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Women as Center
Elements of women’s art• Uniform density• Overall texture• Often sensuously tactile and
repetive • Detailed to the point of obsession• Preponderance of circular forms• Central focus• Inner space (sometimes
contradicting the first aspect)• A ubiquitous liner bag or
parabolic form that turns in on itself
• Layers, or strata, or veils
• Indefineable looseness• Flexibility of handling• Windows• Autobiographical content• Animals• flowers,• Certain kind of
fragmentation• New fondness for the pinks
and pastels and ephemeral cloud colors.
Women as ‘center’
Womanhouse
Camille Grey, Lipstick Bathroom, 1972
Beth Bachenheimer, Sherry Brody, Karen LeCoq, Robin Mitchell, Miriam Schapiro, Faith Wilding, Dining Room, 1972.
Sandy Orgel, The Linen Closet, 1972
“this is exactly where women have always been – in between the sheets and on the shelf. It is now time to
come out of the closet”
Judy Chicago, Menstruation Bathrom, 1972
Schapiro and Sherry Brody, Dollhouse, 1972
Sandra Ogle, Ironing
Waiting
Judy Chicago’s Dinner Party
Chicago, Dinner Party, 1974-9
Wing I: From Prehistory to the Roman Empire1. Primordial Goddess2. Fertility goddess3. Ishtar4. Kali5. Snake Goddess6. Sophia7. Amazon8. Hatshepsut9. Judith10. Sappho11. Aspasia12. Boudica13. Hypatia
Wing II: From the Beginnings of Christianity to the Reformation14. Marcella15. Saint Bridget16. Theodora of Byzantium17. Hrosvitha18. Trotula of Salerno19. Eleanor of Aquitaine20. Hildegard of Bingen21. Petronilla de Meath22. Christine de Pisan23. Isabella d'Este24. Elizabeth I of England25. Artemisia Gentileschi26. Anna van Schurman
Wing III: From the American to the Women’s Revolution27. Anne Hutchinson28. Sacajawea29. Caroline Herschel30. Mary Wollstonecraft31. Sojourner Truth32. Susan B. Anthony33. Elizabeth Blackwell34. Emily Dickinson35. Ethel Smyth36. Margaret Sanger37. Natalie Barney38. Virginia Woolf39. Georgia O'Keeffe
Contemporary Women Artists
Critique/ challenge of objectification of women
Barbara Kruger, Your Gaze Hits the Side of My Face, 1981
Kruger, Untitled, 1981
Untitled, 1981
Critique/challenge of male power
Untitled, 1981
Untitled, 1981
Untitled, 1982
Jenny Holzer, 1982
Untitled, 1990
Cindy Sherman, Untitled Film Still, 1966
1981
1990s
Sherrie Levine, After Walker Evans, 2001
Guerrilla Girls
Gender/Race
From Tarzan to Rambo: English Born `Native' Considers her Relationship to the
Constructed/Self Image and her Roots in Reconstruction 1987
Jaune Quick-to-See Smith, Red Lake Series #5, 1981
Alphabet, 1985
Catherine Opie, Bo, 1991
Self-Portrait, 1993
Coco Fusco and Guillermo Gomez-Peña in their cage during the performance of Undiscovered Amerindians.
They aimed to conduct a "reverse ethnography . . . Our cage became a blank
screen onto which audiences projected their fantasies of who and what we are. As we assumed the stereotypical role of the
domesticated savage, many audience members felt entitled to assume the role of
colonizer, only to find themselves uncomfortable with the implications of the
game" (Fusco 47).
Adrian Piper, Self-Portrait as a Nice White Lady, 1995
Motherhood/Domestic Life
Ladermen Ukeles
Sylvia Mangold
Paula Rego, Family, 1988
Mary Kelly, Post-Partum Document, 1973-9
Analyzed utterances and related speech events
Analyzed markings and diary perspective schema
Transitional objects
Classified specimens, proportional diagrams, statistical tables, research index
Faith Ringgold’s “Who’s Afraid of Aunt Jemima”
Mona Hataom, Pull,
Annette Messager, Histoire des Robes, 1990
Louise Bourgeois, Arch of Hysteria, 1993
Kiki Smith, Untitled, 1993
Zaha Hadid, London Aquatic Center
