THE
ROBERT GORDON
UNIVERSITY
ABERDEEN
Gray’s School of Art
Stage 2: 2007/2008 Semester 2
Contextual and Critical Studies – Mini-Programme 1
Rethinking the Subject:
Feminism & Creative Practice
Tutor: Alexandra Kokoli
email: a.m.kokoli@rgu.ac.uk tel: (26)3692
FEMINISM & CREATIVE PRACTICE
Connie Butler, curator of the major show WACK! Art and the Feminist Revolution (MoCA, Los Angeles, 2007), has
provocatively but, for many, convincingly argued that feminism is the single most influential creative movement of
the post-war era. This course will test Butler’s proposition by examining a wide range of feminist art and design
practice, history and theory, focusing on specific case studies (Mary Kelly’s Post-Partum Document and the
collaborative Women’s Postal Art event Feministo: Portrait of the Artist as Housewife, among others), artists from
Louise Bourgeois to Tracey Emin, and key debates around gender, sexuality, and visual representation, with
special emphasis on contributions informed by psychoanalysis and post-structuralism.
This mini programme is not devoted to ‘women’s creative practice’ or even ‘feminist creative practice’ per se,
but rather aims to interrogate such classifications and explore the interface between social critique and aesthetics,
identity politics and theorisations of the ‘subject’, contemporary art and critical theory. The programme aims to
introduce students to a range of creative and critical practices associated with and informed by feminist politics
and thought, while foregrounding the continuing relevance and legacies of feminist perspectives and approaches.
We will examine whether and to what degree the contemporary emphasis on the body, gender, and sexuality; the
acknowledgement of the interdependence and dialogue between theory and practice; the mutual implication of
‘high art’ and popular visual and material culture; and the questioning of the division between art and craft, may
all be traced back to second-wave feminism, and what implications this might have for the future.
RECOMMENDED PURCHASE: Hilary Robinson (ed.), Feminism-Art-Theory: An Anthology, 1968-2000 (Oxford:
Blackwell, 2001). Price: £18.99 (new)
There are two sets of required reading for this course, one of which is from this book.
1.
INTRODUCTION AND TIMETABLE
This programme comprises one of two mini-programmes running in Semester Two 2008. Each programme runs
across 3 weeks, and includes a lecture on Mondays at 1.00 pm, SB42 Scott Sutherland School, followed by
seminars on Tuesdays in SA27 Scott Sutherland. Seminar and workshop groups and times will be posted on the
CCS noticeboard (by the art school shop). Students must come to the seminars prepared participate in the
seminar. Assessment will be based on attendance, seminar participation, and written coursework (critical notebook
and essay).
WEEK
2008
1
2
3
4
5
6
7
8
9
4
Feb
11 Feb
18 Feb
25 Feb
3 Mar
10 Mar
17 Mar
24 Mar
Easter
Break
10
11
7 Apr
14 Apr
31
Mar
2.
Intro and sign up
STAGE TWO
Mini-Programme 1
Alexandra Kokoli
Lecture Monday
1.00 SB42
Seminar
1
Tuesday
9.30
SB 27
Seminar
2
Tuesday
10.30
SB 27
Seminar
3
Tuesday
12
SB 27
Mini-Programme 2
Andrea Peach
Lecture Monday
1.00 SB42 (not 10 March)
Seminar
1
Tuesday
SA 46
Seminar
2
Tuesday
SA 46
Seminar
3
Tuesday
SA 46
Mini
Prog
2:
Hand
In
GP20
Mon
14
April
Mini
Prog 1:
Hand in
GP20
Mon 17
March
OVERALL OBJECTIVES OF THE CONTEXTUAL AND CRITICAL STUDIES MINI-PROGRAMMES
The Contextual and Critical Studies mini-programmes aim to encourage discussion of contemporary practice and
theory with a view to situating that discussion in a wider cultural and historical framework, and enable you to make
links with your studio practice. At the end of this series of mini-programmes you will be expected to:

Demonstrate an increased understanding of both the historical and contemporary context relating to art and
design theory and practice.

