Feminist art - Knowledge

2904: 2165: 2535:(1974), Abramovic pushes not only her limits but her audience's limits as well, by presenting the public with 72 different objects ranging from feathers and perfume to a rifle and a bullet. Her instructions are simple; She is the object and the audience may do whatever they want with her body for the next six hours. Her audience has complete control while she lays motionless. Eventually, they become wilder and begin violating her body – at one point a man threatens her with a rifle – yet when the piece ends the audience gets into a frenzy and run away in fear as if they cannot come to terms with what just happened. In this emotional performance piece, Abramovic depicts the powerful message of the objectification of the female body while at the same time unravelling the complexity of human nature. 2781: 2422:, performance art began to gain popularity in feminist artwork as a form of critical analysis on societal values on gender. In this work, Yoko Ono is seen kneeling on the ground with a pair of scissors in front of her. One by one, she invited the audience to cut a piece of her clothing off until she was eventually left kneeling in the tattered remains of her clothing and her underwear. This intimate relationship created between the subject (Ono) and the audience addressed the notion of gender in the sense that Ono has become the sexual object. By remaining motionless as more and more pieces of her clothing are cut away, she reveals a woman's social standing where she is regarded as an object as the audience escalates to the point where her bra is being cut away. 2949: 2440:(1979), widely regarded as the first epic feminist artwork, emphasizes this idea of newfound female empowerment through the use of turning a dinner table – an association to the traditional female role – into an equilateral triangle. Each side has an equal number of plate settings dedicated to a specific woman in history. Each plate contains a dish. This served as a way of breaking the idea of women being subjugated by society. Looking at the historical context, the 1960s and 1970s served as a prominent era where women began to celebrate new forms of freedom. More women joining the workforce, legalization of birth control, fight towards equal pay, civil rights, and the 2698:

in museums and gained a fair amount of publicity for her work. Dater displayed art that focused on women challenging stereotypical gender roles, such as the expected way women would dress or pose for a photograph. To see a woman dressed in men's clothing was rare and made the statement of supporting the feminist movement, and many people knew of Dater's passionate belief of equal rights. Dater also photographed nude women, which was intended to show women's bodies as strong, powerful, and as a celebration. The photographs grabbed the viewers attention because of the unusualness and never-before-seen images that do not necessarily fit into society.

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color and material as the metal pan completely takes away the pan's functionality, and – in a metaphorical sense – its association with women. The protrusions remove the item's gender by not only removing its function of being a metal pan women would use in the kitchen, but by also making it ugly. Before this era, common female work consisted of pretty and decorative things like landscapes and quilts, Christa Dowling attempts to explain this theory by stating arguing that 'women are more sensitive by nature than man...'. Whereas more contemporary artwork by women was becoming bold or even rebellious, for example

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and self-critical response". The feminist spark from the 1960s and 1970s helped to carve a path for the activist and identity art of the 1980s. In fact, The meaning of feminist art evolved so quickly that by 1980 Lucy Lippard curated a show where "all the participants exhibited work that belonged to 'the full panorama of social-change art,' though in a variety of ways that undercut any sense that 'feminism' meant either a single political message or a single kind of artwork. This openness was a key element to the future creative social development of feminism as a political and cultural intervention."

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women and domesticity, with traditionally women serving the home, Chicago is playing with gender roles. The way this piece is being presented evokes ideas of an altar, and brings on themes of sacrifice. In addition, there is no one seat that is at the center, and many people have said the idea of 13 on each side is very similar to the Last Supper, because there is Christ at the center with his 12 apostles. But in this case, there is no central figure. She is playing on the idea of the Last Supper, which is a male-dominated image and space.

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discontent, and equality would enable them to obtain jobs equal to men and gain rights and agency to their own bodies. Art was a form of media that was used to get the message across; this was their platform. Feminist art supports this claim because the art began to challenge previously conceived notions of the roles of women. The message of gender equality in feminist artworks resonates with the viewers because the challenging of the social norms made people question, should it be socially acceptable for women to wear men's clothing?

