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HONOR AWARDS 2014
WOMEN’S CAUCUS FOR ART
Phyllis Bramson
Harmony Hammond
Adrian Piper
Faith Wilding
2014 National Lifetime Achievement Awards
Saturday, February 15, 2014
The Museum of Contemporary Art, Chicago, Illinois
Welcome and Introduction
Priscilla H. Otani
WCA National Board President, 2012–14
Presentation of Lifetime Achievement Awards
Phyllis Bramson
Essay and Presentation by Lisa Wainwright.
Harmony Hammond
Essay by Julia Bryan-Wilson. Presentation by Tirza True Latimer.
Adrian Piper
Essay and Presentation by Nizan Shaked.
Faith Wilding
Essay by Mario Ontiveros. Presentation by Irina Aristarkhova.
Presentation of President’s Art & Activism Awards
Hye-Seong Tak Lee
Presentation by Priscilla H. Otani.
Janice Nesser-Chu
Presentation by Priscilla H. Otani.
Foreword and Acknowledgments
Excellence In and Beyond the Studio
In 2014, we celebrate the achievements of four highly
creative individuals: painter, sculptor, and educator
Phyllis Bramson; lesbian artist, writer, and curator
Harmony Hammond; analytic philosopher and
concep­­tual artist Adrian Piper; and multidisciplinary
and performance artist and writer Faith Wilding.
Each woman has extended her studio practice to
make a unique contribution to the arts in America.
Bramson currently advises MFA students at the
School of the Art Institute of Chicago and continues
to produce finely wrought figurative paintings,
loaded with innuendo and playful vignettes focusing
on erotic themes. Hammond and Wilding were
key figures in the feminist movement in the early
1970s, with Hammond on the East Coast helping
to found A.I.R. Gallery and the journal Heresies, and
Wilding on the West Coast as a co-initiator of the
Feminist Art Programs in Fresno and Los Angeles
and as a contributor to Womanhouse. Hammond
has taught and lived in New Mexico for thirty years,
and Wilding, Emerita Chair of the Performance
Art Program at the School of the Art Institute of
Chicago, now lives in the Northeast, contributing
to graduate programs there. Piper has had a lasting
impact on how the definition, production, and
reception of art are questioned; on the effective use
of conceptual strategies for political address; and
on how conceptual art is tethered to both context
and content in the material world.
This year, we thank six equally remarkable individuals
for their contributions to the awards catalogue and
ceremony. Lisa Wainwright, Dean of Faculty for the
School of the Art Institute, provided an insightful
essay about Bramson’s provocative paintings and
will present her at the ceremony. Julia Bryan-Wilson,
Associate Professor of Modern and Contemporary
Art at University of California, Berkeley, wrote an
informative essay about Hammond’s lasting impact
on lesbian feminist art. Tirza True Latimer, Chair of
the Visual and Critical Studies Program at California
College of the Arts, will present Hammond at
the ceremony. Nizan Shaked, Professor of Art of
California State University, Long Beach, conveyed
Piper’s groundbreaking contributions to art and
philosophy in the catalogue and will present her at
the ceremony. Mario Ontiveros, Assistant Professor
of Contemporary Art History at California State
University, Northridge, has written an engaging
essay on Wilding’s pioneering contributions to the
feminist movement. Irina Aristarkhova, a collaborator with Wilding and Associate Professor at the
University of Michigan Stamps School of Art &
Design, will present Wilding at the ceremony.
In addition, we thank the many volunteers for their
generous work in making the honor awards a reality.
Special thanks go to WCA Board President Priscilla
Otani for her long hours of work in organizing the
ceremony including the President’s Awards for
Art & Activism which will be awarded to Janice
Nesser-Chu and Hye-Seong Tak Lee. My deepest
gratitude goes to Sandra Mueller who serves on
the WCA National Board for her care in editing the
catalogue. We are grateful to Karin Luner, Director
of Operations, for her artful design and layout of
the catalogue and for managing a wealth of other
details. We are indebted to the many members
of the board who have helped plan the awards
ceremony and the conference. I also would like
to acknowledge the meaningful work of the entire
Selection Committee.
Finally but not least, I thank everyone who has financially contributed to the ceremony and catalogue.
Your support is critical to the WCA mission to
recognize the contribution of women in the arts!
Susan M. King
Chair, Honor Awards Selection Committee
Finding Balance in Those We Honor
and in Each Other
Welcome to the Women’s Caucus for Art’s 34th
Lifetime Achievement Awards. Congratulations
Phyllis Bramson, Harmony Hammond, Adrian Piper
and Faith Wilding for your well-deserved selection
by the WCA Honors Committee! I am also pleased
to present the President’s Art & Activism Awards
this year to Past President Janice Nesser-Chu and
to curator Hye-Seong Tak Lee.
As educators and practicing artists and as mothers
and working women, we are challenged with tasks,
decisions and deadlines every single day. Media,
social or otherwise, pull attention and time away
from us. Technology enables us to multitask at
an ever-increasing speed. This vast busyness is a
fact of modern life. The 2014 WCA Conference,
Balance, is a respite, a brief period where we can
pull away from our daily vortex. Let’s have conversations. Let’s listen to what others have to say.
Let’s celebrate the achievements of extraordinary
women. Let’s enjoy the works of art created by
women artists. Let’s share our creativity and ideas
during our meetings and bus tours. Let’s appreciate
our national community of women in the arts.
Priscilla H. Otani
WCA National Board President 2012–14
5
Phyllis Bramson
We honor you, Phyllis Bramson,
for your commitment to the
erotic, affirmative representation
of female agency and sexuality
in your art.
Photo by Tome VanEndye.
Essay by Lisa Wainwright
Phyllis Bramson’s theatrical confections delight the eye and stimulate the imagination. Her beautifully crafted
paintings, produced steadily for over forty years, reveal mysterious, fecund worlds drenched in atmosphere
and peopled with a carnival of figures enacting an erotics of life. This is a world of surrealist dreams where
our subconscious sexual drives find free expression. Buttocks and breasts and copulating couples anchor
the work. It is all playful and naughty, yet liberating, and deliciously sensual. “I believe in the erotic eye,”
claims Bramson, “the notion of all senses put on alert.” Indeed, in Phyllis Bramson’s work the senses are
magnificently engaged.
Bramson’s imaginary scenes reject any linear narrative. There is often a central act, but the larger field
of the painting hosts other discrete vignettes, which sometimes complement the main story, but more
often provide additional visual and conceptual play. Exotic flora and fauna weave around figures, ornamental
bands frame spaces with decorative swirls, baubles and bubbles, while cascading garlands of floral bouquets
crisscross the compositions. Sometimes the picture planes are punctuated with found ornaments, collaged
into high reliefs on the surface of the canvas or arranged on the perimeter of the work, shattering the
rectangle in favor of more baroque shapes. Found art, cut and collaged, made its way into the paintings at
one point, adding more visual dynamism to an already robustly optical drama. Then more recently, flatter
abstract forms—modernist in style—have edged into the pictorial space in a highly post-modern manner of
delivering mixed painting languages in a singular field.