Demonstrate, by way of a critical notebook and essay, the ability to analyse and criticise in relation to a wider
cultural context.

Demonstrate an ability to undertake research relevant to the critical aims of the programme, using both paper
based and electronic sources.

Build up confidence in discussing and sustaining a critical argument that is clear and consistent.

Begin to develop self- directed areas of research in Contextual and Critical studies related to your studio
practice and emerging critical interests
3.
COURSEWORK
Seminar Participation and Attendance
There are three seminars for each mini-programme. The seminars will follow the theme of the lectures and will
address a particular issue each week. Students are expected to contribute to the seminars as part of their
assessment. For this reason, it is essential that students attend all lectures and seminars for their elected miniprogramme. If for any reason, you are unable to attend, please email the mini-programme tutor
(a.m.kokoli@rgu.ac.uk) or leave a message with the CCS office (263692). Details of the seminar tasks and groups
will be found in the weekly schedule that follows.
There are two components to the assessment: a Critical Notebook and an Essay. Assessment criteria can be
found on: www.studioit.org.uk (under Contextual and Critical Studies).
CRITICAL NOTEBOOK
You are required to keep a Critical Notebook evidencing your ongoing personal reflection and academic research
inspired by the mini-programme theme. It should contain your responses and thoughts in relation to the lectures
and seminars (in particular, the weekly seminar tasks), as well as any additional research and development you
have undertaken in relation to these. Do not use the notebook simply as a ‘scrapbook’ for filing your lecture notes
and photocopies of readings etc! Where possible, try to make connections between the mini-programme theme
and your own studio activity and interests. Your Critical Notebook should be a hard-backed notebook, no larger
than A3, and can comprise personal writing, drawings, photographs, sketches and any other materials relevant to
the analysis and criticism of the mini-programme.
NB: Although the notebook does not need to be formally referenced like the essay, any notes from other sources
(both direct quotations and paraphrased ideas) and illustrations need to be identified and labeled clearly.
ESSAY
You should choose one the following two topics:

Examine the relationship between creative practice and art/design/visual theory (and/or history), with
reference to the work of at least one creative practitioner and/or writer.

Examine the work of a contemporary artist or designer – male or female – in reference to the interface
between feminism and creative practice. Refrain from debating whether specific individuals are feminist or
not, concentrating instead on close interpretations of specific works in terms of gender, sexuality and
representation.
You are expected to approach your topic in an informed manner, making reference to at least two or more
readings from the programme, and showing evidence of some further research into both scholarly (academic) and
art critical sources (e.g. exhibition catalogues, art magazines, etc.). Your essay should be illustrated, and all
illustrations should be clearly captioned, including at least the name of the artist/designer, the title of the work and
the year it was made. Try to make links, if appropriate, between your own studio interests and this subject.
Although you should not rely on unsubstantiated opinion, your essay should be about your own ideas and your
original approach to the course material: you are expected to engage in a dialogue with published writing and
visual material, demonstrating both an in-depth understanding of the terrain and ability for critical thinking.
Your essay should be approximately 1,500-2,000 words, must be fully word-processed and include a
comprehensive bibliography. You should reference all sources used in your text, using the Vancouver referencing
system (see section 4: ‘Referencing Sources’ for details). Your Essay should be securely attached to your
Notebook.
NB: Please remember to write your name and degree programme clearly on both the essay and the notebook!
COURSEWORK SUBMISSION DATE:
The submission date for your critical notebook and essay is: Monday 17 March 2008. Leave your essay on the
shelves outside GP20 and do not forget to sign the submission sheet.
4.