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Some women responded negatively to the idea that women are not just female genitalia, that they are more than that. But Judy Chicago and other artists that saw this as the symbol of women's life-giving abilities, the idea that this is a symbol of femininity, this is kind of the ultimate symbol of femininity. And so that is why she chose it for this particular series. It was made by many people, she was very good at getting lots of individuals together to work on large projects. And this includes painted porcelain needlework.

2930: 2751:. In this regard, it becomes an image of beauty, but it also becomes an image of vanity because the goddess sees her beauty in the mirror. This representation becomes inverted and an example of male vanity. This portrayal is not an accidental choice at all. She is reflecting this same objectification onto men to highlight the biased way we objectify women. It shows the arbitrary way we view women's bodies, yet these bodies are in the same pose. Her paintings are beautiful and sincerely respectful of the male figure. 105: 2861: 2669:?” Nochlin chaired the College Art Association session in 1972 entitled “Eroticism and the Image of Women in Nineteenth Century”, a great space where feminist language and thinking influenced concepts of art history. The session discussed the ways in which “raw sexism in the creation and use of female imagery was so memorably exposed,” which called for the need of decolonization within art history with regards to systemic beliefs and practices regarding the image of women or a woman. 2588:. In this work, we see a marble bust of a woman turned to its side. The lighting is harsh, creating sharp edges and shadows to emphasize the words "your gaze hits the side of my face" written in bold letters of black red and white down the left side of the work. In that one sentence, Kruger is able to communicate her protest on gender, society, and culture through language designed in a way that can be associated with a contemporary magazine, thus capturing the viewer's attention. 5744: 2450:

body. As a result, women were forced to focus their attention to the less professionally acclaimed "decorative" art. With the 1970s, however, the fight towards equality extended to the arts. Eventually, more and more women began to enroll in art academies. For most of these artists, the goal was not to paint like the traditional male masters, but instead to learn their techniques and manipulate them in a way that challenged traditional views of women.

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Some 400 women and a few men–all selected to represent a cross-section of ages, backgrounds, and perspectives–gathered on the stoops along Park Place, a residential block in Brooklyn, where they engaged in unscripted conversations about a variety of issues related to gender politics today. Thousands of members of the public came out to wander among the groups, listen to what they were saying, and form their own opinions.

2495:, was examining the historic 19th and early 20th-century academic document photos of nude model-settings in the academy's library. She rephotographed them and exhibited the photos as her own work. Later that year she projected the images of nude-model-settings, to her own naked body, photographed them and made performances titled NudeModel in which she exhibited herself as a woman artist drawing a female nude model. 36: 2718: 2809:, where there are no signs of tan lines or body hair. Thus, there is a certain realism here that Sylvia Sleigh is engaging with. It is an obvious subversion of the traditional way women are objectified, but she is not necessarily objectifying these men. These were men who inspired her; she is celebrating these men and their culture of the Turkish bath while referencing images of the past. 2805:, an art curator and critic in the foreground, gazing at her in this traditional female supine nude pose. He reclines and looks towards her. She also included other male figures who were her close friends and intellectually inspired her. There is also a strong naturalism in this painting. She is not shying away from tan lines and body hair the same way that we often see in 2665:

to sexism, women artists used many different art styles to make themselves known and express their worth. A couple of these different outlets include crafts, paintings and even performing arts. Over fifty years ago, “the first feminist challenge was levied at the history of art with the publication in 1971 of Linda Nochlin’s essay

2518:, she is depicted naked with a short haircut, sunglasses, and a dildo positioned in her pubic region. Some saw this radical photo as "vulgar" and "disturbing". Others, however, saw an expression of the uneven balance between the genders in the sense that her photo was critiqued more harshly than a male counterpart, 2409:. To put it simply, this rebellion against the socially constructed ideology of a woman's role in art sparked the birth of a new standard of the female subject. Where once the female body was seen as an object for the male gaze, it then became regarded as a weapon against socially constructed ideologies of gender. 2697:

The magazine and the rise of feminism occurred during the same time feminist artists became more popular, and an example of a feminist artist is Judy Dater. Starting her artistic career in San Francisco, a cultural hub of different kinds of art and creative works, Dater displayed feminist photographs

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Although feminist art is fundamentally any field that strives towards equality among the genders, it is not static. It is a constantly changing project that "is itself constantly shaped and remodeled in relation to the living processes of women's struggles". It is not a platform but rather a "dynamic

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At this time, there was a large focus on rebelling against the "traditional woman". With this came the backlash of both men and women who felt their tradition was being threatened. To go from showing women as glamorous icons to showing the disturbing silhouettes of women (an artistic demonstration of

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There are 13 elaborate place settings on each side, making up 39 place settings. Also included are the names of 999 women inscribed on the heritage tile floor at the center. Each of these women are influential and important figures in the world. The idea of the dinner party relates to the history of

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In the 1970s, society started to become open to change and people started to realize that there was a problem with the stereotypes of each gender. Feminist art became a popular way of addressing the social concerns of feminism that surfaced in the late 1960s to 1970s. In order to try and put and end

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who devoted their time to fighting sexism and racism in the art world through the use of protest, posters, artwork and public speaking. Unlike the feminist art prior to the 1980s, the Guerrilla Girls introduced a bolder more in-your-face identity and both captured attention and exposed sexism. Their

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of the late 1960s and 1970s. Feminist art highlights the societal and political differences women experience in their lives. The goal of this art form is to bring a positive and understanding change to the world, leading to equality or liberation. Media used range from traditional art forms, such as

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Judy Chicago was very interested in the idea of flower symbolism and also a kind of female genitalia as a symbol representing the woman. So if one looks at these individual plates, not always but very frequently, they seem to allude to the idea of a flower and also symbolically to female genitalia.

2835:, one sees she is exploring this particular pose with her arms raised making her connect with the earth and the heavens and associates that with the female role. This piece, like most of Mendieta's work, is phenomenal land art where she is part of the earth by bringing a mother goddess to the form. 2449:

Traditionally, being able to expertly capture the nude on canvas or in a sculpture reflected a high level of achievement in the arts. In order to reach that level, access to nude models was required. While male artists were given this privilege, it was considered improper for a woman to see a naked

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It was a big project that involved many women who assisted her and men. This artwork is very large–measuring 48 feet on each side–and for a long time, it had no place to go, so it was put on as a temporary exhibit in a number of museums, and then it was going to be put into a university, but there

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in New York opened a gallery that claimed to exhibit the most-renowned works of contemporary art of the time. Of the 169 artists chosen, only 13 were women. As a result of this, an anonymous group of women investigated the most influential museums of art only to find out that they barely exhibited

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Before the 1960s, the majority of woman-made artwork did not portray feminist content that it either addressed or criticized the unique conditions faced by women. Women were more often the subject of art, rather than the artist. In the early 20th century, works that flaunted female sexuality – the

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On Saturday, October 19, 2013, Creative Time and the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum presented Between the Door and the Street, a major work by the internationally celebrated artist Suzanne Lacy, perhaps the most important socially-engaged artist working today.

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Mendieta was originally from Cuba and lived her life in exile. She used her body in her performative works and she would often recreate crime, rape and assault scenes to comment on domestic and sexual assault. On September 8, 1985, she was said to have fallen out of the window. However, there are

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The Turkish bath was the subject explored by the French painter Ingres, and one can see this circular work where women are in a variety of poses and it is this composite imagined image of women bathing. Their bodies are intertwined while listening to music, lack agency within the composition, and

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takes an object associated with women's work – in this case, a metal pan – and completely covers it with bulbous lumps of the same material. This is an early feminist example of female artists finding ways to break from the traditional role of women in society. Having the lumps made from the same

