Spring 2021 Senior Capstone Exhibition :: Confronting Greatness :: Gallery Guide

GALLERY GUIDE | SPRING 2021 ART & ARCHITECTURE HISTORY CAPSTONE EXHIBITION

CONFRONTING

GREATNESS A CELEBRATION OF

WOMEN ARTISTS

IN RECOGNITION

Confronting Greatness: A Celebration of Women Artists is the culminating work of the Fall 2020 Art & Architecture History Senior Capstone seminar at Miami University.

Our sincerest appreciation goes to Sara Vance Waddell who generously loaned several pieces from her collection of feminist art. Waddell inspired the class with her passion for the arts and her mission to support women creatives.

We also thank Dr. Annie Dell’Aria for her support and guidance. Despite the unfavorable circumstances, Dr. Dell’Aria cultivated an engaging learning environment that allowed students to grow as scholars and collaborators.

Special thanks to Jason E. Shaiman, Curator of Exhibitions, and Laura Stewart, Collections Manager/Registrar, for guiding students through the curatorial and collections processes. Their investment and enthusiasm played a large role in our exhibition’s success.

Our sincere appreciation to the staff of the Miami University Art Museum and Department of Art, particularly Dr. Robert S. Wicks, Director; Mark DeGennaro, Preparator; Sherri Krazl, Coordinator of Marketing and Communications; Cynthia Collins, Curator of Education; Grace Bihl, Graphic Design student; Scott Kissell, Photographer; and Michael Stillion, Assistant Professor of Art.. Finally, we would like to express our gratitude to the Art & Architecture History faculty for providing us the skills necessary to create this special exhibition.

Additional thanks to the staff of Miami University’s Walter Havighurst Special Collections and University Archives for the loan of documentary materials.

MEET THE CLASS

ART 498 CLASS LIST

Not Pictured: Casey Bergman and Lexi Coleman

Dr. Annie Dell’Aria Erin Adelman | Casey Bergman | Ben Calderon | Halle Campbell | Jillian Cofskey Morgan Eakin | Nina Grotto | Claire Haitsch | Sydney Herrick | Jane Keady | Ben Krautheim Ashlyn Lazor | Alex Morse | Carmen Perez | Jess Phillips | Syd Rivera | John Rozelle Sammy Sleeth | Aspen Stein | Aubrey Woodard

QUESTIONING ART HISTORY Fifty years ago, in a ground-breaking essay, Linda Nochlin posed the question, “Why Have There Been No Great Women Artists?” The article investigated and strove to dismantle institutional obstacles that prevented women’s inclusion in the canon of art history. She used this provocative question not simply to rattle off lists of the women who managed to achieve notoriety but rather to critique “the whole erroneous intellectual substructure upon which the question…exists.” This exhibition echoes Nochlin’s powerful message while providing a more expansive and inclusive perspective on the question of women artists in the 21st century.

Confronting Greatness features artworks from the late nineteenth century to today by artists who identify as women. These works tackle the presumptions and assumptions of subject matter and form produced through the myth of “greatness.” Through its all-women roster, the exhibition prompts viewers to question how we do or do not consider gender when looking at art and hopefully imparts future expectations of inclusion. We ask what strides have been made since Nochlin’s provocation as well as what new questions and intersections have arisen. Through an exploration of artistic identity, questions of medium, and gender roles and expectations, these artists communicate the multi-dimensional nature of womanhood and the importance of inclusion and diversity of voices.

ARTNews Magazine, January 1971. Courtesy of the Walter Havighurst Special Collections and University Archives, Miami University, Oxford, Ohio

Do Women Have to Be Naked to Get Into the Met. Museum? Update, 2012 Copyright © Guerrilla Girls and courtesy of guerrillagirls.com

The Guerrilla Girls are an anonymous, feminist art collective and activist group formed in 1985. They produce posters and interventions that expose sexism, racism, and corruption in the arts. Their name, in reference to guerrilla warfare, alludes to their on-the-street methods and the gorilla masks they wear to shield their identities. This poster, perhaps their most iconic, highlights the relationship between the underrepresentation of women artists and the overrepresentation of women’s objectified bodies.

The poster was originally placed on New York City buses in 1989 to reach the highest number of viewers. This poster features updated statistics from 2011, which sadly are not very different from the original data.