REFERENCING SOURCES
RGU has two systems for referencing sources: Harvard (also known as Author/Date) and Vancouver (also known
as ‘endnotes’ or ‘footnotes’). For your essay, we recommend that you use Vancouver. You will find
information on Vancouver in handouts available from the CCS website, at www.studioit.org.uk See Contextual
and Critical Studies / Support Files 2007/8 / General CCS Documents:

Vancouver Referencing System – Sheet of examples

Guide to Academic Referencing
Please note: if you do not reference quotations and sources properly, you risk committing plagiarism – an
extremely serious academic offence with corresponding penalties!
The study skills sessions offered in Semester 1 should have helped with referencing and writing; please refer to the
relevant documentation if in doubt, and feel free to ask questions about research and writing during seminars.
5.
EXTENSION REQUESTS
Extensions will only be granted in exceptional circumstances, which include serious problems or events which
genuinely affect your ability to complete coursework on time. Such circumstances might include: serious physical
or mental illness (must have doctor's certificate), serious illness or death of an immediate family member or close
friend. 'Exceptional circumstances' do not include colds, headaches, hangovers, poor time management, problems
caused by English not being your first language, and circumstances within your control (such as: absence due to
holidays, weddings, jobs etc). To request an extension, please complete a Coursework Extension Request
Form (available from the School Office). This form must be submitted before the coursework submission date, and
include written documentation (medical certificates etc.) where relevant. Claims are reviewed by your CCS tutor
and treated as confidential.
Coursework handed in after the hand-in date, which is not supported by a fully approved Coursework
Extension Request Form will be recorded as a non-submission. There will be no exceptions.
6.
MITIGATING CIRCUMSTANCES
If you feel that you have genuine and legitimate circumstances that may affect your performance on this miniprogramme, and therefore your coursework, you should fill out a Mitigating Circumstances form. Mitigating
circumstances are exceptional, serious and acute problems or events which have genuinely affected your
performance in your assessments or your ability to complete coursework (these do not include ongoing issues –
such as dyslexia etc.). Mitigating Circumstances forms are treated confidentially and are considered at the end of
year Examination Board when making final decisions about your mark. To make a claim for mitigating
circumstances you must complete a Mitigating Circumstances Request Form (available from the School
Office). This form must be submitted no later than the coursework submission date. See the form for further
details.
Week 3 Semester 2
Monday 11 February
1.00 SB42
Scott Sutherland School
Required Reading
Additional Reading
Seminar Assignment
LECTURE 1: Art and Feminism – Mapping the terrain/Framing the Subject
Key Issues and Questions
On the beginnings of ‘feminist theory’ in reference to art and visual culture; early ‘feminist art’; feminist
art history as a challenge to art history; art and politics; art practice as critique of visual culture;
psychoanalytic and feminist psychoanalytic approaches to art; the subject, the gaze, desire in the field of
vision.
 Pollock, Griselda, “The Politics of Theory: Generations and Geographies in Feminist Theory and the
Histories of Art Histories”, in Generations and Geographies in the Visual Arts: Feminist Readings, edited
by Griselda Pollock (London: Routledge, 1996), 3-21. OR
 ROBINSON: ‘Historical and Critical Practices: Introduction’, pp. 162-167; Joan Borsa, ‘Frida Kahlo:
Marginalisation and the Critical Female Subject’, pp. 257-273; from the latter, focus esp. on the section
‘Female Subjectivity: Opening up Personal and Political Margins’, pp. 260-266.
 Betterton, Rosemary (ed.), Looking On: Images of Women in the Visual Arts and Media (Pandora,
1987)
 Harris, Jonathan, The New Art History: A critical Introduction (London: Routledge, 2001), esp. ch. 3
‘Feminism, art, and art history’, and 4 ‘Subjects, Identities, and Visual Ideology’
 Kokoli, A. M. (ed.), Feminism Reframed: Reflections on Art and Difference (Newcastle: Cambridge
Scholars Press, 2008), esp. the Introduction ‘Looking On, Bouncing Back’, pp. 1-18.