Bramson’s disrupted narratives are uncanny in their effect, for that which is familiar—dolls, snowmen,
spiders, nudes, and bouquets—are made unfamiliar through their proximity to all the other motifs that
parade across the pictures. Certainly the history of art is replete with women reclining on canvas after canvas
for the delectation of the masculine viewer, and while Bramson also deploys many female nudes, they present
as willful and active agents in the lush fantasies
Bramson orchestrates. These are naughty fairy
tales for adult women, the return of the repressed,
as Bramson tackles romantic folly and vice with
sheer abandon.
Bramson is a Chicago artist. Her work belongs
to the city’s long tradition of figurative painting
with a deeply surrealist bent. The great Surrealist
collections in Chicago informed many important
painters from the days of the “Monster Roster,”
and “Hairy Who,” to more recent manifestations
in the work of Marylou Zelazny or Jim Lutes.
Bramson’s promiscuous eclecticism in her use of
“Oriental” motifs, Indian miniatures, cartoon characters, rococo paintings, eastern mythology, and
found materials, represents the kind of openness
to mixing vernacular or popular art with high art
source material that is part of Chicago’s art history.
Also a part of the Chicago story is the commitment
Phyllis Bramson. Rose Red, 2013.
48 x 48", mixed media and collage on canvas.
7
to so-called ‘outsider’ art or untrained artists. Chicago artists have long been interested in the idea of the
visionary artist as a radical in the context of contemporary art. The Venice Biennale last summer approached
a similar theme drawing on the works of Hilma af Klint and Emma Kunz, confirming this is more than a local
phenomenon. Bramson’s work testifies to this visionary capacity: the fantastical, phantasmagoric energy of
the individual dreamer lost in her own idiosyncratic, subjective world.
Bramson’s occasional use of collage and her mix of source material bring to mind the work of Hannah Höch
or Mae Wilson. This strategy of constructing the female form out of disparate imagery can be viewed as a
feminist practice and speaks to the myriad social constructions with which women must contend. Bramson
participates fully in this arena where female pleasure is haunted by social mores and patriarchal demands,
and where women’s identities shift with the various masks she is asked to wear, from mother to wife or virgin
to whore. Bramson’s women push against these boundaries and collapse the typologies, creating more
complex versions of the feminine trope.
Over and over again, Phyllis Bramson pursues
a richly ornamental, excessive and decadent
art. With high-keyed color and topsy-turvy
compositions bustling with motifs and marks
and forms, and with an iconography that is
familiar yet bizarre, Bramson sustains the
human need for sensuality in content and
form. Hers is a global erotics and it is ecstatic
to behold.
Lisa Wainwright Ph.D. is Dean of Faculty and
Senior Vice President of Academic Affairs at the
School of the Art Institute of Chicago.
Phyllis Bramson. Eve, 2013.
36 x 36", mixed media and collage on canvas.
Biography
Phyllis Bramson is an artist and educator. Her recent works use folly and innuendo as narrative tactics to embody
exaggerated fictions about love. Infused with amusing anecdotes about life’s imperfections, her sensuous paintings
are miniaturized schemes meandering between love, desire, pleasure, tragedy and cosmic disorder. In 2015,
Bramson will have a 30 year retrospective at the Rockford Art Museum in Rockford, IL.
She has had over 30 solo exhibitions in institutions such as the New Museum of Contemporary Art in New York,
Cultural Center of Chicago, Boulder Art Museum, the Renaissance Society at the University of Chicago, and the
Art Museum of West Virginia University. In 2013, Bramson had solo exhibitions at Zolla/Lieberman Gallery in
Chicago and at Littlejohn Contemporary in New York City. Her works have been included in group exhibitions
at the Seattle Art Museum, Art Institute of Chicago, Museum of Contemporary Art in Chicago, Smart Museum,
Renwick Museum, Corcoran Museum, and Aspen Art Museum. She is represented by Zolla/Lieberman Gallery
and Printworks in Chicago, Littlejohn Contemporary in New York City, and Philip Slein Gallery in St Louis, MO.
Bramson is a recipient of numerous awards and grants
including a Fulbright Scholarship, Louis Comfort
Tiffany Grant, Guggenheim Fellowship, Rockefeller
Foun­dation Grant, NEA awards and Anonymous Was
A Woman Award. Bramson was selected as Annual
Distinguished Artist interviewee for the 2010 College
Art Association conference and was selected as the
Distinguished Artist of the Year by The Union League
Club of Chicago in 2012. She received her MFA from
the School of the Art Institute of Chicago and taught
for 22 years at the University of Illinois, Chicago,
where she is now professor emerita. Since 2007, she
has advised MFA students at the School of the Art
Institute of Chicago.
Bramson lives and works in Chicago, IL.
Phyllis Bramson. The Spider Came a Call’in, 2013
36 x 36", mixed media and collage on canvas.
9
Harmony Hammond
We honor you,
Harmony Hammond,
for your commitment to feminist
and queer culture through art,
curating, teaching, and activism.
Photo courtesy of Harmony Hammond.
By Julia Bryan-Wilson
Harmony Hammond’s influential art of the past four-and-a-half decades spans a range of media, consistently interrogating the space of the between. She has worked between abstraction and representation,
between painting and sculpture, between text and image, and between legibility and illegibility. It is a space,
I would argue, that has significant implications for feminism and for queer modes of looking. For instance,
in her piece The Dyke and the Diva from 1993, she created an elegant assemblage out of raw materials that
could either refer to horseback riding culture or BDSM, or both: latex rubber, leather riding whip, braided
hemp rope. Hung from a nail, this collection of contrasting yet complementary textures forms a portrait of
a relationship—not literally representing the two individuals in the dyke/diva duo, but obliquely gesturing
to the space between them. Hammond perverts the portrait here, queers it to make it abstract, multiple,
elliptical, potent.
Beginning in the early 1960s, Hammond explored what goes on in gaps and seams. Using fabric, pigment,
printmaking, and combinations of materials, she bravely challenged the separation of craft and art, and
dismantled the artificial distinctions between wall-based and floor-based practices. In her writing and in her
art, she has also pushed for a more robust discourse on feminist abstraction. Much of her work, from her
early “woven paintings” to her legendary Floorpieces to her recent monochromes, is obdurately anti-figural
and at the same time demands a feminist politics of viewership and a gendered accounting of materiality.
By insisting that such works are both formal and political, Hammond has pioneered a new language of
both-at-onceness.