WOMAN/ARTIST

In her essay “Why Have There Been No Great Women Artists?”, Linda Nochlin addresses how the notion of artistic “greatness” has been equated with masculinity. The term “woman artist” suggests a label, a separate or distinct category from the term “artist” alone. Male artists, on the other hand, are often seen as artists with no necessary identifier. This section highlights the ongoing struggle between social and cultural expectations of women and the development of an individual artistic voice. Women continue to be excluded from the art historical canon. As a result, they must fight for their rightful place in the art world and face the nuanced challenges that come with being labeled as both a woman and an artist separately.

These artworks explore the tension between the terms woman and artist, as well as chart multiple pathways for feminist creativity. The battle between the two identities, the roles projected onto women by society, and their internal sense of self looms large for many women artists. These women use their art to declare their genuine selves and combat society’s projections onto them and their work.

Their artwork is made in the service of self-discovery and proclamation, and as a step toward gaining access into the traditionally male-dominated art world.

In Untitled #117, Cindy Sherman satirizes and challenges standards and stereotypes of the fashion industry. As a part of her larger collection, Untitled Fashion Series, Sherman creates images that are frightening and toy with what it means to be accepted as beautiful by society. This piece redefines the term “woman artist” as Sherman places herself within the photograph but disguises her identity through costume and makeup. By leaving the work untitled, Sherman’s true identity becomes lost in that of a nameless woman. Her identity as both a woman and an artist merge into one. This creates a clash between identities and a tension between whether Sherman is to be viewed as a woman or as an artist.

Written by Aubrey Woodard

Cindy Sherman (American, b. 1954) Untitled #117, 1983 Color cibachrome print Gift of James H. and Frances R. Allen 2002.45

INTERIOR SCROLL In 1975, experimental film and performance artist Carolee Schneemann performed the first iteration of Interior Scroll at “Women Here and Now” in East Hampton, New York. It was an iconic moment in Feminist art that prioritized interior knowledge from the female body rather than the formal and conceptual processes male contemporaries referred to as objective. A second performance at the 1977 Telluride Film Festival in Colorado was by invitation. Schneemann was vexed upon discovering that the program was titled “The Erotic Woman,” as the title compartmentalized her and other women’s work.

In both performances she painted the contours of her body and assumed poses of a model during a nude drawing session. The culmination of the performance involved Schneemann taking a scroll from her vagina and reading it to the crowd.

As she pulls the scroll from the inside of her body, she pulls knowledge that comes from within her and from women’s bodies and experiences more broadly.

This work equates knowledge and knowing to a female body; a body that has historically been denied autonomy within the arts just as it has been deployed as a model, allegory, advertisement, and object.

The scroll is a relic, a surviving object from a historically important performance. Its expansion both in performance and displayed here allows its words to be read. The few words printed per line creates a stilted voice when read.

The words, borrowed from Schneemann’s diaristic film Kitch’s Last Meal, prod how language genders professions in the arts. Schneemann questions how “cameraman” becomes “cameraperson” whereas “poet” becomes a “poetess,” when women take the reins of male-dominated fields. These turns ascribe or erase gender difference in ways that either keep women at bay or treat them merely “as fascinating guests.”

Carolee Schneemann (American, 1939-2019) Interior Scroll, 1974/1975 Type-written text on paper Collection of Sara M. and Michelle Vance Waddell

Interior Scroll is a work of body and performance art where Carolee Schneemann uses her own body as the primary medium. Photographs by Anthony McCall, a structuralist filmmaker and Schneemann’s lover, allow us to view the performance and the implied movement. However, we are left without access to the full work. These images appear overlaid with excerpts of text she read (derived from her diaristic film Kitch’s Last Meal (1973-78), and smears of color that evoke the interior of the body.

Written by Aspen Stein, Jess Phillips, Carmen Perez and Aubrey Woodard

Carolee Schneemann (American, 1939-2019) Interior Scroll (photo documentation, 1974/1975 Type-written text on paper Collection of Sara M. and Michelle Vance Waddell

Audrey Flack (American, b. 1931) Self Portrait: The Memory, 1958 Oil on canvas Gift of the Artist 1993.40

Painted after her father’s death, Audrey Flack’s Self-Portrait: The Memory creates a cathartic space to address mortality and emotion. Flack stands before her canvas, observing the viewer as they watch her. Her body and the surrounding space are conveyed through abstract lines, but her face is rendered with purposeful detail. As both artist and subject, Flack’s image is assertive and selfaware. Two abstract faces hover in the background, perhaps as a visual reference to the titular memory. Flack’s career began as a teenager during the Abstract Expressionist movement of the 1940s, and as a pioneer of 1970s Photorealism.

