1. HA1104 Current Issues in Fine Art II Re-Performing Feminism

2. frieze , Issue 105 March 2007 Special issue on ‘feminism’ ‘ Why is feminism suddenly so hip right now’?

5. Carolee Schneemann, Eye/Body 1963

6. By the year 2000...our future student will be in touch with a continuous feminine creative history--often produced against impossible odds--from her present, to the Renaissance and beyond. In the year 2000 books and courses will only be called 'Man and His Image', 'Man and His Symbols', 'Art History of Man'.... Carolee Schneemann (1975)

7. Oriana Fox Our Bodies, Ourselves (2003) http://orianafox.com/video/

8. Oriana Fox - Artist’s Statement: I admit it, I want to be like and look like many of the women I see on TV and in the movies, yet I am highly critical of them. I want them to more accurately represent my self and the women I know and admire. I feel similarly about the feminist artists of the 1970s. I respect the way they sought to own their own image, to be defined from within instead of without, but the 70s was a long time ago, so I cannot fully embrace their ethos either. I have to find my own, and that is what I try to do in my practice. By taking varied sources from films and TV, I explore my own perceived reflection in the images I see day to day, re-enacting them and altering them to further define myself and my place in representation and the history of art.

9. “ Appropriating gestures, language and concepts from the history of feminist performance art the event highlighted the legacy of the field’s forerunners and commented on how their work has been reinterpreted, subverted or perhaps even ignored by contemporary women’s performance practice” Once More with Feeling, Tate Modern, 2009

10. Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCA, 2007, ARTISTS (L–R): Rose English and Sally Potter, Magdalena Abakanowicz, Colette Whiten, Mira Schendel, Howardena Pindell, Nancy Spero WACK! Art and the Feminist Revolution (MOCA, LA, 2007)

11. Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCA, 2007, photo by Brian Forrest. Installation: Ree MortonImage 9 of 24

13. Magdalena Abakanowicz Marina Abramović Carla Accardi Chantal Akerman Helena Almeida Sonia Andrade Eleanor Antin Judith F. Baca Mary Bauermeister Lynda Benglis Berwick Street Film Collective (Marc Karlin, Mary Kelly, James Scott, and Humphrey Trevelyan) Camille Billops Dara Birnbaum Louise Bourgeois Theresa Hak Kyung Cha Judy Chicago Lygia Clark Tee Corinne Sheila Levrant de Bretteville Iole de Freitas Niki de Saint Phalle, Jean Tinguely and Per Olof Ultvedt Jay DeFeo Disband Assia Djebar Rita Donagh Kirsten Dufour Lili Dujourie Mary Beth Edelson Rose English VALIE EXPORT Jacqueline Fahey Louise Fishman Audrey Flack Isa Genzken Nancy Grossman Barbara Hammer Harmony Hammond Margaret Harrison Mary Heilmann Lynn Hershman Eva Hesse Susan Hiller Rebecca Horn Alexis Hunter Mako Idemitsu Sanja Iveković Joan Jonas Kirsten Justesen Mary Kelly Joyce Kozloff Friedl Kubelka Shigeko Kubota Yayoi Kusama Suzanne Lacy Suzy Lake Ketty La Rocca Maria Lassnig Lesbian Art Project Lee Lozano Léa Lublin Anna Maria Maiolino Mònica Mayer Ana Mendieta Annette Messager Marta Minujín and Richard Squires Nasreen Mohamedi Linda M. Montano Ree Morton Laura Mulvey and Peter Wollen Alice Neel Senga Nengudi Ann Newmarch Lorraine O’Grady Pauline Oliveros Yoko Ono ORLAN Ulrike Ottinger Gina Pane Catalina Parra Ewa Partum Howardena Pindell Adrian Piper Sylvia Plimack Mangold Sally Potter Yvonne Rainer Ursula Reuter Christiansen Lis Rhodes Faith Ringgold Ulrike Rosenbach Martha Rosler Betye Saar Miriam Schapiro Mira Schendel Carolee Schneemann Joan Semmel Bonnie Sherk Cindy Sherman Katharina Sieverding Sylvia Sleigh Alexis Smith Barbara T. Smith Mimi Smith Joan Snyder Valerie Solanas Annegret Soltau Nancy Spero Spiderwoman Theater Lisa Steele Sturtevant Cosey Fanni Tutti Mierle Laderman Ukeles Cecilia Vicuña June Wayne “Where We At” Black Women Artists Colette Whiten Faith Wilding Hannah Wilke Francesca Woodman