Hammond is a restless experimenter: her studio is a laboratory
where she tests out methods, invents forms, and transforms
surfaces. In much of her art—like her wrapped sculptures
of the late 1970s and early 1980s—she is deeply interested
in repetition, alluding to historical legacies of domestic
work and female ritual. From the fabric-based Presences, to
bronze casts, and canvases that are thickly built up through
her labored process, her practice cuts across genres and
defies modernist narratives of reduction, containment, and
autonomy. Instead, her art expands out into the realm of
the social, embedded in, and in dialogue with her ongoing
activism that has agitated for feminist collaboration, queer
visibility, and class-based equity. She has made interventions
regarding censorship, work related to violence, and powerful
canvases that speak pure rapture.
Her biography reads like a timeline of many of the major milestones of feminist and queer art history: she cofounded the
New York women’s art collective A.I.R. in 1972, cofounded
and coedited Heresies: A Feminist Publication of Art and
Politics in 1976, curated A Lesbian Show in 1978 at 112 Green
Street Workshop, wrote the book Lesbian Art in America:
Harmony Hammond. Red Bed, 2011.
80.5 x 50.5" Oil and mixed media on canvas.
Courtesy Alexander Gray Gallery, NYC.
Art©HarmonyHammond/Licensed by VAGA, NYC.
11
A Contemporary History that Rizzoli published in 2000, amongst many other significant accomplishments
that have had a lasting impact and opened up critical doors for others. As did her seventeen years of teaching
at the University of Arizona.
Feminist and queer art history since the 1970s would frankly be unthinkable without her groundbreaking
efforts. Her curatorial and written work, like her visual art, is marked by generosity and a brave curiosity, a
desire to gather disparate objects together and represent them in a fresh light. One could say Hammond has
been central to the margins, but in fact, she has done more than that as she has consistently worked between
center and margin, thereby destroying the distinction between the two, and inviting all of us to come with her.
Julia Bryan-Wilson Ph.D. is an Associate Professor of Art History at the University of California, Berkeley and
author of many works including “Art Workers: Radical Practice in the Vietnam War Era.”
Harmony Hammond. Radiant Affection, 1983–84.
92 x 106", cloth, wood, gesso, acrylic, foam and latex rubber, rhoplex.
Collection of the Metropolitan Museum of Art. Photo courtesy Alexander Gray Gallery, NYC.
Art©HarmonyHammond/Licensed by VAGA, NYC.
Biography
Harmony Hammond is an artist, writer, and educator. She received her BA in 1967 from the University of Minnesota.
Hammond was a leading figure in the New York feminist art movement in the early 1970s, cofounding the cooperative art gallery A.I.R. and the journal Heresies: A Feminist Publication on Art & Politics. Her earliest feminist work
combined gender politics with post-minimal concerns of materials and process, frequently occupying a space
between painting and sculpture. Hammond’s book, Wrappings: Essays on Feminism, Art, and the Martial Arts is a
seminal publication on 1970s feminist art and her book Lesbian Art in America: A Contemporary History received
a Lambda Literary Award. In 2013, Hammond was honored with The College Art Association Distinguished
Feminist Award. Hammond is represented by Alexander Gray Associates in New York.
Hammond’s artwork has been exhibited in national and international venues including the New Museum, Brooklyn
Museum, MoMA PS1, Los Angeles Museum of Contemporary Art, National Museum of Women in the Arts, Walker
Art Center, American Center in Paris, and the Neue Galerie in Graz, Germany. Her art was featured in High Times,
Hard Times: New York Painting 1967–1975 and WACK! Art and the Feminist Revolution exhibitions and is in the
permanent collections of the Metropolitan Museum of Art, Museum of Modern Art, Walker Art Center, Brooklyn
Museum, National Museum of Women in the
Arts, and Art Institute of Chicago. She has
received fellowships from the Guggenheim,
Joan Mitchell, Pollock-Krasner, Esther and
Adolph Gottlieb, and Art Matters Foun­dations;
the New York State Council on the Arts; and
the National Endowment for the Arts.
Since 1984, Hammond has lived and
worked in northern New Mexico and taught
at the University of Arizona, Tucson from
1989–2006.
Hammond printing 5 x 10ft monotypes on the monster press at the Visual
Arts Center in North Adams, MA in 2001. Photo courtesy Alexander Gray
Gallery. Art©HarmonyHammond/Licensed by VAGA, NYC.
13
Adrian Piper
We honor you, Adrian Piper,
for your commitment to
conceptual art, to analytic
philosophy and to socio-political
strategies.
Photo courtesy of Adrian Piper.
By Nizan Shaked
Adrian Piper was initially an “artist’s artist,” known since the late 1960s among a network of peers such as
Sol LeWitt, Joseph Kosuth, Christine Kozlov, and Vito Acconci. In the 1970s, her work was included in some
of the defining exhibitions of conceptualism and her writing about the subject appeared in Ursula Meyer’s
Conceptual Art (1972), Artforum (1973), and the journal The Fox (1975). Her photo-text work circulated via
Lucy Lippard’s shows, lectures, and catalogs, as well as through publications, such as Allan Sondheim’s
Individuals: Post-Movement Art in America (1977). All of which paved the way for a generation of feminist
artists including Cindy Sherman, who cites Piper directly, Barbara Kruger, and Jenny Holzer. Like Marcel
Duchamp, Piper’s influence was limited and constrained for almost two decades, but once fully recognized
its impact spread exponentially. A series of retrospectives commencing in 1987 made Piper’s oeuvre central
to a generation of 1990s context artists, and the publication of her writing Out of Order Out of Sight (1996)
contributed significantly to the reevaluation of the conceptual legacy. Those two volumes featured art and
criticism beginning in the late 1960s and chronicled her transition in the 1970s into overtly political work
addressing racism, xenophobia, sexism, and class position. Out of Order Out of Sight established her oeuvre
and methods of the 1980s as models for analytic practices that employ identity politics not as a mode
of self-expression, but rather as social agency and a means of mobilization. Her synthesis of conceptual
strategies with direct political address has since been relevant for a range of younger artists, united by their
critical approach to the definition, practice, and reception of
art. Today, Piper is established as a pioneer of the historical
expansion of analytic conceptual art into a context-based and
content-oriented synthetic conceptualism, focused on the
material world.
Piper’s use of the body, and later the autobiographical voice,
came after a prolonged preoccupation with general inquiries
into the nature of time and space, the context of the art
object and its reception, as well as a focus on questions
of media and mediation. The meaning of her later work is
always first conceptual to which the political question is then
applied. Reading the work in this order highlights her unique
contribution, where the body is first and foremost a body in
general—such that the specific body of the artist and her
particular social position function as examples for further
extrapolation by the viewer into various aspects of identity.
In each of the twenty works forming the Hypothesis series
(1968–70) Piper treated her body as an art object, mapping
its location not to position her self in space, but rather as
an abstracted human body. This is evidenced by the way
her position is charted from within and not outside the
picture. Considering her body as part of the environment,
she intermittently held a camera up and snapped a shot.