Though Modern art may seem traditionally cold and detached, Flack’s art is deeply personal and emotionally intense.

Written by Erin Adelman

Elizabeth Catlett (American, 1915-2012) Glory, 1981 Bronze Miami University Art Museum purchase 2004.9

Glory is a bronze bust portraying Glory Van Scott, an influential African-American woman. Van Scott was an activist during the Civil Rights movement who fought to preserve Black history. Being the granddaughter of a slave and rejected from Carnegie Institute of Technology due to her race, Elizabeth Catlett was heavily exposed to racial injustices. Art was her way of protesting oppression based on race and gender. This bust of Van Scott, a woman artist herself, highlights the perseverance of African-American women through a strong jawline and bold, engaging eyes. Black women artists used abstraction and realism as a way of including the African-American audience and leaving their work open to the viewer’s interpretation.

Written by Sydni Rivera

Miriam Schapiro (American, b. Canada, 1923-2015) Conservatory (Portrait of Frida Kahlo), 1988 Acrylic and mixed media on canvas Miami University Art Museum purchase funded through the Helen Kingseed Art Acquisition Fund and the Commemorative Acquisition Fund 1990.113

Miriam Schapiro was a pioneer of the feminist art movement in the 1970s and co-founder of Womanhouse. By the 1980s, Schapiro started to create large scale works emphasizing the importance of women in the history of art. These works incorporated elements of forgotten women artists as well as media like fabric and collage, which were viewed as lesser forms of art only done by women. She called her new style femmage combining the words feminine and collage. In Conservatory (Portrait of Frida Kahlo), Schapiro depicts an enthroned Frida Kahlo, the famous Mexican surrealist whom she admired as a woman and an artist. Kahlo struggled during her life personally and professionally, but she was able to overcome her pain and create great works of art. This inspired Schapiro, who also added motifs alluding to Kahlo’s paintings and Pre-Columbian heritage.

Written by Ashlyn Lazor

WOMAN/ARTIST The materials and processes of making often carry just as much meaning physically and aesthetically as the content of the work itself. The works in this section fall into two categories: abstraction and the deployment of unconventional or historically marginalized media. Women have historically been excluded from certain genres of painting, and media such as clay, textiles, or performance have been discounted as low art and not taken seriously. While not all the works in this grouping are explicitly feminist, all of the artists manipulate the aesthetics of composition to communicate layered meanings and rebel against the norms of the artistic process.

Just like Linda Nochlin confronts “greatness” in her essay, these artists confront the ways in which women have historically been excluded from the art world. Not only do these artists reject the rules of making, but they also question societal expectations of art. They abolish the binary of masculine and feminine art genres by reclaiming previously marginalized methods of art-making. In addition, they burst into scale and media from which women have been traditionally excluded. These artists reference and bend more traditional mediums and forms of representation, directly confronting previously established standards of “greatness.”

Vera Klement (American, b. Poland, 1929) Birches/Embrace, 1994 Oil on canvas Miami University Art Museum purchase through the Commemorative Fund 2004.7

In Birches/Embrace, Vera Klement applies thick layers of white, black, and brown paint to create marvelously textured birch trunks against a stark white background while adding shades of blue, red, yellow, green, and pink to the image within the female figure. The transcendental, spiritual, and mysterious qualities of this composition lead viewers to question what is happening in the painting. Klement was born to Jewish parents in Danzig, a German city-state, and her work is influenced by traumas from the Holocaust. Working within the feminist art scene of 1970s Chicago, Klement received praise for taking the tradition of Abstract Expressionism and expanding out to include themes from her life, creating her own unique style.

Written by Ben Krautheim

Louise Nevelson (American, b. Russia 1899-1988) Rain Garden Zag IX, 1978 Wood with paint Gift of Western College Alumnae Association, Inc. 1980.37

One of the leading artists in Abstract Expressionism, Louise Nevelson rebelled against gender stereotypes, despite working within a movement where abstraction was highly gendered. Rain Garden Zag IX is a carefully-considered arrangement of boxes filled with rich shapes and repeating patterns. The piece was purposefully constructed to play with light and shadow, an effect made even more dramatic with its black matte finish. Nevelson’s work inspired a change in discourse that foregrounded women’s life experiences as suitable subject matter. While Nevelson’s sculpture may relate to one of her recurring themes of marriage, death, and royalty, the true spirit of Rain Garden Zag IX remains a mystery, much like many of her famously large, monochrome “walls.”

