 Valerie Solanas, ‘Scum Manifesto’ (1968) 12 Shulamith Firestone, ‘(Male) Culture’ (1970) 13 Sherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17 Carolee Schneemann, ‘From Tape no. 2 for Kitch’s Last Meal’ (1973) 26 1.2 Curating Feminisms 28 Cornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28 Xabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33 Mirjam Westen, ‘rebelle: Introduction’ (2009) 35 2 Activism and Institutions 44 Introduction 44 2.1 Challenging Patriarchal Structures 51 Women’s Ad Hoc Committee/Women Artists in Revolution/WSABAL, ‘To the Viewing Public for the 1970 Whitney Annual Exhibition’ (1970) 51 Monica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52 Guerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54 Mary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54 Lubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60 Jerry Saltz, ‘Where the Girls Aren’t’ (2006) 62 East London Fawcett, ‘The Great East London Art Audit’ (2013) 64 2.2 Towards Feminist Structures 66 WEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66 Women’s Workshop, ‘A Brief History of the Women’s Workshop of the Artist’s Union 1972–1973’ (c. 1973) 67 Martha Rosler, ‘Well, is the Personal Political?’ (1980) 68 Lucy Lippard, ‘Trojan Horses: Activist Art and Power’ (1984) 69 Anne Marsh, ‘A Theoretical and Political Context’ (1985) 79 Xabier Arakistain et al., ARCO Manifesto: ‘Politics of Equality between Men and Women in the Art World’ (2005) 85 Parliament of Spain, ‘Article 26: Equality in Artistic and Intellectual Creation and Production’ (2007) 86 2.3 Activism in Practice 88 Mierle Laderman Ukeles, ‘Manifesto for Maintenance Art, 1969!’ (1969) 88 Leslie Labowitz‐Starus and Suzanne Lacy, ‘In Mourning and in Rage …’ (1978) 91 Zoe Leonard, ‘I Want a President’ (1992) 95 Andrea Fraser, ‘There’s No Place like Home’ (2012) 96 Nadezhda Tolokonnikova, ‘Opening Courtroom Statement by Nadya’ (2013) 102 2.4 Education 106 Miriam Schapiro, ‘The Education of Women as Artists: Project Womanhouse’ (1972) 106 Lisa Tickner, ‘Retrospect’ (2008) 107 Griselda Pollock, ‘Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University’ (2010) 114 Lisa Nyberg and Johanna Gustavsson, ‘Radical Pedagogy’ (2011) 124 3 Historical and Critical Practices 129 Introduction 129 3.1 Interrogating ‘Art History’ 134 Linda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971) 134 Griselda Pollock, ‘Women, Art and Ideology: Questions for Feminist Art Historians’ (1983) 149 Mira Schor, ‘Patrilineage’ (1991) 159 3.2 Feminist/Writing 165 Carol Duncan, ‘Virility and Domination in Early Twentieth Century Vanguard Painting’ (1973) 165 Joan Borsa, ‘Frida Kahlo: Marginalization and the Critical Female Subject’ (1990) 169 Freida High W. Tesfagiorgis, ‘In Search of a Discourse and Critique/s that Center the Art of Black Women Artists’ (1993) 185 Maureen Connor, ‘Working Notes: Conversation with Katy Deepwell’ (2002) 198 Martina Pachmanová, ‘In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory’ (2009) 203 4 Materials, Practices, Choices 217 Introduction 217 4.1 Aesthetic Choice 223 Judy Chicago, ‘Woman as Artist’ (1971) 223 Marjorie Kramer, ‘Some Thoughts on Feminist Art’ (1971) 225 Pat Mainardi, ‘A Feminine Sensibility?’ (1972) 227 Judith Stein, ‘For a Truly Feminist Art’ (1972) 228 Anne‐Marie Sauzeau‐Boetti, ‘Negative Capability as Practice in Women’s Art’ (1979) 229 4.2 Craft 233 Rozsika Parker, ‘The Creation of Femininity’ (1984) 233 Catherine Harper, ‘I Need Tracey Emin Like I Need God’ (2004) 237 Stephanie Syjuco, ‘Anti‐Factory’ (2008) 240 4.3 Painting 241 Katy Deepwell, ‘Paint Stripping’ (1994) 241 Alison Rowley, ‘Plan: Large Woman or Large Canvas? A Confusion of Size with Scale’ (1996) 246 Amy Sillman, ‘AbEx and Disco Balls: In Defense of Abstract Expressionism II’ (2011) 250 4.4 New Media 255 Mitra Tabrizian, ‘The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble’ (1987) 255 Faith Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998) 260 Elisabeth Subrin, ‘Trashing “Shulie”: Remnants from Some Abandoned Feminist History’ (2006) 266 Alla Mitrofanova, ‘Cyberfeminism in History, Practice and Theory’ (2010) 271 Stéphanie Jeanjean, ‘Disobedient Video in the 1970s: Video Production by Women’s Collectives’ (2011) 279 5 Representing Women 288 