Arranging the images as a graph, she charted their place on
a set of space/time coordinates in relation to her body as
another object in this space/time continuum. Letting go of
Adrian Piper. Vanilla Nightmares #20, 1989.
Charcoal drawing on New York Times page from
Sunday, 27 July, 1986. 14 1/8 x 23 1/2". Collection of
the Armand Hammer Museum of Art and Culture at
UCLA. © APRA Foundation Berlin.
15
the master­ful vantage point, she diagrammed her immediate surroundings from a relative rather than an
absolute perspective. When looking at these “maps,” the viewer is no longer located in the vantage point
behind the artist’s eyes, but rather in a relative field where every point of view is hypothetical. This approach
persisted in Piper’s street and performance works where her body was the major medium. Her approach to
the body manifestly separated it from the subject inhabiting it, a distinction she established by using language
to investigate the ways in which the various elements: artist, self, identity, subjectivity, body, art object,
circulation, and audience reception, related to one another. If we identify an autobiographical or corporeal
impulse in Piper’s later work, it operated through structural rather than narrative strategies. In other words,
whatever personal story was being told, it functioned as a model that described not her personal identity, but
rather the possibility of identity as such. A universal definition of identity is more relevant than ever today,
where it can and must be connected to various questions of social justice without separating them from the
pressing questions of economic equality.
Nizan Shaked Ph.D. is Associate Professor of Contemporary Art History, Museum and Curatorial Studies at
California State University, Long Beach. She is currently working on a book titled “The Synthetic Proposition:
Conceptualism and the Political Referent.”
Adrian Piper. Vanishing Point #6.1+6.2, 2009
Two sanded drawings on pre-printed photo offset paper, black graphite pencil, ballpoint
pen, chalk, crayon. 17 x 11". Collection of the Adrian Piper Research Archive Foundation
Berlin. © APRA Foundation Berlin.
Biography
Adrian Margaret Smith Piper is a conceptual artist and analytic philosopher. She received a BA in philosophy with a
minor in medieval and renaissance musicology from the City College of New York, and a Ph.D. in philosophy from
Harvard University. Piper became the first tenured African American female professor in the field of philosophy.
For her refusal to return to the United States while listed as a Suspicious Traveler on the U. S. Transportation
Security Administration’s Watch List, Wellesley College forcibly terminated her tenured full professorship in
philosophy in 2008. In 2011, the American Philosophical Association awarded her the title of Professor Emeritus.
Piper’s two-volume, open access study in Kantian metaethics, Rationality and the Structure of the Self, Volume I: The
Humean Conception and Rationality and the Structure of the Self, Volume II: A Kantian Conception, was accepted for
publication by Cambridge University Press in 2008 and praised as “groundbreaking,” “brilliant,” “indispensable,”
and “original and important.” Piper introduced issues of race and gender into the vocabulary of conceptual art
and explicit political content into minimalism. In 2000, she further expanded the vocabulary of conceptual art
to include Vedic philosophical imagery and concepts. Her artwork has enjoyed numerous national and international traveling retrospectives, and is in the collections of the Museum of Modern Art, Los Angeles Museum
of Contem­
porary Art, Centre
Pompidou, and Generali Foun­
dation in Vienna, among others.
Piper has been the recipient of
grants, fellowships and awards
including a Guggenheim, AVA,
NEA, NEH, Andrew Mellon,
Woodrow Wilson, Skowhegan
Medal, New York Dance &
Performance Award, and the
College Art Association Artist
Award for Distinguished Body
of Work. Piper lives in Berlin where she
runs APRA Foundation Berlin.
Adrian Piper. Hypothesis Situation #3, 1968–1969. Original typescript on photo offset
template page, photo-diagram collage, silver gelatin print on baryte paper, Black India
Ink on graph paper, vintage photo offset. 8 1/2 x 11"; 33 7/8 x 10 7/8"; 17 x 11".
Collection of the Adrian Piper Research Archive Foundation Berlin.
© APRA Foundation Berlin.
17
Faith Wilding
We honor you, Faith Wilding,
for your commitment to feminist
organizing, performance, writing,
teaching and activism.
Photo courtesy of Faith Wilding.
Essay by Mario Ontiveros
Migration and transformation are seldom easy. Ten years after emigrating with her family from Paraguay
to the United States, Faith Wilding enrolled in the Fresno Feminist Art Program founded in 1970 by Judy
Chicago. Although already committed to the feminist movement, already active in consciousness raising
groups, and already an advocate for women’s study classes on the FSU campus, Wilding found Chicago’s
life-writing exercises difficult precisely because they encouraged students to place their experiences in a
larger historical and political field. Wilding’s activism focused on current urgencies, not on her past, and the
links between her personal history and present conditions remained unclear. However, the act of situating
her life in relation to other events and concerns radicalized her feminism, politics, and art.
Wilding’s earliest writing centered on feminist organizing. Her essay for By Our Own Hands (1977), a book
penned to accompany an exhibition on the women artists’ movement in Southern California in the 1970s,
documented a range of artists and artist-centered spaces, and also highlighted various feminist strategies
and artistic philosophies. She wrote at a critical juncture—while the City of Los Angeles began its celebration
of “Women in the Arts”—groups had already splintered, centers had closed, and fatigue had set in. Gender
inequities in the workplace and in the art world persisted. Diversity, ethnicity, region, and class continued to
transform feminism while the national economy sputtered. Wilding did not simply chronicle a history of the
women’s art movement, rather, she attempted through writing to acknowledge shared histories, encourage
broadly defined differences, and called for ongoing vigilance and support for personal and political views for
new possibilities.
Over the years, Wilding has maintained a multidisciplinary art practice committed to sociopolitical
engagement. While many know her public work at Womanhouse, few are aware of her long-standing,
studio-based practice. For example, Embryoworlds, her
ongoing series of watercolor and ink on vellum works
produced since the 1990s, offers a microcosm of the radical
transformations of bioengineering and the intensification of
genetic technologies affecting the human subject in general,
and women’s bodies in particular. Wilding gives sliver-thin
glimpses into the politics of remaking, mining, and patenting
life materials. She comments on assisted reproductive technologies and hints at the consequences of yielding to a host
of social pressures and capitalist-infused desires to harness
science to enhance the self.
Drawing on “scientific” images and language from the
seventeenth century to the present, Embryoworlds gives
a sociopolitical history of the human body and focuses
attention on the questions and effects of engineering life.
The works’ titles and the text within them give pause: ICBM
Embryo, “infibulation,” Target Embryo, “excised clitoris,”
“severe male infertility,” and Male Failure. An inquiry into
bioethics, Embryoworlds offers a cautionary counterpoint to
the often laudatory embrace of the post-human and humanmachine dynamics.
Faith Wilding. Male Failure Embryo, 1997.
Water Color, ink, on vellum, 9 x 12".
Image courtesy the artist.