Written by Ben Calderon

Maria Martinez (Native American, San Ildefonso, 1880-1980) Jug, 1934-1943 Clay fired blackware ceramic Gift of Orpha Webster 1975.C.2.33

Maria Martinez’s vessel is an example of the artist’s renowned technique and represents a cultural recontextualization that came to define public understandings of Native American ceramics. Known as black-on-black ware, such vessels required a painstaking, specific process of creation involving local clay, pulverization, hand-shaping, polishing and firing. Though the tradition originated with her maternal ancestry, Martinez pioneered and popularized the style resulting in a widespread acknowledgment of Native American ceramics as an art form. Martinez shaped a new perception of her medium that resisted utilitarian assumptions and cultural stereotyping. Her jug stands as both a symbolic gesture and an inherently feminist effort, representing an artist who defied a structural narrative that generally excluded both her gender and her heritage.

Written by Casey Bergman

Marisol Escobar (Venezuelan, b. France 1930-2016) The Royal Family, 1967 Mixed media Gift of Paul and Mona Doepper 1986.11

Marisol Escobar’s amusing and charismatic assemblage of the British Royal Family features depictions of Queen Elizabeth II and her husband, Prince Philip, with their children, Prince Charles, Princess Anne, Prince Andrew and Prince Edward, with the family dog. The London Telegraph commissioned the piece in 1967 when Marisol began her ascent as a recognized artist. The work is a 1986 gift from Paul and Mona Doepper who purchased the piece in 1983. The larger-than-life-sized mixedmedia piece typifies Marisol’s work in the 1960s. While sculpture came naturally to Marisol, she trained with Abstract Expressionist painter Hans Hofmann. Her unconventional and lighthearted techniques express her individuality and rebellion from societal expectations of art forms.

Written by Jane Keady

Faith Ringgold (American, b. 1930) Freedom Flag Story #1: On Tuesday Morning, 2003 Lithograph on paper Gift of Dr. Lisa Farrington 2011.8

Freedom Flag Story #1: On Tuesday Morning is a response to the 9/11 terrorist attacks. In this piece, Faith Ringgold transforms the American Flag’s red bars into multicolored abstract patterns. These relate to her quilting knowledge and the fabric dyeing processes of thangka paintings, a Tibetan Buddhist religious artform.

Ringgold used quilting and thangka techniques throughout her career to combat “high” painting and sculpture, artforms that previously excluded women and did not represent African-American women. In 2011, Ringgold collaborated with New York students to create The 9/11 Peace Story Quilt, which portrayed the necessity of respect, communication, and understanding between cultures and religions in order to achieve peace.

Written by Alex Morse

Ann Hamilton (American, b. 1956) Book Weight tt, (human carriage), 2009-2010) Archival inkjet print Miami University Art Museum purchase 2010.94

Ann Hamilton’s book weights tt (human carriage) spans multiple art-making processes, including sewing, sculpture, and printmaking. It serves as documentation for a portion of Hamilton’s human carriage installation at the Guggenheim Museum—dynamic sculpture of dismembered and rejoined books (like the stack in this print)—descending a single pipe running down the length of the rotunda. The silence of beholding this print stands in contrast to the musical experience of the work’s sculptural and performative elements. The way in which Hamilton divided and reassembled the books to form colorblocked cross-sections mimics quilt-making in both a physical and aesthetic sense. Her process excludes the viewer from the knowledge of the words in the books themselves.

Written by Jillian Cofskey

Elaine de Kooning (American, 1918-1989) Jardin de Luxembourg, 1977 Lithograph on paper Gift of Rebecca Schnelker 1996.147.3

Jardin du Luxembourg is a part of Abstract Expressionist artist Elaine de Kooning’s “Bacchus” series, in which she repeatedly studied the sculpture Le Triomphe de Silène (1885) by Jules Dalou. In her representation, de Kooning utilized broad gestural sections of color to represent the figure, calling back to her Abstract Expressionist roots. De Kooning was most interested in how the light added movement to the frozen action of the statue. This energy is the true subject of this piece. For women artists, the world of abstraction was off-limits, as it was seen as representing a “masculine” energy. By using this abstracted style, de Kooning was fighting against sexist separation in the art world.