 Nochlin, Linda, ‘Why Have There Been No Great Women Artists?’, in Women, Art and Power and Other
Essays (London: Thames and Hudson, 1989) extract available on
http://www.miracosta.edu/home/gfloren/nochlin.htm
 Nochlin, Linda, “‘Why Have There Been No Great Women Artists?’ Thirty Years After’, in Carol
Armstrong and Catherine de Zegher (eds.), Women Artists at the Millenium (Cambridge, MA: MIT,
2006), pp. 21-32.
 Parker, Rozsika & Griselda Pollock (eds.), Framing Feminism: Art and the Women’s Movement, 19701985. London: Pandora, 1987, esp. the editors’ introductions.
 Parker, Rozsika, and Pollock, Griselda, Old Mistresses: Women, Art and Ideology (Routledge & Kegan
Paul, 1981).
 Keeping in mind Griselda Pollock’s definition of feminism as critique rather than doxa, select
ONE WORK by any artist or designer (not necessarily contemporary; not necessarily female)
and be prepared to discuss it in class in reference to feminist critical and/or creative
practice. Make notes in your Critical Notebook.
Week 4 Semester 2
Monday 18 February
1.00 SB42
Scott Sutherland School
Required Reading
Additional Reading
Seminar Assignment
LECTURE 2: Writing the female subject: Feminist Strategies in Retrospect and Context
Key Issues and Questions
On the role of theory; art shows and institutions; motherhood in social and psychoanalytic terms;
representation and the unrepresentable; Lacan and feminism; theories of fetishism; the critique of vision;
feminism as (anti-)avant-garde practice; domestic politics and creative practice; feminism and the
uncanny; reclaiming ‘feminine’ traditions; challenging the fine art/craft divide; challenging classifications in
general.
 Pollock, Griselda, ‘Screening the Seventies: Sexuality and Representation in Feminist Practice – a
Brechtian perspective’, Vision and Difference (London: Routledge, 1988), pp. 155-199. OR
 ROBINSON: Lisa Tickner, ‘Sexuality and/in Representation: Five British Artists’ (1985), pp. 459-474;
and Whitney Chadwick, ‘Negotiating the Feminist Divide’, pp. 523-527.
 Williamson, Judith, Decoding Advertisements: Ideology and Meaning in Advertising (Marion Boyars,
1978) [insightful analysis of advertising, drawing on cultural materialism and psychoanalysis: see esp.
‘Advertising and the “Mirror Phase”’, for a simple but concise explication of some Lacanian concepts].
 Mainardi, P., ‘Quilts: The Great American Art’, in N. Broude & M. D. Garrard (eds.), Feminism and Art
History (New York: Harper and Row, 1982), pp. 331-346.
 The Names Project Foundation, The AIDS Memorial Quilt (1987-2007) http://www.aidsquilt.org/
 Cameron, Dan et al., Dancing at the Louvre: Faith Ringgold’s French Collection and Other Story Quilts
(New York: New Museum of Contemporary Art/ Berkeley, CA: University of California Press, 1998).
 Kelly, Mary, Post-Partum Document (Berkeley, CA: University of California Press, 1999).
 Kokoli, A. M., ‘Undoing “homeliness” in feminist art: Feministo: Portrait of the Artist as a Housewife
(1975-7)’, n.paradoxa: international feminist art journal, vol. 13: Domestic Politics (January 2004): 7583.
 Parker, Rozsika, ‘A Naturally Revolutionary Art?’, The Subversive Stitch, rev. ed. (London: Women’s
Press, 1996), pp. 189-232.
 Spence, Jo, Putting Myself in the Picture: A Political, Personal and Photographic Autobiography (Seattle:
The Real Comet Press, 1988).
 Wright, Elizabeth, ‘Feminist Psychoanalytic Criticism’, in Psychoanalytic Criticism: A Reappraisal, 2nd ed.
(Cambridge: Polity Press, 1998), pp. 173-191
 Imagine that you are curating an exhibition with the title Feminism Reframed. You must
choose 3 objects that you feel best exemplify the relationship between feminism and
creative practice, but that also challenge rigid categorisations of feminist art (e.g.
theoretically informed vs. celebratory). Which works would you choose? Why? Can you write
a short label for each object and explain your reasons for why they have been chosen. You
may wish to do this in small groups.