19
Wilding’s collaborative-based work demonstrates a commitment to feminist political organizing. In 1998, she
cofounded subRosa, self-defined as “a collective of interdisciplinary feminist artists committed to combining
art, social activism and politics to explore and critique the intersections of information and bio technologies
on women’s bodies, lives and work.” subRosa’s critical practice builds alliances by employing various
methods of engagement: staging media interventions, unleashing “sneak attacks,” and organizing public
forums. Wilding is coeditor of subRosa’s Domain Errors! Cyberfeminist Practices!, published by Autonomedia,
New York in 2002, a book that examines many issues, such as the intersections of race discourses and
technology, which had at the time received less rigorous analysis.
Many artists exhibit, write, and publish. Some teach. Fewer organize. Far fewer excel as mentors. Wilding
is gifted in each area. She is an incomparable instructor, and her student-centered approach to teaching
creates the conditions for students to flourish. Students
gain insights about the intersection between art, life, and
politics not only from Wilding’s experiences as a practicing
and exhibiting artist, but also through her commitment to
an engaged, collaborative, sociopolitical practice.
Instructors often claim that feminism and feminist theories
inform their practice, though “informed by” often seems
insulated from the urgencies of daily life and the material
environment. Wilding’s work and teaching create conditions
for transforming “informed by” to an ongoing commitment
to action, engagement, organizing and movement.
Mario Ontiveros Ph.D. is an Assistant Professor of Modern and
Contemporary Art at California State University, Northridge
in Los Angeles.
Faith Wilding. Monstrous Embryo, 1997.
Water color, ink, on vellum, 9 x 12".
Image courtesy the artist.
Biography
Faith Wilding is an intermedia artist, writer and educator. She is professor emerita of performance art at the
School of the Art Institute of Chicago, a graduate faculty member at Vermont College of Fine Arts, and a visiting
scholar at the Pembroke Center, Brown University. Born in Paraguay, Wilding received her BA from the University
of Iowa and an MFA from the California Institute of Arts. Wilding was a co-initiator of the Feminist Art Programs
in Fresno and at Cal Arts and was a key contributor to the Womanhouse exhibition with Crocheted Environment
and her Waiting performance. Her work with the feminist art movement in Southern California was chronicled
initially in her book, By Our Own Hands, and later in The Power of Feminist Art, edited by Norma Broude and Mary
Garrard. She is the recipient of a Guggenheim Fellowship, Creative Capital grant, and NEA artist awards.
The first major retrospective of her work entitled Fearful Symmetries will take place in early 2014 at threewalls in
Chicago. Her artwork was also featured in WACK! Art and the Feminist Revolution; Sexual Politics; Division of Labor:
Women’s Work in Contemporary Art; and re.act Feminism. She has exhibited nationally and internationally, including
the Reina Sofia Museum, Madrid; Centre for Contemporary Art, Glasgow; MoMA PS1 and Bronx Museum of Art,
New York; Museum of Contemporary Art and Armand Hammer Museum, Los Angeles; UC Riverside Museum of
Art; Singapore Art Museum, and many others.
Much of Wilding’s recent work addresses
the recombinant and distributed biotech
body in various 2D media, audio, video,
digital media, installations, and performances. She is cofounder of subRosa, a
cyberfeminist cell of cultural producers
using BioArt and tactical performance
to explore and critique the intersections
of information and biotechnologies in
women’s bodies, lives, and work, and she
is coeditor of Domain Errors! Cyberfeminist
Practices!
Wilding lives and works in Provincetown,
Rhode Island.
Wilding at subRosa installation/performance, 2009, as part of The Way
That We Rhyme exhibition. Yerba Buena Art Center, San Francisco.
Photo courtesy of subRosa.
21
The President’s Award for Art & Activism
Each year in association with the Women’s Caucus for Art’s
Lifetime Achievement Awards, the National Board President
selects a recipient for the WCA President’s Award. In 2011,
the award took on a new direction when the President
presented the first awardee with the President’s Award
for Art & Activism. The award identifies emerging or midcareer women in the arts whose life and work exemplifies the
WCA mission statement, ‘creating community through art,
education, and social activism.’ The 2014 President’s Award
for Art & Activism honors Hye-Seong Tak Lee and Janice
Nesser-Chu for their contributions serving women in the arts.
Past recipients of the President’s Award include: Susan Fisher
Sterling, Director of the National Museum of Women in the
Arts (NMWA); Elizabeth A. Sackler, philanthropist; Catherine
Opie, artist; Leanne Stella, Founder of FLUX Harlem; Maria
Torres, Founder and Chief Operating Officer of The Point
Community Organization; Juana Guzman, Vice-President
of the National Museum of Mexican Art; and Karen Mary
Davalos, chair and associate professor of Chicana & Chicano
Studies at Loyola Marymount University.
Hye-Seong Tak Lee
Photo courtesy of Hye-Seong Tak Lee.
Hye-Seong Tak Lee is an artist, independent curator, and lecturer at
Gwangju and Woosong Universities in Gwangju, South Korea. As a curator,
her goal is to help women artists, particularly feminist artists, achieve parity
with male artists in South Korea. Prior to returning to South Korea from the
United States, Lee’s priorities were raising her four children and supporting
her minister husband as they were transferred from parish to parish by his
American church. In each new community, Lee found work teaching in
Korean schools and helping immigrants express their heritage and culture
through art and exhibitions. Lee’s sudden, serious illness forced her family
to return to South Korea. After her operation, she was determined to work
on her career needs with the enthusiastic consent and support of her family.
As a curator and educator, Lee has focused on issues of women’s power, desire, and the meaning of feminist art.
She is also focused on connecting first generation Korean feminist artists such as Yun Suknam and Park Youngsook,
who became famous in the mid-1990s, with contemporary Korean women artists whose subject matter is feminist
or activist in nature. South Korean feminist history has its own unique trajectory. The feminist movement, in its
early stages, was minimized and labeled insignificant compared to the larger issues of democratization, given that
the first democratic presidential election was held in 1987. In the mid-1980s, the Korean feminists had gained some
ground, but the 1997 Asian Financial Crisis again silenced their voices. Because of this, young women artists are not
familiar with Korean feminist history.
By curating the Woman+Body exhibition in Seoul and Gwangju, and pairing cross-generational Korea women artists
with members of the Women’s Caucus for Art, Lee took a significant step towards reviving and strengthening
feminist art in South Korea. The exhibition intended to raise questions about gender stereotypes and break barriers
against prejudice and sexual identity. Through this international exhibition, Lee forged important relationships with
first generation Korean feminists and young activist women whose works were selected for the show. In conjunction
with the Awards ceremony, Lee is curating two exhibits in Chicago. Through the Eyes of the Mother examines motherhood from a feminist perspective, and Solidarity Between Generations features works by a Korean feminist art
collective. Both showcase cross-generational and cross-cultural activist art and introduce Korean women artists to
artists the United States. They also represents Lee’s career goal of putting feminist art on the radar. Hye-Seong Tak
Lee is the first South Korean recipient of the WCA President’s Art & Activism Award.