Written by Nina Grotto

Carmen Winant (American, b. 1983) Womyn’s Land (detail), 2016 Felt Collection of Sara M. and Michelle Vance Waddell

Columbus-based artist Carmen Winant’s flag differs from her typical photographic work. However, it still epitomizes Winant’s distinctly feminist oeuvre. The text refers to Winant’s personal narrative “Togethering” in her 2019 book project, Fundamental Joy. There, she details her encounter with photographs from Womyn’s Land, the lesbian separatist community. On one side of the flag, “Only Women on the Land,” highlights the community’s desire to live in a world unscathed by the oppressive rule of the patriarchy. On the other, “Death to Male Chauvinism,” is a declaration of the necessity for destruction, not just separation. Much like Winant herself, these womyn desire to exist in a “pictorial state of threatlessness.”

Written by Sydney Herrick

BODIES AND EXPECTATIONS The artists featured in the Bodies and Expectations section work to free feminine forms from the confines of the male and colonial gazes that dominated much of western art history. The art canon functions as a microcosm for our society and is built upon imbalanced power structures that often privilege a white male gaze. In art history, the feminine body rarely exhibits agency. Instead, they predominantly serve to satiate the voyeuristic nature of those both in and outside of the frame.

Ultimately, while we may own our bodies, we do not control how they are perceived.

The works in Bodies and Expectations address, subvert, or satirically reinforce expectations placed on gendered bodies through a range of mediums and depictions. They promote a neutral and non-threatening gaze that deconstructs bodily expectations and racial and gendered stereotypes. These artists communicate their rebellion against patriarchal oppression and expectations by taking back control and power over the representation of the feminine body in art.

Jessica Harrison (Scottish, b. 1982) Emma from the series Broken Ladies, 2013 Found ceramic, epoxy resin, enamel paint, acrylic varnish Collection of Sara M. and Michelle Vance Waddell

Emma is a repurposed, mass-produced ceramic doll that is part of a series of works called Broken Ladies. Jessica Harrison alters figurines that represent traditional beauty and expectations of women to be perfect and ladylike, and disfigures them into grotesque creations. The figures maintain their elegant poses and beautiful attire while participating in their mutilation. This contrast of beauty and gore allows them to heighten one another. Harrison states that, “Broken figurines describe a turning inside out of middle-class Englishness; a selfdestructive ornamentation where object becomes organ, private becomes public, inside becomes outside.” Harrison challenges the taboos placed on feminine bodies by having her creations flaunt their interiors boldly.

Written by Sammy Sleeth

Donna Ferrato (American, b. 1949) #1 Scenes from a Marriage, Garth and Lisa, 1982 Archival pigment print Gift of Kevin Willsey 2014.11

Using her Leica camera, Donna Ferrato photographs Lisa and her husband Garth in their bathroom arguing when things become violent. Garth’s overwhelming figure fills almost a third of the photograph as he lunges with his arm raised, while Lisa makes her body as small of a target as possible, folding in on herself.

In the mirror we see Ferrato holding her camera. This ratio of space between women and men in the composition parallels how gender roles impact the spaces and even threaten women within them. Between the years 1992 and 1999 there were 7,266,460 intimate partner victimizations against women. Ferrato began documenting domestic violence and its effects over 20 years ago. Her work brings this issue to the forefront of society and presents it as a bold, undeniable problem.

Written by Halle Campbell

Jesse Mathes (American, b. 1977) Personal Space: Eighteen Inches, 2009 Copper and prismacolor Gift of the Artist 2009.1

Jesse Mathes’ metalsmithing work takes on the qualities of textiles, with this piece taking inspiration from Queen Elizabeth’s lace neck ruff. Mathes hopes to, “... address the feelings of frustration and anger generated by gender power struggles as well as the violation, insecurity, and fear caused by disrespectful interactions,” by reimagining an accessory that has its roots in catering to the male gaze. Mathes transforms it into an accessory and art piece that literally provides a barrier between the wearer and the male gaze that inspired its original creation, allowing for women to reclaim control over their own bodies and personal territory.