Week 5 Semester 2
Monday 25 February
1.00 SB42
Scott Sutherland School
Required Reading
Additional Reading
Seminar Assignment
LECTURE 3: Feminism and Creative Practice Now: Undutiful Daughters?
Key Issues and Questions
On feminism’s legacies – in theory and practice; contemporary women’s art; reconsidering generations and
geographies; the art (& life) of Tracey Emin in art critical, historical, theoretical contexts; feminism and
popular culture; feminism and institutions.
 Betterton, Rosemary, ‘Why is My Art not as Good as Me? Femininity, Feminism and “Life-Drawing” in
Tracey Emin’s Art’, in Mandy Merck and Chris Townsend (eds.), The Art of Tracey Emin (London:
Thames and Hudson, 2002), pp. 22-39. OR
 ROBINSON: Alison Rowley, ‘Plan: Large Woman or Large Canvas? (1996), pp. 392-396; and Faith
Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998), pp. 396-404.
 Brown, Neal, Tracey Emin (London: Tate, 2006)
 Emin, Tracey, This is Another Place [exhib. cat.] (New York: MoMA, 2002)
 Fortnum, Rebecca (ed.), Contemporary Women British Artists: In their Own Words (London: IB Tauris,
2007)
 Merck, Mandy, Coming out of Feminism? (Oxford: Blackwell, 1998)
 Mey, Kerstin (ed.), Sculpsit: contemporary artists on sculpture and beyond (Manchester: MUP, 2001)
 Perry, Gill, ‘Introduction: Visibility, Difference and Excess’, in Perry (ed.), Difference and Excess in
Contemporary Art (Oxford: Blackwell, 2004), pp. 1-21.
 Pollock, Griselda, Differencing the Canon (London: Routledge, 1999)
 Pollock, Griselda, ‘What is it that feminist interventions do?’, in A. M. Kokoli (ed.), Feminism Reframed
(Newcastle: Cambridge Scholars Publishing, 2008), pp. 248-280.
 Stallabrass, Julian, High Art Lite, rev. ed. (London: Verso, 2006).
 Tickner, Lisa, ‘Mediating Generation: The Mother-Daughter Plot’, in Armstrong and de Zegher (eds.),
Women Artists at the Millenium (Cambridge, MA: MIT, 2006), pp. 85-120.
 WACK! Art and the Feminist Revolution (Los Angeles: MoCA/Cambridge MA: MIT Press).
 Are feminist creative practice and critical analysis still relevant in the 21st century? Bring in
an example of feminist creative practice from the 1960s/1970s/1980s and try to find a
contemporary example of art or design that you consider in some way connected or indebted
to this early example. Please try to be as original in your choices as possible, avoiding the
obvious!
7.
BIBLIOGRAPHY AND ADDITIONAL SOURCES
Please refer also to the ESSENTIAL READING lists in Robinson’s Feminism-Art-Theory
Parveen ADAMS and Elizabeth COWIE (eds.), The Woman in Question: m/f (MIT, 1990).
Bailey, David, Shades of Black: Assembling the 1980s; Black Arts in Postwar Britain (Duke University Press and
inIVA, 2005)
Susan BEE and Mira SCHOR (eds.), M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism (Duke
University Press, 2000).
Rosemary BETTERTON, An Intimate Distance: Women Artists and the Body (Routledge, 1996).
---------- (ed.), Looking On: Images of Women in the Visual Arts and Media (Pandora, 1987).
---------- (ed.) Unframed: Practices and Politics of women’s contemporary painting (IB Tauris, 2003).
Frances BORZELLO and Natacha LEDWIDGE, Women Artists: A Graphic Guide (Camden Press, 1986).
Norma BROUDE and Mary GARRARD (eds.), The Power of Feminist Art (Harry N. Abrams, 1994).
