Feminisim and art

chosen an artist called ((Aminah Robinson)) for this paper!
This is a two-part paper. Please pay attention!

I am not sure how many sources

Required two things: 1)ANNOTATED BIBLIOGRAPHY
2) Topic summary

Here are the instructions, please please please please read them. I don’t want to ask for revisions.
Topic/Preliminary Annotated Bibliography:

Ideas Summary: (1-2) page typed summary (do not exceed this limit) of important ideas and connections relating to your selected artists/exhibition (see below) based on
your research to date. Begin with a general statement about what you hope the paper will show (i.e., a thesis statement). It is understood that this may be modified as
the paper nears completion.

Paper topic instructions: Here are some broad possibilities, but please do not feel
limited to them. Choose any aspect of twentieth century art that interests you.

l. A single artist’s body of work, or one aspect, such as period, theme of her/his work. For example, Cindy Sherman’s film stills or Louise Bourgeois’ late “Cell”
works.

2. A specific work, book, exhibition, etc., its context and, if appropriate, the issues it raises. For example, Marcia Tucker’s Bad Girls or Glessing’s Rrose is a
Rrose is a Rrose: Gender Performance in Photography.

3. Compare and contrast two artists’ treatment of the same theme. For example,
how Dorothea Lange and Walker Evans treat social landscape, or how Lorna Simpson
and Robert Mapplethorpe, the theme of identity.

4. Apply any theoretical approach – Marxism, feminism, structuralism, etc. –to a group of works. For example, a feminist analysis of how the body is constructed in
fashion photographs or how Lorna Simpson’s photographs deconstruct photographic truth.

Formulating a topic involves not merely choosing content, but developing point of view.

l. Focus on the images. Devote at least 50% of your paper to discussing the selected works and their meaning.

2. Contextualize the images. Situate your topic in a historical or biographical context, or
in a theoretical framework.

3. Thesis format. State a thesis in your introduction and pull your discussion together in
a conclusion.

4. Sources: Make certain there are enough resources available on your topic before you
commit to it. Strive to find primary sources, including original prints, correspondence, writing from the period. You must include 6 peer reviewed scholarly journals
and at least TWO print sources (annotated and quoted within the main body of your text).

5. Include images as specified in this handout.

6. Please put your citations at the end of the paper in Bibliography with parenthetical citations in the text.

 

 

HERE YOU CAN FIND SOURCES THAT MAY HELP IF NEEDED:
Brooklyn Museum Feminist Art Research Database Link:
http://www.brooklynmuseum.org/eascfa/feminist_art_base/index.php

http://www.ina.fr/fresques/elles-centrepompidou/Html/PrincipaleAccueil.php

Feminist Art Project, Rutgers University link:
http://feministartproject.rutgers.edu/

http://www.centrepompidou.fr/Pompidou/Manifs.nsf/0/44638F832F0AFABFC12575290030CF0D?OpenDocument&sessionM=2.2.1&L=2

http://www.guerrillagirls.com/

n.paradoxa online feminist publication (over 20 years_archives)
http://www.marthawilson.com/videos.html

http://www.marciatucker.com/

http://www.moma.org/explore/multimedia/audios/76/168

http://www.zaha-hadid.com/

General Reference:

Anderson, Janet. Women in the Fine Arts: A Bibliography and Illustration Guide. Jefferson, N.C.: McFarland, 1991. REF. N8354 .A47 1991

Chiarmonte, Paula L, ed. Women artists in the United States: a selective bibliography and resource guide on the fine and decorative arts, 1750-1986. Boston: G.H. Hall,
1990. REF. N6536 .W65 1990.

Gablik, Suzi, ed. Conversations Before the End of Time. New York: Thames and Hudson, 1995.

Gablik, Suzi. The Renechantment of Art. New York: Thames and Hudson, 1992.

Gaze, Delia, et al., ed. Dictionary of Women Artists. Chicago: Fitzroy Dearborn Publishers, 1997.