Written by Morgan Eakin

Joyce Tenneson (American, b. 1945) Sleeping Beauty, 1987 Color Polaroid Miami University Art Museum purchase 1990.11

Joyce Tenneson’s Sleeping Beauty is a celebration of the nude female figure’s time transcending power. She aims to give tangible form to women’s relationship between self and body. Drawing on her experience as a fashion photographer, she critiques capitalism’s predatory nature. Veiled in gossamer, the anonymous figure represents contradictions in the societal treatment of a woman–her body and her mind. Symbolic of patriarchal expectations and the liberation from them, the photograph evokes a Tonalist aesthetic with its muted palette and mist-laden lighting to blur 19th century perceptions of the female nude with a Post-Feminist understanding of modern womanhood.

Written by Claire Haitsch

Joyce Tenneson (American, b. 1945) Jane Goodall, 2000 Archival Pigment Print Gift of Mr. Bradley Griffin 2019.32.2

Jane Goodall, the renowned scientist who redefined mankind within the animal kingdom, insinuates vulnerability in her nudeness. Her direct eye contact with the viewer suggests confrontation and forces the viewer to acknowledge Goodall as a wise woman, rather than an object. The photograph redefines gendered stereotypes of nudity and age. In 2002, Joyce Tenneson created a revealing portfolio of older women showcasing their accomplishments and beauty. Tenneson redefines the female nude and combats the male gaze by photographing older women in revealing clothing. Rather than showing the nude body, she eliminates the male gaze and showcases proud, yet vulnerable women, who have found beauty and wisdom that comes from aging.

Written by Carmen Perez

Elizabeth Nourse (American, 1859-1938) Tunis Women Weaving, 1897 Watercolor on paper Gift of Frank Jordan 2006.28

Elizabeth Nourse created this watercolor during her travels to Tunisia in North Africa in the late 19th century. She was a highly regarded artist during her life, winning numerous awards and honors, exhibiting in the Parisian Salon, and gaining international recognition. Nourse not only exhibited masterful technical ability, but was an altruistic philanthropist. She helped feed the children of her models, caring for their sick and needy, and helping refugees and artists displaced by WWI. Nourse portrayed the daily lives of the peasant women and children she cared for with depth of emotional sympathy. In contrast to 19th century Orientalism, where European artists would exoticize the female body from this part of the world, Nourse employs a gaze of empathy and compassion.

Written by John Rozelle

SUGGESTED READINGS

MANY OF THE READINGS CITED HERE WERE REQUIRED FOR THE ART498 CAPSTONE CLASS. ADDITIONAL READINGS WERE CONSULTED DURING STUDENT RESEARCH IN THE DEVELOPMENT OF THIS EXHIBITION.

Armstrong, Carol M., and Catherine de Zegher. Women Artists at the Millennium.

MIT Press, 2006.

Brenson, Michael, and Lowery Sims. Elizabeth Catlett Sculpture: A Fifty-Year Retrospective. Neuberger Museum of Art, 1998.

Butler, Judith. Gender Trouble Feminism and The Subversion of Identity. Routledge, 1990.

Casto, Guido. Nan Goldin. Phaidon Press Limited, 2001.

Chadwick, Whitney. Women, Art and Society. 5th edition. Thames and Hudson, 2012.

Conway, Robert P, and Arthur C. Danto. 2007. June Wayne, the Art of Everything: A Catalogue Raisonné, 1936-2006. Rutgers University Press.

Danto, Arthur C., Brooke Kamin Rapaport, Harriet Senie, Michael Stanislawski, and Gabriel de Guzman. The Sculpture of Louise Nevelson: Constructing a Legend. The Jewish Museum, 2007.

De Kooning, Elaine. The Spirit of Abstract Expressionism: Selected Writings. George Braziller, 1994.

Demetrakas, Johanna. Womanhouse. Documentary film. 1974.

Dietrich, Linnea S., and Thalia Gouma-Peterson. Audrey Flack: Reflections in a Mirror. Miami University, 1998.

Ferrato, Donna. Living with the Enemy. Aperture Foundation, 1991.

Flack, Audrey. Audrey Flack on Painting. Harry N. Abrams, Incorporated, 1981.

Friedan, Betty. The Feminine Mystique. 50th anniversary edition. W.W. Norton & Company, 2013.

SUGGESTED READINGS

MANY OF THE READINGS CITED HERE WERE REQUIRED FOR THE ART498 CAPSTONE CLASS. ADDITIONAL READINGS WERE CONSULTED DURING STUDENT RESEARCH IN THE DEVELOPMENT OF THIS EXHIBITION.