---------- , The Expanding Discourse: Feminism and Art History (HarperCollins, 1992).
---------- , Reclaiming Female Agency: Feminist Art History After Postmodernism (University of California Press,
2005)
Fiona CARSON and Claire PAJACZKOWSKA (eds.), Feminist Visual Culture (Routledge, 2000).
Whitney CHADWICK, Women, Art and Society (Thames and Hudson, 1990).
Laura COTTINGHAM, Seeing Through the Seventies: Essays on Feminism and Art (Amsterdam: G+B Arts
International, 2000).
Catherine DE ZEGHER (ed.), Inside the Visible [exhib. cat.] (MIT Press, 1996).
Katy DEEPWELL (ed.), New Feminist Art Criticism (Manchester University Press, 1994).
INTELLIGENCE: New British Art 2000 (Tate, 2000).
Carol DUNCAN, The Aesthetics of Power: Essays in Critical Art History (Cambridge University Press, 1993).
Joanna FRUEH et al. (eds.), New Feminism Criticism: Art, Identity, Action (IconEditions, 1991).
Jo-Ann ISAAK, Feminism and Contemporary Art: The Revolutionary Power of Women’s Laughter (Routledge,
1996).
Jane GALLOP, Feminism and Psychoanalysis (Macmillan, 1982).
Elizabeth GROSZ, Jacques Lacan: A Feminist Introduction (Routledge, 1990).
---------- , Volatile Bodies: Towards a Corporeal Feminism (Indiana University Press, 1994).
Margaret IVERSEN et al., Mary Kelly (Phaidon, 1999).
Amelia JONES (ed.), The Feminism and Visual Culture Reader (Routledge, 2003).
Mary KELLY, Imaging Desire (MIT Press, 1996).
Jacques LACAN, Ecrits: A Selection (Routledge, 1989); on the Gaze: The Four Fundamental Concepts of
Psychoanalysis (Vintage, 1998), pp. 67-119.
Lucy LIPPARD, From the Center: Feminist Essays on Women’s Art (New York: Dutton, 1976).
Mandy MERCK et al. (eds.), The Sexual Subject: A Screen Reader in Sexuality (Routledge, 1992).
Corinne MILLER, Lynda NEAD and Griselda POLLOCK, Images of Women [exhib. cat.] (Leeds City Art Galleries,
1989).
Nicholas MIRZOEFF, Bodyscape: Art, Modernity and the Ideal Figure (Routledge, 1995).
Juliet MITCHELL, Psychoanalysis and Feminism (Pantheon, 1974).
Juliet MITCHELL and Jacqueline ROSE (eds.), Feminine Sexuality: Jacques Lacan and the école freudienne
(Macmillan, 1982).
Laura MULVEY, Visual and Other Pleasures (Palgrave, 1989).
-------- , Fetishism and Curiosity (BFI, 1996).
-------- , ‘Some Thoughts on Theories of Fetishism in the Context of Contemporary Culture’, October, n. 65
(Summer 1993), pp. 3-20.
Lynda NEAD, The Female Nude (Routledge, 1992).
Diane NEUMAIER, Reframings: New American Feminist Photographies (Temple University Press, 1995).
Linda NOCHLIN, Women, Art and Power (Thames and Hudson, 1994).
OCTOBER (‘Feminist Issues’), n. 71 (Winter 1995).
Rozsika PARKER, The Subversive Stitch, 2nd edition (Women’s Press, 1996).
Rozsika PARKER and Griselda POLLOCK, Old Mistresses: Women, Art and Ideology (Routledge & Kegan Paul,
1981).
-------- (eds.), Framing Feminism: Art and the Women’s Movement 1970-1985 (Pandora, 1987).
Gill PERRY (ed.), Gender and Art (Yale University Press/ The Open University, 1999).
---------- (ed.), Difference and Excess in Contemporary Art: The Visibility of Women’s Practice (Blackwell, 2004).
Marcia POINTON, Naked Authority: The Body in Western Painting (Cambridge University Press, 1990).