Introduction 288 5.1 Between Image and Representation 293 John Berger, Chapter 3 of Ways of Seeing (1972) 293 Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ (1975) 300 Mary Kelly, Preface to Post‐Partum Document (1983) 310 Judith Williamson, ‘Images of “Woman”: The Photography of Cindy Sherman’ (1983) 314 Elizabeth Grosz, ‘Inscriptions and Body‐Maps: Representations and the Corporeal’ (1990) 320 Lynda Nead, ‘Framing the Female Body’ (1992) 322 Nelly Richard, ‘Politics and Aesthetics of the Sign’ (2004) 329 5.2 The Artist’s Body in the Artwork 340 Lucy Lippard, ‘The Pains and Pleasures of Rebirth: European and American Women’s Body Art’ (1976) 340 Mary Duffy, ‘Disability, Differentness, Identity’ (1987) 343 VALIE EXPORT, ‘Aspects of Feminist Actionism’ (1989) 345 Orlan, ‘Intervention d’Orlan’ (1995) 361 Amelia Jones, ‘Yayoi Kusama’ (1998) 367 6 Sex, Sexuality, Image 372 Introduction 372 6.1 Sexuality and the Sexual Body 376 Barbara Rose, ‘Vaginal Iconology’ (1974) 376 Suzanne Santoro, ‘Towards New Expression’ (1974) 378 Joanna Frueh, ‘Feminism’ (1989) 379 Buseje Bailey, ‘I Don’t Have to Expose my Genitalia’ (1993) 385 ‘Interview with Betty Tompkins’ (2006) 388 Chris Kraus, ‘May ’69’ (2011) 393 6.2 Lesbian and Queer Practices 398 Monique Wittig, ‘The Straight Mind’ (1980) 398 Jan Zita Grover, ‘Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs’ (1991) 402 Shonagh Adelman, ‘Desire in the Politics of Representation’ (1993) 408 Ridykeulous, ‘Advantages of Being a Woman Lesbian Artist’ (2006) 410 Zanele Muholi, ‘Ngiyopha: A Photo‐biographical Project’ (2009) 410 Catherine Lord, ‘Wonder Waif Meets Super Neuter’ (2010) 414 7 Identity, Geography, Citizenship 435 Introduction 435 7.1 Projections 440 Kass Banning, ‘The Ties That Bind: Here We Go Again’ (1987) 440 Adrian Piper, ‘The Triple Negation of Colored Women Artists’ (1990) 444 Diane Losche, ‘Reinventing the Nude: Fiona Foley’s Museology’ (1999) 455 Jieun Rhee, ‘Performing the Other: Yoko Ono’s Cut Piece’ (2005) 461 7.2 Political Violence 471 Jill Bennett, ‘Art, Affect, and the “Bad Death”: Strategies for Communicating the Sense Memory of Loss’ (2002) 471 ‘Regina José Galindo’, interview by Francisco Goldman (2006) 477 ‘Between the Monument and the Ruin’, interview with Lida Abdul by Candice Hopkins (2007) 482 7.3 Global Citizens 486 Tracey Rose, ‘The Cant Show’ (2007) 486 Tanja Ostojić, ‘Crossing Borders Series’ (2009) 488 Shirin Neshat, ‘Art in Exile’ (2010) 491 Index 494

Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, this archival anthology gathers together 88 indicative texts from North America, Europe and Australasia.The volume embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism to education and aesthetics. The writings of artists and activists are juxtaposed with those of academics, creating an entertaining and provocative web of ideas. Some of the texts are now regarded as classic, but the anthology is particularly notable for its inclusion of rare and significant material not reprinted elsewhere.The scale and structure of the volume make it a uniquely flexible resource for study and research. Each of the seven sections focuses on a specific area of debate and is introduced by a descriptive summary. The texts within each chapter are then presented in chronological order, indexing differing positions as they developed over time. The second edition is completely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions.

Praise for the first edition "Robinson's anthology of feminist writing on, in and around art from the last 30 years does fill a very tangible gap and will be of immense use to anybody who spends their time looking at and thinking about art." Art Monthly “Since the first edition appeared in early 2001, Feminism-Art-Theory has proven a vital resource. Substantially revised, this second edition and Robinson’s thoughtful, nuanced yet demotic framing of the issues responds forcefully to the renewed currency of feminism as a living theory and praxis.” Judith Rodenbeck, Sarah Lawrence College  "Hilary Robinson’s editorial enterprise has become indispensible to an adequate understanding of feminist art as, always, a deeply felt and passionately political practice, and, increasingly, a thoroughly theorized one." Terrance Smith, University of Pittsburgh