14. The Elizabeth A Sackler Center for Feminist Art - At the Brooklyn Museum, New York - opened in 2007 Mission statement: The Center's mission is to raise awareness of feminism's cultural contributions, to educate new generations about the meaning of feminist art, to maintain a dynamic and welcoming learning facility, and to present feminism in an approachable and relevant way

15. “ Its goal is not only to showcase a large sampling of contemporary feminist art from a global perspective but also to move beyond the specifically Western brand of feminism that has been perceived as the dominant voice of feminist and artistic practice since the early 1970s.” Global Feminisms: New Directions in Contemporary Art

16. Judy Chicago, The Dinner Party

19. Oriana Fox, still from Our Bodies, Ourselves 2003

20. Book published 1973 By collective of women OBOS (Our Bodies Our Selves) or Boston Women's Health Book Collective

21. Oriana Fox, Carrie and Amanda (digital collage, 2003

22. Oriana Fox, still from Our Bodies, Ourselves 2003 In Our Bodies, Ourselves I play all four characters of the popular TV show Sex and the City , exchanging contemporary dress and interior design for that of the 1970s. The film begins with my protagonist sewing a Judy Chicago-esque vaginal quilt and hoping that her new boyfriend will call.

23. Ana Mendieta Silueta series, 1970s

24. Ana Mendieta Silueta series, 1970s

25. Ana Mendieta Silueta series, 1970s

26. Judy Chicago – early feminist works 1972-1974 – ‘central core’ imagery Through The Flower Elizabeth in honor of Elizabeth from the Great Ladies

27. Inside this enclave I observed the transition from ‘first-generation’ Feminism – improvisatory, rooted in the art world, aesthetically pluralist no matter how ‘gynocentric’, and surprisingly optimistic no matter how angry (change had to come and therefore must be possible) – to ‘second-generation’ Feminism – theoretical, rooted in the academy, generally anti-pluralist and sceptical of the ‘naive’ enthusiasms of some of their elders (such as goddess cults and guerrilla tactics) and basically pessimistic. (‘Late capitalism’ could be critiqued, but its amorphous power could never be challenged.) Robert Storr, ‘How as Feminism in the Art World Changed’? Frieze, special issue on Feminism, 2007

28. Mary Kelly, Post- Partum Document: Documentation VI: Prewriting Alphabet Exerque & Diary, 1976-1977

29. Mary Kelly Post-Partum Document: Documentation IV: Transitional Objects, 1976

30. Mary Kelly Post-Partum Document: Documentation I Analysed faecal stains and feeding charts (prototype) 1974

31. Barbara Kruger Barbara Kruger, Untitled (Your body is a battleground), 1989

32. Judy Chicago, detail from The Dinner Party

33. Oriana Fox, still from Our Bodies, Ourselves 2003 CARRIE (voiceover): Like every woman consumed with a relationship problem, I needed a project to keep my mind from obsessing and my hands from dialing his number.

35. Rachel Whiteread, Untitled (One Hundred Spaces), 1997

36. Robert Morris cubes installed at Green Gallery, NY 1965 Donald Judd Untitled 1971

37. Martha Rosler Semiotics of the Kitchen 1975 http://www.ubu.com/film/rosler_semiotics.html

38. Vital Statistics New & Improved! Katherine Araniello

39. Martha Rosler Vital Statistics of a Citizen, Simply Obtained 1977 http://www.ubu.com/film/rosler_vital.html

40. Vital Statistics New & Improved! Katherine Araniello

41. Vital Statistics New & Improved! Katherine Araniello

42. Catherine Grant, ‘Reaching for the Moon: Replaying Feminist Art and Activism’: ‘ Fans’ of Feminism: ‘ The fan is a figure which seemed to allow for the passion, humour, aggression and attachment that I find in this contemporary artwork embracing both the ‘fanatical’ (the word fan derives from fanatic) and the dedicatedly scholarly.’

44. I AM a FAN of FEMINISM

45. Barbara Kruger

46. Barbara Kruger Untitled (We Won’t Play Nature to Your Culture 1983

47. Barbara Kruger

48. Oriana Fox

49. Lorna Simpson Guarded Conditions , 1989

50. Annette Messager Mes voeux 1989

51. Untitled Film Stills # 21 , Cindy Sherman, 1978