Griselda POLLOCK, Vision and Difference: Femininity, Feminism and the Histories of Art (Routledge, 1988).
-------- (ed.), Generations and Geographies in the Visual Arts: Feminist Readings (Routledge, 1996).
-------- , Differencing the Canon (Routledge, 1999).
Helena RECKITT and Peggy PHELAN, Art and Feminism (Phaidon, 2001).
Jacqueline ROSE, Sexuality in the Field of Vision (London: Verso, 1986).
Mary RUSSO, The Female Grotesque (Routledge, 1994).
SENSATION: Young British Artists from the Saatchi Collection (Thames & Hudson, 1997).
STUDIO INTERNATIONAL (Women’s Issue), vol. 193, n. 987 (1977).
Susan SULEIMAN (ed.), The Female Body in Western Culture (Harvard University Press, 1985).
Maud SULTER (ed.), Passion: Discourses on Blackwomen’s Creativity (Urban Fox Press, 1989).
Lisa TICKNER, ‘Sexuality and/in Representation: Five British Artists’ in Difference: On Representation and Sexuality
(NY: New Museum of Contemporary Art, 1984).
Marcia TUCKER (ed.), The New Museum of Contemporary Art (NY), Bad Girls (MIT, 1994).
WACK! Art and the Feminist Revolution (Los Angeles: MoCA/Cambridge MA: MIT Press).
REFERENCE
Uta GROSENICK (ed.), Women Artists in the 20th and 21st Century (London: Taschen, 2001).
Jean LAPLANCHE and J. B. PONTALIS, The Language of Psychoanalysis (London: Hogarth, 1973).
R. NELSON and R. SHIFF (eds.), Critical Terms for Art History, (University of Chicago Press, 1996).
WRIGHT, Elizabeth (ed.), Feminism and Psychoanalysis: A Critical Dictionary (Oxford: Blackwell, 1998).
WEBSITES
The Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum (US)
http://www.brooklynmuseum.org/eascfa/
An exhibition and education facility dedicated to feminist art. Judy Chicago’s landmark The Dinner Party (19741979) is on permanent display.
The Feminist Art Project (US)
http://feministartproject.rutgers.edu/
A collaborative American initiative celebrating 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 Glasgow Women’s Library Collections (UK)
http://www.womenslibrary.org.uk/collection/collection.html
The Glasgow Women’s Library is the only resource of its kind in Scotland, housing various materials by, for and
about women, including the Lesbian Archive and Information Centre (LAIC), the UK's largest and most significant
archive about lesbian lives, activism and achievements. The library’s poster and ephemera collections will be of
interest to fine art and design students.
The Guerrilla Girls (US)
http://www.guerrillagirls.com/
Celebrated team of artists/activists with secret identities, best known for their actions and posters and still touring
internationally! By far the most fun website on this list – including artwork, interviews, blogs.
n.paradoxa (UK)
http://web.ukonline.co.uk/n.paradoxa/
Katy Deepwell’s n.paradoxa is a print journal, on-line journal (with a different content to the one in print), and
valuable on-line resource for anyone studying feminism in the arts and/or contemporary women artists. Includes
links and archival material.
Through the Flower (US)
http://www.throughtheflower.org/
A non-profit Feminist art organization founded by Judy Chicago in 1978. The website includes images and
information about all the major art projects led by Chicago since the 1970s. Local focus on Southern Californian
feminist art traditions, which have historically been of international importance.
8.
ACADEMIC RESERVE
Core texts will be placed on Academic Reserve in the Library. Academic Reserve is the desk at the far end of the
Issue desk as you enter the Library. Most books on Academic Reserve are issued as a one-day loan and must be
back by 10 the next morning. Books can be booked in advance, and 2 can be borrowed at a time. Fines for
overdue Academic Reserve books are charged at the following rate: £1 per hour for the first hour overdue, 50
pence per hour thereafter, every hour, with a maximum fine of £15 per item.