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was the first national magazine to make feminist voices prominent, make feminist ideas and beliefs available to the public, and support the works of feminist artists. Like the art world, the magazine used the media to spread the messages of feminism and draw attention to the lack of total gender

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was used in one of their posters where the female nude portrayed was given a gorilla mask. Beside it was written "Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female". By taking a famous work and

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ideas criticizing social values began to appear in which the mainstream ideology that had come to be accepted was denounced as not being neutral. It was also suggested, that the art world as a whole had managed to institutionalize within itself the notion of sexism. During this time there was a

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In order to gain recognition, many female artists struggled to "de-gender" their work in order to compete in a dominantly male art world. If a work did not "look" like it was made by a woman, then the stigma associated with women would not cling to the work itself, thus giving the work its own

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argued in 1980 that feminist art was "neither a style nor a movement but instead a value system, a revolutionary strategy, a way of life." This quote supports that feminist art affected all aspects of life. The women of the nation were determined to have their voices heard above the din of

2903: 2284:, or our empty internal spaces, but in our institutions and our education." Historically, women were thrust into caregiving roles, so most women could not devote time to creating art. In addition, women were rarely allowed entry into schools of art and almost never allowed into live 2546:. After Deming's death in 1984, the organization was renamed as The Barbara Deming Memorial Fund. Today, the foundation is the "oldest ongoing feminist granting agency" which "gives encouragement and grants to individual feminists in the arts (writers, and visual artists)". 3156: 2487:, Wilke used herself as the subject. She portrayed herself topless with various pieces of chewed gum in the shape of vulvas arranged throughout her body, metaphorically demonstrating how women in society are chewed up and then spit out. In 1975 in Hungary, Budapest 2747:. The male in Sleigh's painting holds the same reclining pose with his arm up as he regards himself and his beauty in a mirror. Additionally, just as Velasquez would often paint himself in the background of his paintings, Sleigh painted herself in the mirror of 2468:, with the heads of notable women artists collaged over the heads of Christ and his apostles. This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the 2677:

equality in society. The co-founder of the magazine, Gloria Steinem, coined the famous quote, "A woman needs a man like a fish needs a bicycle", which demonstrates the power of independent women; this slogan was frequently used by activists.

2948: 2522:, who posed shirtless with chains around his neck as a sign of submission. At this time, the depiction of a dominant woman was highly criticized and in some cases, any female art depicting sexuality was perceived as pornographic. 2713:

Sylvia Sleigh deals with this trope of challenging, gendered spaces, specifically dealing with gendered art in art history. She was a traditional painter, who painted with oil paint on canvas, she idealized the male nude.

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stated in 1980 that feminist art was, "neither a style nor a movement but instead a value system, a revolutionary strategy, a way of life." Emerging at the end of the 1960s, the feminist art movement was inspired by

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made in the 1970s. This mixed media work uses a variety of materials including gold chalices and utensils, embroidered runners and china-painted porcelain plates that is all made up like a dinner party.

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During the 1970s, feminist art continued to provide a means of challenging women's position in the social hierarchy. The aim was for women to reach a state of equilibrium with their male counterparts.

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took a self-portrait depicting her body in such a light. It showed the artist's ageing body and all her flaws in an attempt to portray herself as a human being rather than an idealized sex symbol.

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being a prime example – began to be produced. By the late 1960s, there was a plethora of feminine artwork that broke away from the tradition of depicting women in an exclusively

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and women identified and attempted to fix inequity. Artists used their artwork, protests, collectives, and women's art registries to shed light on inequities in the art-world.

2612:. Building on earlier examples of feminist art that had incorporated technologies such as video and digital photography, feminist artists in the 1990s experimented with 295: 5783: 2311:

Feminist art often contains personal and political elements that are unique to each individual. There have been erroneous theories on the nature of feminist art.