23
Congratulations Janice Nesser-Chu.
Thank you for your dedication and
for being an inspiration to everyone.
Chicago 2014, the Estate of Sylvia Sleigh
Sylvia Sleigh, Attica //1973
pencil on paper, 30" x 22"
Janice Nesser-Chu
Janice Nesser-Chu is an educator, mentor, activist and artist. She is the Chair
of the Arts & Humanities Department at the St. Louis Community CollegeFlorissant Valley, Legacy Campaign Director for Women’s Caucus for Art (WCA)
and Past President of WCA. She has served on many boards and committees
including ArtTable, Forums Committee for Art St. Louis, and the WCA St. Louis
chapter. Nesser-Chu is a recipient of numerous teaching awards including the
Freedom of Human Spirit Award, and the Emerson Award for Excellence in
Teaching.
As an educator, Nesser-Chu teaches students from underprivileged backgrounds—the first in their family to go to college, or whose lives are so
Photo by Christopher Ligeza.
challenging that being present in the classroom is a triumph in itself. On
mentoring her students, Nesser-Chu states, ”…when a student finally understands a concept or an idea, when a
student produces a phenomenal piece of work, or when they are offered a full scholarship to a four-year university…
those are the real rewards that shape my career.”
Nesser-Chu’s activist roots come from taking on parenting responsibilities at the age of fourteen and getting a full
scholarship to St. Mary of the Woods College in Indiana, where her feminism was nurtured by activist nuns. As
a student, she was involved in NOW, the anti-nuclear movement, ERA ratification marches, and Nader’s Public
Interest Research Group. As an educator, she spearheaded the “Wall” project, The World AIDS Day “Quilt Around
the Quilt Project,” and Women’s History Month on campus.
As an artist, Nesser-Chu has exhibited nationally and internationally for the past twenty years. Her work is included
in many permanent collections. Her recent work, “From the blood of my grandmother,” incorporates quilting and
embroidery with dress patterns, altered books, photographs and found objects in an investigation of familial relationships, cultural taboos and their place in the formation of identity.
Nesser-Chu served as WCA National Board President from 2010–2012. During her tenure, she organized two
financially successful Lifetime Achievement Awards events, established greater connections between the national
organization and its chapters, and founded the Sylvia Sleigh Legacy Campaign. In all of her actions, Janice
Nesser-Chu personifies Art Activism which is at the core of WCA’s Mission.
25
2014 WCA Supporters
honorary committee
The Estate of Sylvia S. Alloway (Sleigh), NY
School of the Art Institute Chicago
Judith K. Brodsky, Center for Innovations and Prints,
Rutgers University, NJ
Clark Atlanta University, Georgia
Major Hieftje, City of Ann Arbor, MI
National Congress of Black Women, Inc, Washington, DC
Oelbaum Family, Canada
Sammy Hoi, Otis College of Art & Design, Los Angeles, CA
Oxford University Press
College of Fine and Performing Arts, Rowan University
Rutgers, The State University New Jersey
A Window Between Worlds, Los Angeles, CA
patron
The Estate of Sylvia S. Alloway (Sleigh), NY
Priscilla H. Otani & Michael Yochum/
Philanthropic Ventures Foundation, Oakland, CA
benefactor
Ida Applebroog
University of Illinois, Chicago
advocate
Mary Ellen Croteau
Brenda Oelbaum
Patricia Anne Young Estate,
of the Community Foundation of New Jersey
Vermont College of Fine Arts
sponsors
Ron and Ulla Barr (In Memory of Avinger Nelson)
College Art Association (CAA)
Hye-Seong Tak Lee
Sandra Perlow
Corinne D. Peterson
School of the Art Institute of Chicago
St. Louis Community College - Florissant Valley, MO
Yuriko Takata
University of Minnesota
WCA Michigan Chapter
WCA St. Louis Chapter
Webster University
supporters
Leslie Aguillard
ArtTable
Bank of America Foundation
Suzanne A. Beutler
Andrea B. Broyles
Wanda M. Corn
Sherri Cornett
Alice Dubiel
Alicia Eyers
Gamblin
Ofelia Garcia
Janice Grossman
Ann Sutherland Harris
Marilyn Hayes (In Memory of Avinger Nelson)
Helen Klebesadel (In Memory of Jean Towgood)
Rona E. Lesser
Chris Lewis
Modern Postcard
Beate Minkovski/Woman Made Gallery
Lucia Grossberger Morales
Stephen and Sandra Mueller
Janice Nesser-Chu
Ferris Olin
Dale Osterle
Cherie Redlinger
Ally Richter
Amanda Rogers
Stefani M. Rossi
Ann Rowles
Evie Shucart (In Honor of Janice Nesser-Chu)
Barbara Wolanin
WCA Georgia Chapter
WCADC Greater Washington Chapter
Discover the many benefits of
membership in the premier
professional association in
the visual arts. With exclusive
access to targeted career
resources and the best new
ideas and scholarship in the
field, CAA members have the
competitive edge.
collegeart.org/membership
27
Congratulations Hye-Seong!
The Faculty of the
Webster University
THROUGH
THE
EYES
OF
THE
MOTHER
&
Solidarity
between
Generations
at
ARC Gallery
Department of Art,
Design, and Art History
of the Leigh Gerdine
College of Fine Arts
congratulates alumna
Janice Nesser-Chu
(MA 1998)
DATES
Feb. 08th ~ Feb. 15th
VENUE
KCCOC
9930 S. Capital Dr.
Wheeling, IL 60090
Tel: 847-947-4460
OPENING
Feb.13th 2:00pm
With Panel Discussion
And Exotic Korean Foods
DIRECTED BY
Hye-Seong Tak Lee
Hongik University Alumnae wish you the best in your future endeavors
a recipient of
The Women’s Caucus
for Art 2014 President’s
Art & Activism Awards
Academic Programs
Art (BFA)
Emphasis Required:
Alternative Media
Ceramics
Drawing
Graphic Design
Painting
Photography
Printmaking
Sculpture
Other Areas of Study:
Art Education
Art Therapy
International Art Studies
Curatorial Studies
Masters of Art (MA)
Studio Art
Art History and Criticism
Art (BA)
Art History and
Criticism (BA)
http://www.webster.edu/fine-arts/
Faith
Vermont
College ofWilding
Fine ArtsFounding Faculty,
Salutes MFA in Visual Art
2014 Recipient
Women’s Caucus
for Art Lifetime
Achievement Award
For her considerable accomplishments
and distinguished contributions
to the field of visual art
29
Brenda Oelbaum, WCA President-­‐Elect
warmly honors
the 2014 Women’s Caucus for Art Lifetime Achievement Recipients
Phyllis Bramson
Harmony Hammond
Adrian Piper
Faith Wilding
and the President's Art & Activism Awardees
Janice Nesser-­‐Chu and Hye-­‐Seong Tak Lee and with special consideration and appreciation to outgoing WCA President Priscilla Otani for her service to WCA. SAIC congratulates WCA 2014 Lifetime Achievement Award Recipients
Faith Wilding
and Phyllis Bramson
saic.edu
31
MICHIGAN
The Membership of the Michigan Chapter
of the Women’s Caucus For Art
warmly congratulates
the 2014 recipients of the
Lifetime Achievement Award
Phyllis Bramson, Harmony Hammond,
Adrian Piper, and Faith Wilding
President’s Art & Activism Award
Janice Nesser-Chu and
Hye-Seong Tak Lee
& Michigan Chapter member
Brenda Oelbaum as she steps
into the role of President
— CONGRATULATIONS —
from
Loisann Arnold, Suzanne Beutler, Barbara Carson,
Birgit Huttemann-Holz, Patricia Izzo, Ludmila Ketslakh,
K.A. Letts, Galeria Mariposa, Margaret Parker,
Amanda Rogers, Patt Slack, and Corinne Vivian.