Gabriel, Mary. Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art. First edition. Little, Brown and Company, 2018.

Gibson, Ann. Abstract Expressionism: Other Politics. Yale University Press, 1997.

Goldin, Nan. The Ballad of Sexual Dependency. Aperture, 1986.

Gouma-Petersom, Thalia. Breaking the Rules: Audrey Flack, a Retrospective 19501990. Harry N. Abrams, 1992.

Gouma-Peterson, Thalia, Linda Nochlin, John Jeep, and Miriam Schapiro. Miriam Schapiro: Shaping the Fragments of Art and Life. Harry N. Abrams Inc. 1999.

Guerrilla Girls. Guerrilla Girls: The Art of Behaving Badly. Chronicle, 2020.

Guerrilla Girls. The Guerrilla Girls’ Bedside Companion to the History of Western Art. Penguin, 1998.

Halperin, Julia & Charlotte Burns. “Museums Claim They’re Paying More Attention to Female Artists. That’s an Illusion.” Artnet September 19, 2019 https:// news.artnet.com/womens-place-in-the-art-world/womens-place-art-worldmuseums-1654714 Hamilton, Ann. Ann Hamilton : Present-Past, 1984-1997. Skira, 1998.

Horne, Victoria. “‘the personal clutter… the painterly mess…’ Tracing a History of Carolee Schneemann’s Interior Scroll”, Art History 43, No 5. (November 2020) Kearns, Martha. Käthe Kollwitz: Woman and Artist. Old Westbury, Feminist Press, 1976.

SUGGESTED READINGS

MANY OF THE READINGS CITED HERE WERE REQUIRED FOR THE ART498 CAPSTONE CLASS. ADDITIONAL READINGS WERE CONSULTED DURING STUDENT RESEARCH IN THE DEVELOPMENT OF THIS EXHIBITION.

Klement, Vera, and Donald B. Kuspit. Vera Klement: Poem-Paintings. Fassbender Gallery, 1997.

Klement, Vera, and Dore Ashton. Vera Klement. Fassbender Gallery, 2001.

Knafo, Danielle. “Dressing Up and Other Games of Make-believe: The Function of Play in the Art of Cindy Sherman.” American Imago 53, no. 2 (1996): 139-64.

Kollwitz, Hans, ed. The Diary and Letters of Kaethe Kollwitz. Northwestern University Press, 1988.

Lemmon, Nadine. “The Sherman Phenomenon: A Foreclosure of Dialectical Reasoning.” Discourse 16, no. 2 (1993): 100-17.

Nochlin, Linda. “Why Have There Been No Great Women Artists?” ARTnews January 1971.

Owens, Craig. “The Discourse of Others: Feminists and Postmodernism.” In The Anti-Aesthetic: Essays on Postmodern Culture. Bay Press, 1983.

Ramljak, Suzanne. “Protective Ornament: Dressed for Defense.” Metalsmith, vol.

25, no. 2, Spring 2005, pp. 18–25.

Ringgold, F., & Withers, J. “Faith Ringgold: Art.” Feminist Studies, 6(1) (1980): 207-211.

Schneemann, Carolee. Imaging Her Erotics: Essays, Interviews, Projects. MIT Press, 2003.

Shaw, Gwendolyn DuBois. Seeing the Unspeakable: The Art of Kara Walker. Duke University Press, 2004.

Sherman, Cindy. “The Making of Untitled.” in The Complete Untitled Film Stills.

SUGGESTED READINGS

MANY OF THE READINGS CITED HERE WERE REQUIRED FOR THE ART498 CAPSTONE CLASS. ADDITIONAL READINGS WERE CONSULTED DURING STUDENT RESEARCH IN THE DEVELOPMENT OF THIS EXHIBITION.

Museum of Modern Art, 2003.

Simon, Joan. Ann Hamilton. Harry N. Abrams, 2002.

Stief, Angela, ed. Power Up: Female Pop Art. Kunsthalle, 2011.

Tenneson, J. Wise women: A celebration of their insights, courage, and beauty.

Little, Brown and Company, 2002.

Ukeles, Mierle Laderman. “Maintenance Art Manifesto.” 1969.

Whiting, C. Figuring Marisol’s Femininities. RACAR: Revue D’art Canadienne / Canadian Art Review, 18(1/2) (1991): 73-90.

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