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were government officials that objected to it because they saw it as pornography. Eventually, however, it was put on display in a Center for Feminist Art at the

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for fear of impropriety. Women who were artists were likely either wealthy women with leisure time who were trained by their fathers or uncles and produced

6032: 4161: 217: 2648:(1999), combined performance art with streaming video, live chat, and a website to interrogate gender, colonialism, and online consumerism. Works such as 5776: 2347:

spread throughout the world, leading to gradual changes in feminist art. The slow and gradual change in feminist art started gaining momentum in 1960s.

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The first wave of feminist art was established in the mid-19th century. After women gained suffrage in the United States in the early 1920s, a wave of

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used subjugation as a form of exposing the position of women in a society that horrified rather than disturbed the audience. In her performance work

5289: 1652: 2244:. Feminist art has served as an innovative driving force toward expanding the definition of art by incorporating new media and a new perspective. 3493: 5044: 3553: 3439: 1483: 2640:(1996), utilized hypertext and digital images to create a non-linear narrative experience about gender, war, and trauma. Other works, such as 4750: 4166: 1031: 6048: 5870: 2917: 2272: 5848: 2475:

Photography became a common medium used by feminist artists. It was used, in many ways, to show the "real" woman. For instance, in 1979

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founded The Money for Women Fund to support the work of feminist artists. Deming helped administer the Fund, with support from artist

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remodelling it to remove its intended purpose for the male gaze, the female nude is seen as something other than a desirable object.

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also used photography as her way of expressing a non-traditional representation of the female body. In her 1974 collection called

5936: 5266: 2656:(1997) used virtual reality media such as 3D modeling and VRML to satirize the commodification of the body in digital culture. 1461: 144: 3666:

Confessions of the Guerrilla Girls / by the Guerrilla Girls (whoever They Really Are) ; with an Essay by Whitney Chadwick

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perhaps subjugates the ethics of Black feminism while challenging cultural concepts regarding the imago Dei of Black women.

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Rozsika Parker and Griselda Pollock, Framing Feminism: Art and the Women's Movement 1970-85 (New York Pandora Press 1987).

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posters aim to strip the role that women played in the art world prior to the feminist movement. In one case, the painting

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and that is where it lives today. This piece is a great way to learn about these different female figures.

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Throughout the 1970s and ’80s, Ana Mendieta brought an intimate, distinctly feminist approach to land art.

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About 100 years later, Sylvia Sleigh, is playing on that idea. In the foreground, we see her husband

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represents feminist art and political communication of Black feminist and political advocacy of Dr.

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rebirth of various media that had been placed at the bottom of the aesthetic hierarchy by

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and Linda Theung, "Selected Chronology of All-Women Group Exhibitions, 1943-1983," in

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The creation and publication of the first feminist magazine were published in 1972.

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The critique of the male gaze and the objectification of women can also be seen in

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Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge

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The Power of Feminist Art The American Movement of the 1970s: History and Impact

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and coding, interactive art, and streaming media. Artist and feminist theorist

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work or became one of many assistants to other male artists. Examples include

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Feminism and Contemporary Art: The revolutionary power of women's laughter

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Unlike Benglis' depiction of dominance to expose inequality in gender,

2289: 2237: 1389: 1374: 1068: 6416: 6161: 5024: 4618: 3572: 2795: 2621: 2418: 2241: 2189: 1369: 1364: 442: 69: 2192:

understand feminist leadership and advocacy within the 20th century.

2180: 6196: 5069: 4862: 4730: 4473: 4003: 3886:

Heartney, E., Posner, H., Princenthal, N., & Scott, S. (2013).

3711:, ed. Claudia Reiche and Verena Kuni (Brooklyn: Autonomeida, 2004). 3247: 2531: 2413: 2406: 2297: 2267: 2233: 1143: 1011: 574: 96: 6267: 6065: 4236: 3639:

Generations and Geographies in the Visual Arts: Feminist Readings

3525:"Body Horror." An Intimate Distance: Women, Artists, and the Body 3380:"Women, Art, and Ideology: Questions for Feminist Art Historians" 2609: 2596:

These are other works of the 1990s have been discussed alongside

2499:

the 'imprint' left behind by the victims of rape) in the case of

805: 3919:

Generations and Geographies in the Visual Arts: Feminist Reading

2828:

still speculations that her husband pushed her out the window.