AR
ABLE
congratulates
our board member
Janice Nesser-Chu,
recipient of the
2014 President’s
Art & Activism Award,
for her accomplishments
St. Louis Community College - Florissant Valley
congratulates
Janice Nesser-Chu
on receiving the
2014 President's Art & Activism Award
33
The Georgia Chapter of the Womens Caucus for Art
wishes to congratulate the Women’s Caucus for Art 2014 Lifetime Achievement
Honorees:
Phyllis Bramson
Harmony Hammond
Adrian Piper
Faith Wilding
and the President's Art & Activism Honorees:
Janice Nesser-­‐Chu Hye-­‐Seong Tak Lee Thanks to the generous contributions of its members,
The St. Louis Chapter of the WCA
congratulates the 2014 Lifetime Achievement Honorees
Phyllis Bramson
Harmony Hammond
Adrian Piper
Faith Wilding
and the 2014 President's Art & Activism Honorees
Hye-­Seong Tak Lee Janice Nesser-­Chu
To our own, Janice Nesser-­‐Chu, we wish you many years of continued success. We are thankful for your dedication, service & commitment to this chapter and organization. We applaud you.
CONGRATULATIONS FROM ST. LOUIS!
35
Ann Rowles, Beatrice Schall & the former members of Center Gallery in Carrboro, NC wish to congratulate Harmony Hammond Congratulates
The 2014 Lifetime
Achievement Awardees
Phyllis Bramson Harmony Hammond Adrian Piper Faith Wilding And the recipients of the
President’s Award
for Art & Activism
Janice Nesser-­‐Chu Hye-­‐Seong Tak Lee www.wcadc.org
on receiving the 2014 Women’s Caucus for Art
Lifetime Achievement Award
Harmony, thank you again for your support of local women artists during
your Artist Residency at the University of North
Carolina at Chapel Hill in 1982.
37
Past WCA Lifetime Achievement Award Recipients
new york 2013 tina dunkley ° artis lane ° susana toruella leval ° joan semmel los angeles 2012 whitney
chadwick ° suzanne lacy ° ferris olin ° bernice steinbaum ° trinh t. minh-ha new york 2011 beverly buchanan
diane burko ° ofelia garcia ° joan marter ° carolee schneemann ° sylvia sleigh chicago 2010 tritobia hayes
benjamin ° mary jane jacob ° senga nengudi ° joyce j. scott ° spiderwoman theater los angeles 2009 maren
hassinger ° ester hernández ° joyce kozloff ° margo machida ° ruth weisberg dallas 2008 ida applebroog
joanna frueh ° nancy grossman ° leslie king-hammond ° yolanda lopez ° lowery stokes sims new york
2007/awards for women in the arts barbara chase-riboud ° wanda corn ° buffie johnson ° lucy lippard
elizabeth murray/judith k. brodsky ° ferris olin boston 2006 eleanor antin ° marisol escobar ° elinor
gadon ° yayoi kusama atlanta 2005 betty blayton-taylor ° rosalynn carter ° mary d. garrard ° agnes
martin ° yoko ono ° ann sutherland harris seattle 2004 emma amos ° jo baer ° michi itami ° helen levitt
yvonne rainer new york 2003 eleanor dickinson ° suzi gablik ° grace glueck ° ronne hartfield ° eleanor
munro ° nancy spero philadelphia 2002 camille billops ° judith k. brodsky ° muriel magenta ° linda nochlin
marilyn j. stokstad chicago 2001 joyce aiken dorothy gillespie ° marie johnson calloway ° thalia
gouma-peterson ° wilhemina holladay ° ellen llanyon ° ruth waddy los angeles 1999 judy baca ° judy
chicago ° linda frye burnham ° evangeline k. montgomery ° arlene raven barbara t. smith philadelphia
1997 jo hanson ° sadie krauss kriebel ° jaune quick-to-see smith ° moira roth ° kay sekimachi boston 1996
bernice bing ° alicia graig faxon ° elsa honig fine ° howardena pindell ° marianna pineda ° kay walking stick
san antonio 1995 irene clark ° jacqueline clipsham ° alessandra comini ° jean lacy ° amalia mesa-bains
celia muñoz new york 1994 mary adams ° maria enriquez de allen ° beverly pepper ° faith ringgold ° rachel
rosenthal charlotte streifer rubinstein seattle 1993 ruth asawa ° shifra m. goldman ° nancy graves ° gwen
knight ° agueda salazar martinez ° emily waheneka chicago 1992 vera berdich ° paula gerard ° lucy lewis
louise noun ° margaret tafoya ° anna tate washington dc 1991 theresa bernstein ° delilah pierce ° mildred
constantine ° otellie loloma ° mine okubo new york 1990 ilse bing ° elizabeth layton ° helen serger ° may
stevens ° pablita velarde san francisco 1989 bernarda bryson shahn ° margret craver ° clare leighton
samella sanders lewis ° betye saar houston 1988 margaret burroughs ° jane teller ° dorothy hood
miriam schapiro ° edith standen boston 1987 grace hartigan ° agnes mongan ° maud morgan ° honoré
sharrer ° elizabeth talford scott ° beatrice wood new york 1986 nell blaine ° leonora carrington ° sue
fuller ° lois mailou jones ° dorothy miller los angeles 1985/toronto 1984 minna citron ° clyde connell
eleanor raymond ° joyce treiman ° june wayne ° rachel wischnitzer philadelphia 1983 edna andrade
dorothy dehner ° lotte jacobi ° ellen johnson ° stella kramrisch ° pecolia warner ° lenore tawney
new york 1982 bernice abbott ° elsie driggs ° elizabeth gilmore holt ° katharine kuh ° claire zeisler
charmion von wiegand san francisco 1981 ruth bernhard ° adelyn breeskin ° elizabeth catlett ° sari
dienes ° claire falkenstein ° helen lundeberg washington dc 1980/alternate awards bella abzug ° sonia
johnson sister theresa kane ° rosa parks ° gloria steinem ° grace paley new orleans 1980 anni albers
louise bourgeois ° carolyn durieux ° ida kohlmeyer ° lee krasner washington dc 1979 isabel bishop ° selma
burke ° alice neel ° louise nevelson ° georgia o’keeffe
WCA
HONOR AWARDS
SELECTION COMMITTEE
Susan M. King, Chair
Eleanor Dickinson
Mary Jane Jacob
Amalia Mesa-Bains
Howardena Pindell
Melissa Potter
Ruth Weisberg
HONORS AWARDS COORDINATION
About this Catalogue:
Catalogue printed on the occasion of the 2014 WCA Conference
“Balance” in Chicago, IL.
