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As of June, 15 of the audio and video collections in the June L. Mazer Lesbian Archives have been digitized and processed. Most of the collections hold between 15 and 40 audiocassette tapes or VHS tapes. The content of the material includes recordings of conferences, workshops, meetings, performances, radio and news broadcasts, interviews, and oral histories concerning topics such as homosexuality, lesbian issues, feminism, racism, discriminations, literature, music, history, and so on.Of particular note is the June L. Mazer and Bunny MacCulloch Interviews Etc collection, which includes interviews with Mazer and MacCulloch concerning the Southern California Women for Understanding (SCWU), the archive, Mazer’s death, and lesbian culture in the San Francisco Bay Area. The audio recordings provide great insight into the life and work of both Mazer and MacCulloch, who were prominent figures in the lesbian community of the West Coast. The women conducted interviews with scholars and other experts on lesbian culture and history and were also the subjects of interviews. The collection includes a recording of the Jewish memorial service that honored the life and work of Mazer after her death in 1987.

Although Ukeles is known for her public and environmental “maintenance art” from the 1970s and 1980s, her focus on religion during this same period is not well known. By focusing on Mikva Dreams and her other mikvah projects, this article contextualizes and makes better visible Ukeles’s contribution to contemporary American art and its feminist discourses.

W 1979 r. amerykańska artystka Judy Chicago wystawiła w San Francisco Museum of Modern Art instalację Dinner Party dedykowaną 1038 kobietom z historii i mitologii świata. Na pracę, którą dziś można oglądać w Brooklyn Museum of Art, złożyły się trzy długie stoły ustawione w trójkąt, na których przygotowano nakrycia dla 39 kobiet oznaczone ich nazwiskami wyhaftowanymi złotymi nićmi. Wśród uhonorowanych znalazły się: Hatszepsut, Safona, św. Brygida z Kildare, Cesarzowa Teodora, Eleonora Akwitańska, Petronilla de Meath, Artemisia Gentileschi, Susan B. Anthony, Emily Dickinson, Virginia Woolf i Georgia O’Keeffe. Dalszych 999 nazwisk wypisano, również złotą farbą, na kafelkowej posadzce. Dzieło od razu wywołało burzliwe reakcje i dysputy nawet w środowiskach feministycznych. Zarzucano mu m.in. słabą reprezentację kobiet spoza kręgu kultury euroamerykańskiej. Najwięcej negatywnych reakcji wywołały jednak wzory na talerzach niedwuznacznie kojarzące się z żeńskimi organami płciowymi. Dziś jednak Dinner Party uchodzi za jedną z najważniejszych i najwcześniejszych (przynajmniej na tę skalę) manifestacji feminizmu w sztuce. Cały proces powstawania instalacji udokumentowała w filmie Johanna Demetrakas, dając świadectwo nie tylko wielkiego wkładu zespołu współpracowników Judy Chicago w skończone dzieło, ale także rodzenia się feministycznej świadomości w grupie.

One of the most exciting and unexpected objects in the 2014 Tate Britain exhibition Kenneth Clark: Looking for Civilization was a prototype plate by Vanessa Bell and Duncan Grant for a dinner service commissioned by Clark in 1932. The completed set of 50 plates, which feature portraits of “famous women” throughout history, survived wartime bombing and several moves of house by the Clark family, but for the past 30 years its whereabouts had been unknown to art historians. In spring 2017, prompted by the Vanessa Bell monographic exhibition at Dulwich Picture Gallery, the owner of the dinner service contacted Piano Nobile art gallery. It soon emerged that not only was the set intact, but that the plates themselves, hand-painted on Wedgwood blanks, have been preserved in their original condition. This Look First feature offers the first opportunity for close scholarly examination of a culturally and visually potent art object. The feature uses photography, archival materials, and film to explore the process of creating the set and its place in the history of art. The present article includes a catalogue with biographical entries for each of the women featured in the set, together with source images and preparatory materials. The article text establishes where this playful, yet ground-breaking work fits within the artists’ oeuvres, and within a feminist history of art. Further materials expanding the feature’s reach, including a filmed discussion with the artist Judy Chicago, will be released in early 2018.

This conversation between Judy Chicago, The Women’s Art League, and Hana Leaper, filmed by Jonathan Law at the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, will be published in early 2018. The participants will discuss the Famous Women Dinner Service in relation to contemporary artworks, focusing on The Dinner Party (Judy Chicago, 1974–79) and Vagina China (The Women’s Art League, 2016–present). Questions explored will include: the role of hospitality and domesticity in feminist art projects; the evolution of iconography as it relates to aesthetic freedom and the visibility of women and their bodies; the strategies of shared authorship and collective practice; and what each of the artworks discussed offers their respective eras in terms of confronting taboos associated with women and their histories.

North American feminist artists working in the 1970s produced a corpus of visual culture that can be characterised as neo-Victorian, but has yet to be analysed as such. This article will analyse how performative role-playing, appropriation of Victoriana, experimentation with modes of 'women's work', and archival research presented opportunities for these artists to materialise Victorian gender norms while examining them through a feminist lens and forging links with their first wave feminist foremothers for political and aesthetic purposes. Finally, this article will consider the theoretical implications of this imperative to create a 'documentary trace' of the Victorian past, especially in relation to trauma studies. [ABSTRACT FROM AUTHOR]

Se trata de ofrecer una panorámica del impacto de las teorías feministas postmodernas sobre la producción artística. A partir de un profundo cuestionamiento de la validez de paradigma androcéntrico que permea la cultura occidental, no pocas mujeres artistas (JudyChicago, Sophie Calle o Annette Messager) se proponen crear un nuevo lenguaje estético que dé testimonio de las experiencias femeninas. Además, de entre los diferentes discursosde ruptura con la discursividad masculina, centramos nuestro interés en la propuesta de Judith Butler en torno a la fuerza performativa de lo queer.