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Carnal Aesthetics: transgressive imagery and feminist politics

3264:"The Other Art History: The Non-Western Women of Feminist Art" 2717: 2380:– part of a larger collection of works she referred to as the 3888:

After the revolution: women who transformed contemporary art

3972: 3959:. Los Angeles: The Museum of Contemporary Art, 2007. Print. 3860: 3100: 2280:

wrote, "The fault lies not in our stars, our hormones, our

3735:

Matrixial Subjectivity, Aesthetics, Ethics Vol I 1990-2000

3594: 2491:

under her birth name Drozdik Orsolya as a student at the

2216: 3830: 3828: 3826: 3724:(Essais from 1994-1999) (Univ. of Minnesota Press, 2006) 2510:'s work focused on a serious issue, other artists, like 3759:

See chapter on Bindigirl in Mark Tribe and Reena Jana,

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installation and performance space, 1972, organized by

3250:

Framing Feminism: Art and the Women's Movement 1970-85

3175:"Challenge Accepted: Can You Name Five Women Artists?" 2942:

poster, 1973. Photo provided by Sheila de Bretteville.

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Heresies: A Feminist Publication on Art and Politics

4086:

Timeline of women's legal rights (other than voting)

3566: 2680: 3292:Mark, Lisa Gabrielle; Butler, Cornelia H. (2007). 2262:Art historians have noted that there is no female 3893:Bettina Papenberg, Marta Zarzycka (eds.) (2017). 3750:(New York: Thames & Hudson, 2003), pp. 113ff. 3402: 3101:Cheris Kramarae; Dale Spender (1 December 2000). 3094: 6446: 3799:Feminism and art history: questioning the litany 3617:"Quickhit: Calling all Feminist Fiction Writers" 3595:"Barbara Deming Memorial Fund, Inc. : Home" 3461: 3077:"Feminist Art Movement, Artists and Major Works" 2458:Some Living American Women Artists / Last Supper 2200:The emergence of digital graphic art created by 3774:"Bodies© INCorporated | Net Art Anthology" 3681:New Feminist Art Criticism: Critical Strategies 3537: 3486: 3411:Gender and Genius: Towards a Feminist Aesthetic 27:Art that reflects women's lives and experiences 3797:Broude, Norma; Garrard, Mary D., eds. (1982). 6283: 5784: 3988: 3796: 3452: 2769:(1973), is a gender-reversed version of 2563:women's art. With that came the birth of the 2224:painting, to more unorthodox methods such as 2145: 5871:Elizabeth A. Sackler Center for Feminist Art 3653:The New Art History: A Critical Introduction 3294:Wack ! art and the feminist revolution 3248:Rozsika Parker and Griselda Pollock (1987). 2918:Elizabeth A. Sackler Center for Feminist Art 2384:. As with other works from that collection, 6049:Why Have There Been No Great Women Artists? 5849:New York School of Applied Design for Women 3872:. New York: Harry N. Abrams Publishers Inc. 3161:Why Have There Been No Great Women Artists? 2328:. By critiquing institutions that promoted 43:It has been suggested that this article be 6290: 6276: 5800:Feminist art movement in the United States 5791: 5777: 4751:African-American women's suffrage movement 3995: 3981: 3683:. Manchester: Manchester University Press. 3552:: CS1 maint: location missing publisher ( 3538:Butler, Cornelia; Gabrielle, Lisa (2007). 