Published in New York, New York by the Women’s Caucus for Art.
Printed in the U.S.A.
Copyright © 2014 by WCA. All rights reserved. No part of this book
may be reproduced in any form or by any electronic or mechanical
means without prior permission in writing from the publisher.
Contributors retain copyright on writings and artworks presented in
this catalogue.
Jennifer Campbell
Samantha D’Ambola
Sandra Mueller
Janice Nesser-Chu
Priscilla H. Otani
EDITORS
Susan M. King
Sandra Mueller
­­­­­­­­
ISBN: 978-1-939637-05-5
This catalogue uses paper bearing the Forest Stewardship Council
(FSC) seal, which supports the conservation of forests and wildlife
and helps people lead better lives. It also was printed using soy inks.
Furthermore, the energy used for this print production came from
wind energy. Printed by The Phoenix Group, Philadelphia, PA.
DESIGN & PRODUCTION
Karin K. Luner
yton-Taylor Phyllis Bramson Judith Brodsky Beverly Buchanan Diane Burko Linda Burnham Margaret Burroughs Rosalynn Carter Elizabeth Ca
itney Chadwick Barbara Chase-Riboud Judy Chicago Irene Clark Jacqueline Clipsham Alessandra Comini Wanda Corn Margret Craver Maria
uez de Allen Eleanor Dickinson Tina Dunkley Marisol Escobar Alicia Craig Faxon Elsa Honig Fine Joanna Frueh Sue Fuller Suzi Gablik Elinor G
lia Garcia Mary Garrard Dorothy Gillespie Grace Glueck Shifra Goldman Nancy Grossman Harmony Hammond Ann Sutherland Harris Ron
tfield Marin Hassinger Ester Hernandez Wilhelmina Holladay Michi Itami Mary Jane Jacob Sonia Johnson Marie Johnson-Calloway Sister Th
ne Leslie King-Hammond Joyce Kozloff Sadie Krauss Kriebel Yayoi Kusama Suzanne Lacy Jean Lacy Artis Lane Ellen Lanyon Samella Lewis Su
ruella Leval Lucy Lippard Yolanda Lopez Margo Machida Muriel Magenta Joan Marter Amalia Mesa-Bains Trinh T. Min-Ha Evangeline Mont
Celia Munoz Eleanor Munro Elizabeth Murray Senga Nengudi Linda Nochlin Ferris Olin Yoko Ono Beverly Pepper Howardena Pindell Adri
er Jaune Quick-to-see Smith Yvonne Rainer Faith Ringgold Rachel Rosenthal Moira Roth Charlotte Rubenstein Betye Saar Miriam Schapiro Ca
neemann Joyce Scott Elizabeth T. Scott Kay Sekimachi Joan Semmel Sylvia Sleigh Barbara T. Smith Nancy Spero Bernice Steinbaum Gloria St
Joyce Aiken
Emma
Amos
Edna Waheneka
Andrade Ida
Asawa
Ju- June Wayne Ruth Weisberg Fai
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Stokstad
Anna
Tate Emily
KayApplebroog
WalkingStickRuth
Pecolia
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Jo
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Benjamin
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ding Joyce Aiken Emma Amos Edna Andrade Ida Applebroog Ruth Asawa Judith Baca Jo Baer Tritobia Hayes Benjamin Camille Billops Bernic
Betty Blayton-Taylor Phyllis Bramson Judith Brodsky Beverly Buchanan
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Tina Dunkley
Marisol Escobar
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Craig Faxon
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Clark Jacqueline
Clipsham
Alessandra
Comini
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Craver
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Marilia Garcia Mary Garrard Dorothy
Gillespie
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Ann Sutherland Harris Ron
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ne Leslie King-Hammond Joyce Kozloff Sadie Krauss Kriebel Yayoi Kusama Suzanne Lacy Jean Lacy Artis Lane Ellen Lanyon Samella Lewis Su
Grace Glueck Shifra Goldman Nancy Grossman Harmony Hammond
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Joan Marter
Amalia
Mesa-Bains
Trinh T. Min-Ha Evangeline Mont
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Sutherland
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Hartfield
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Ester
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Celia Munoz Eleanor Munro Elizabeth
Murray
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Nengudi
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Wilhelmina Holladay Michi Itami Mary Jane Jacob Sonia Johnson MariePepper Howardena Pindell Adri
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Rainer Faith Ringgold
Rachel Rosenthal
Moira
Roth Charlotte Joyce
Rubenstein
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Sister Theresa
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Sadie
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Suzanne
LacyT.Jean
Artis
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Sekimachi
Joan Yayoi
Semmel
Sylvia Sleigh
Barbara
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Spero Bernice Steinbaum Gloria St
Lane
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Samella
Lewis
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Yolanda Lopez Margo Machida Muriel Magenta Joan Marter Amalia Meding Joyce Aiken Emma Amos Edna Andrade Ida Applebroog Ruth Asawa Judith Baca Jo Baer Tritobia Hayes Benjamin Camille Billops Bernic
sa-Bains Trinh T. Min-Ha Evangeline Montgomery Celia Munoz Eleanor
ty Blayton-Taylor Phyllis Bramson
Judith
Brodsky Beverly
Diane Burko
Burnham
Burroughs Rosalynn Carter Elizabe
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Whitney Chadwick Barbara Chase-Riboud
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Chicago
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Tina Dunkley
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Ann Sutherland Harris Ron
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Joan
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Barbatfield Marin Hassinger Ester Hernandez Wilhelmina Holladay Michi Itami Mary Jane Jacob Sonia Johnson Marie Johnson-Calloway Sister Th
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ne Leslie King-Hammond Joyce Kozloff Sadie Krauss Kriebel Yayoi Kusama Suzanne Lacy Jean Lacy Artis Lane Ellen Lanyon Samella Lewis Su
Lowery Stokes Sims Marilyn Stokstad Anna Tate Emily Waheneka Kay
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Lopez Margo
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Joan
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Trinh T. Min-Ha Evangeline Mont
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ISBN: 978-1-939637-05-5
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