Harbach, Barbara and Diane Touliatos-Miles, Eds. Women in the Arts : Eccentric Essays In Music, Visual Arts And Literature. Cambridge Scholars Press, 2010.

Hillstrom, Laurie Collier, and Kevin Hillstrom. Contemporary Women Artists. Detroit: St. James Press, 1999.

Peterson, Karen, and J. J. Wilson, Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth century. New York: Harper & Row, 1976.

Pettys, Chris. Dictionary of Women Artists Born Before 1900. Boston: G.K. Hall, 1985.

For an excellent electronic resource see: http://college.library.wisc.edu/%7Ecarrie/wss/womenart.htm

Other Sources From the Library’s Collection:

Donna G. Bachmann. Women Artists: Bibliography: An Historical, Contemporary, and Feminist Bibliography, Metuchen, N.J: Scarecrow Press, 1978.

Battersby, Christine. Gender and Genius: Towards a New Feminist Aesthetic, Indiana University Press, 1989.

Beckett, Wendy. Contemporary Women Artists, New York: Universe Books, 1988.

Betterton, Rosemary. An Intimate Distance. Women, Artists and the Body. New York: Routledge, 1996.

Blaetz, Robin, ed. Women’s Experimental Cinema : Critical Frameworks. Durham : Duke University Press, 2007.

Brand, Peg Zeglin, ed. 2000. Beauty Matters. Bloomington: Indiana University Press. xv

Broude, Norma, and Mary Garrard, eds. Feminist Art History. Questioning the Litany. New York: Harper and Row/Icon editions, 1982.

*———-. Expanding the Discourse. Feminism and Art History. New York: Harper Collins/Icon Editions, 1992.

*———-. The Power of Feminist Art: The American Movement of the 1970s. History and Impact. New York: Harry Abrams, 1994.

Buszek, Maria Elena. Pin-up Grrrls: Feminism, Sexuality, Popular Culture. Duke University Press, 2006.

Buszek, Maria Elena. Extra/Ordinary: Craft and Contemporary Art. Duke University Press, 2011.

 

Butler, Cornelia, Lisa Gabrielle Mark (Eds). WACK!: Art and the Feminist Revolution
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Caws, Mary Ann. The Surrealist Look. Cambridge, MA, MIT Press, 1997.

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*Deepwell, Katy. Women Artists and Modernism. New York: St. Martins, Press, 1998.

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*Freeland, Cynthia. 2001. But is it Art? Oxford, New York: Oxford University Press. xxi

*Fusco, Coco. The Bodies That Were Not Ours and Other Writings. New York: Rougtledge, 2001.

*Glessing, Jennifer, et al., Rrose is a Rrose is a Rrose: Gender Performance in Photography, New York: Abrams, 1997.

*Guerrilla Girls. Confessions of the Guerrilla Girls. New York: Harper Collins, 1995.

Guerilla Girls. The Guerrilla Girls’ Bedside Companion to the History of Western Art
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Hanley, JoAnn. The First Generation: Women and Video, 1970-75. New York: Independent Curators Inc., 1993.

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*Hart, Lynda, and Peggy Phelan. Acting Out. Feminist Performances. Ann Arbor: University of Michigan Press, 1993.

 

Heartney, Eleanor, Helaine Posner, Nancy Princenthal, Sue Scott.
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Heartney, Eleanor, Helaine Posner, Nancy Princenthal, Sue Scott.
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Hedges, Elaine, and Ingrid Wendt eds. In Her Own Image, Old Westbury, NY: McGraw-Hill, 1980.

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*Isaak, Joanna. Feminism and Contemporary Art. The Power of Revolutionary Power of Women’s Laughter. New York: Routledge, 1996.

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*Jones, Amelia, ed. The Feminism and Visual Culture Reader. New York: Routledge, 2003.

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*Tucker, Marcia et al. Bad Girls. New York: The New Museum of Contemporary Art, 1994.

*———-. Labor of Love. New York: New Museum of Contemporary Art, 1996.

*———-. The Time of our Lives. New York: New Museum of Contemporary Art, 1999.

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