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Affective experiences are relational, circulating between bodies and matter, charging particular environments with lingering emotional resonance. Reflecting on an affective encounter I experienced with a feminist mentor in a space called the Judy Chicago office, which manifested in tears, my inquiry explores how pedagogical environments might come to embody a feminist ethics foregrounded in feltness and care. I conceptualize the co-creation of feminist pedagogical spaces as practices of feminist worlding. Additionally, I share insights emerging from participatory inquiry incorporating augmented reality (AR), Wo/Manhouse Stories: Womanhouse 1972 to Wo/Manhouse 2022. I discuss how the approaches set into motion through the participatory inquiry foster care-centered feminist worlding practices, which are necessary to disrupt the circulation of dominant patriarchal norms in neoliberal institutional spaces. [ABSTRACT FROM AUTHOR]

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.

In the context of retrospective exhibitions, feminist restaging signifies a performative 'redoing' in a circuit of repetition that re-envisions, reinvents and remakes the discriminatory absences in history. In this article, the activism of restaging will be explored through the curatorial methods employed to memorialize Ana Mendieta's artistic legacy. Feminist strategies differ from the norms of canonical practices used in traditional career retrospectives, such as those for Mendieta's husband, Carl Andre. In another example of restaging, the 2011 re-presentation of Judy Chicago's works in Setting the Table created the opportunity to exhibit simultaneously Margarita Cabrera's sewing project in collaboration with Mexican artists. Restaging inaugurates the past and present of feminist collectivities, establishing a transnational activist model for repeat exhibitions. [ABSTRACT FROM AUTHOR]

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.

This article discusses the work of four emerging American artists that use identity, role-playing and masquerade to further develop second wave feminist debates around gender politics and to situate their practice within a trajectory of activist practice. Narcissister, Audrey Chan, Kalup Linzy and Martín Gutierrez recount personal stories of migration and assimilation into American culture in work that intersects a feminist tradition rooted in debates around the body and gender identification. The article attempts to form an understanding of what these emerging practitioners have gleaned from earlier generations of feminist artists, in particular the so-called second wave of the 1970s as well as how this legacy, often overlooked in favour of a traditional pedagogical canon or institutional lassitude, continues to intersect with current practices. It also asks what a founding generation of feminist artists might learn, through intergenerational dialogue, from a new era of artists that engage with questions around the construction of history, gender and performance. [ABSTRACT FROM PUBLISHER]

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

In the 1960s, artists in Southern California created objects inscribed in the critical literature as vanguard for the incorporation of technologically advanced materials. Billy Al Bengston, Craig Kauffman, Helen Pashgian, Dewain Valentine, Judy Chicago, and others employed resins, vacuum formed plastic, and commercial automotive paint in predominantly abstract, iconic works of the period. Artists' use of the new media resonated with Los Angeles' presence as a "city of the future" dominated by the aerospace industry and a freeway culture that afforded the height of mobility through the automobile. However, the context of artistic production in Los Angeles in the 1960s was informed by a much more complex dialogue concerning materials overlooked in most analyses of the period. Starting in the late 1950s and continuing through the 1960s, artists associated with California's assemblage movement, most notably Edward Kienholz, employed the rejected material of society, the out-of-date, the broken, and the used, to create highly representational tableaux critiquing notions of progress in the development of postwar America. This article argues that far from incompatible or polarizing, in Southern California from the late 1950s through the 1960s, the use of "old" and "new" materials provided artists an essential context for producing objects that explored a central problem in American art of the late 20th Century: the fetishization of new media in a culture of planned obsolescence. [ABSTRACT FROM AUTHOR]

A survey of the illustrations in textbooks of modern art produces the startling finding that art scholars consider Robert Smithson's Spiral Jetty to be the most important individual work made by an American artist during the past 150 years. More generally, quantifying the evidence of the textbooks reveals the source of the pluralism, or stylistic incoherence, of American art since the late 1960s. A persistently high demand for artistic innovation has produced a regime in which conceptual approaches have predominated. The art world has consequently been flooded by a series of new ideas, often embodied in individual works, usually made by young artists who have failed to make more than one significant contribution in their careers. The monumental Spiral Jetty, made in 1970 by a young artist who was killed soon thereafter while in the process of making his art, brought together a remarkable number of the central themes of the advanced art of the time and has become a symbol for that art. [ABSTRACT FROM AUTHOR]

One important legacy of the 1970s' feminist movement is feminist art, an approach to making art closely identified with one of its founders, Judy Chicago. In a wide-ranging interview, Chicago discusses the aims of feminist art practice from her perspective, its worldwide impact on younger generations of women artists, and its relationship to the current gay- and lesbian-identified art movement. Chicago also describes the expansion over the years of her feminist social critique to include issues of race, class, and sexual orientation; the impact of her Jewish background on her art and feminism; the reaction of the art world to her work as a feminist artist; and the relevance of her friend and mentor, Anaïs Nin, to feminism. The introduction and postscript to the interview explore the influence of images and symbols on human social life in general and how feminist art like that produced by Chicago challenges the tendency of patriarchal society to engage in wars and other forms of destructive behavior promoted through symbols and images that celebrate male sexual potency. [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.