3438:: CS1 maint: location missing publisher ( 3423: 3291: 3000:Feminist art movement in the United States 2794:objectify the female form. Therefore, the 2692: 2667:Why Have There Been No Great Women Artists 2273:Why Have There Been No Great Women Artists 2258:Feminist art movement in the United States 2152: 2138: 1032:African-American women's suffrage movement 3614: 3522: 3408: 3296:Los Angeles: Museum of contemporary art. 2659: 5837:American Association of University Women 4696:Discrimination against transgender women 3940:Madame & Eve. Women Portraying Women 3776:. Anthology.rhizome.org. 27 October 2016 3678: 3453:Hein, Hilde; Korsmeyer, Carolyn (1993). 3243: 3241: 3202:"Feminism art and political imagination" 3121: 3107:. Taylor & Francis. pp. 92–93. 2864: 2859: 2779: 2716: 2195: 2179: 2163: 977:Discrimination against transgender women 68: 3636: 3374: 3154: 2789:(1862) by Jean-Auguste-Dominique Ingres 14: 6447: 3957:Wack!: Art and the Feminist Revolution 3540:WACK!: Art and the Feminist Revolution 3199: 2600:and cyberfeminist collectives such as 6271: 5996:WACK! Art and the Feminist Revolution 5843:National Association of Women Artists 5772: 5045:Post-structuralist discourse analysis 4311:Gender-critical or trans-exclusionary 3976: 3879:WACK! Art and the Feminist Revolution 3792: 3790: 3693: 3238: 5937:The Women's Building (San Francisco) 5896:National Museum of Women in the Arts 3473:The Frost Art Museum Drawing Project 3179:National Museum of Women in the Arts 3150: 3148: 3146: 2485:S.O.S - Stratification Object Series 29: 3801:. Routledge, Taylor & Francis. 3615:Dusenbery, Maya (6 December 2010). 3424:Newman, Michael; Bird, Jon (1999). 2638:My Boyfriend Came Back From The War 2184:Images of Feminist leaders such as 24: 6297: 5927:Women's Art Resources of Minnesota 3854: 3787: 3668:. New York: HarperPerennial. 1995. 3455:Aesthetics in Feminist Perspective 3218:10.1111/j.1527-2001.2003.tb01418.x 2586:Your gaze Hits the side of my face 25: 6491: 6259:Feminist movements and ideologies 3498:Clara - Database of Women Artists 3143: 2741:did in his famous nude painting, 2681:Effect of feminist art on society 5752: 5743: 5742: 5730: 5290:Democratic Republic of the Congo 4706:Diversity, equity, and inclusion 3969:. Ghent: Mer. Papers Kunsthalle. 3905:Visual Politics of Pychoanalysis 2947: 2928: 2914:Between the Door and the Street, 2902: 2121: 1653:Democratic Republic of the Congo 987:Diversity, equity, and inclusion 103: 34: 5901:New York Feminist Art Institute 3837: 3766: 3753: 3740: 3727: 3714: 3702: 3687: 3672: 3658: 3645: 3630: 3608: 3587: 3560: 3531: 3516: 3446: 3417: 3368: 3350: 3336: 3310: 3048: 2396:Towards the end of the decade, 6248:Women in the art history field 5932:Woman's Building (Los Angeles) 3285: 3256: 3193: 3167: 3069: 2493:Hungarian Academy of Fine Arts 2085:Women's suffrage organizations 13: 1: 5916:Washington Women's Art Center 3709:Cyberfeminism: Next Protocols 3409:Battersby, Christine (1989). 3200:Mullin, Amy (November 2003). 3062: 2771:Jean Auguste Dominique Ingres 2574:Jean-Auguste-Dominique Ingres 5956:Exhibitions or installations 5652:Suffragists and suffragettes 4002: 3567:Barbara Deming; Mary Meigs. 3523:Betterton, Rosemary (1996). 2916:2013, Creative Time and the 2737:takes on the same form that 2070:Suffragists and suffragettes 2000:American feminist literature 60:Proposed since January 2024. 