This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream.
New York, Bern, Berlin, Bruxelles, Frankfurt/M., Oxford, Wien, 2001. XV, 267 pp., 26 ill.
Contents: Wendy Oliver: Disappearing Act: Yvonne Rainer, Trio A, and the Feminist Dilemma (1966) – Annie Perkins: The
Poetry of Gwendolyn Brooks (1970s-80s) – William Osborne: Sounding the Abyss of Otherness: Pauline Oliveros’ Deep Listening
and the Sonic Meditations (1971) – Deborah Johnson:The Secularization of the Sacred: Judy Chicago’s Dinner Party
and Feminist Spirituality (1975-79) – Maura Reilly: Cindy Sherman’s Untitled Film Stills: Reproductive or Transgressive
Mimicry? (1977-81) – Loretta Lorance: Zaha Hadid: The Peak Club Competition and the Politics of Architecture (1982)
– Susan McClary: This Is Not a Story My People Tell: Musical time and Space According to Laurie Anderson (1984) – Phillipa
Kafka: Erecting a Statue of an Unknown Goddess in Amy Tan’s The Kitchen God’s Wife (1991) – Denise Bauer: Jane Campion’s
The Piano: A Feminist Tale of Resistance (1993) – Sarah Lansdale Stevenson: Yielding to Multiplicity: The Kaleidoscopic
Subject of Paula Vogel’s How I Learned to Drive (1997).