7: 6081:Women Artists in Revolution 5921:Women Artists in Revolution 3921:. London and NY: Routledge 3015:Women Artists of Bangladesh 2977: 2168:Black male feminist artist 1310:Views on transgender topics 1300:Views on sexual orientation 10: 6496: 3967:Women's Work is Never Done 3737:(Pelgrave Macmillan, 2020) 3637:Pollock, Griselda (1996). 3457:. Bloomington: Indiana UP. 3413:. Indiana UP: Bloomington. 3252:. New York: Pandora Press. 3131:. The Art Story Foundation 2895: 2628:developed the idea of the 2251: 2247: 6389: 6339: 6303: 6256: 6235: 6099: 6058: 6024: 6006: 5955: 5858: 5829: 5806: 5724: 5664: 5603: 5596: 5275: 4980: 4726:Female genital mutilation 4664: 4597: 4494: 4214: 4203: 4130:Majority-Muslim countries 4095: 4062: 4019: 4010: 3917:Griselda Pollock (1996). 3722:The Matrixial Borderspace 3384:Women's Studies Quarterly 3234:– via ResearchGate. 2775:painting of the same name 2101:Women's rights by country 1007:Female genital mutilation 6243:List of feminist artists 6041:The Feminist Art Journal 5699:Women's studies journals 5657:Women's rights activists 4206:Movements and ideologies 3679:Deepwell, Kathy (1995). 3041: 3005:List of feminist artists 2591: 2549: 2425: 2350: 2106:Feminists by nationality 2080:Women's studies journals 2075:Women's rights activists 793:Movements and ideologies 5947:Women's Studio Workshop 5942:Women's Interart Center 5859:Venues or organizations 5242:International relations 3694:Isaak, Jo Anne (1996). 3155:Nochlin, Linda (1973). 3129:"Feminist art movement" 2735:Philip Golub Reclining, 2693:Example of feminist art 1494:International relations 355:Intersectional variants 6331:Manic Pixie Dream Girl 6086:Women's Caucus for Art 6007:Films or documentaries 5881:Feminist Art Coalition 5672:Conservative feminisms 4970:Women in the workforce 4938:Violence against women 4913:Sexual objectification 4873:Opposition to feminism 4070:Bicycling and feminism 3876:Connie Butler (2007). 2922:Brooklyn Museum of Art 2876: 2869: 2790: 2749:Philip Golub Reclining 2730: 2707:Philip Golub Reclining 2660:Promoting feminist art 2632:. Some works, such as 2382:aggregation sculptures 2209: 2193: 2177: 2020:Conservative feminisms 1275:Bicycling and feminism 1251:Women in the workforce 1219:Violence against women 1194:Sexual objectification 1154:Opposition to feminism 411:Vegetarian ecofeminism 81: 6015:!Women Art Revolution 5816:Feminist art movement 5712:Women in peacekeeping 5252:Revisionist mythology 4689:Children's literature 3733:Ettinger, Bracha L., 3720:Ettinger, Bracha L., 3035:British women artists 2995:Feminist art movement 2936:Sheila de Bretteville 2868: 2863: 2783: 2720: 2470:feminist art movement 2322:civil rights movement 2254:Feminist art movement 2199: 2183: 2167: 2050:Feminist rhetoricians 2040:Feminist philosophers 1592:Revisionist mythology 1295:Views on prostitution 1280:Criticism of marriage 970:Children's literature 72: 50:Feminist art movement 5154:Pathways perspective 4999:Gender mainstreaming 4918:Substantive equality 4898:Reproductive justice 4848:Matriarchal religion 4701:Diversity (politics) 3698:. London: Routledge. 3641:. london: Routledge. 3527:. London: Routledge. 3163:. New York: Collier. 3030:French women artists 3020:Women in photography 2970:Feminist Art Program 2807:Old Master paintings 2654:Bodies© INCorporated 2560:Museum of Modern Art 2460:(1972) appropriated 2372:integrity. In 1963, 2326:Second-wave feminism 2302:Anna Claypoole Peale 2286:nude drawing classes 2219:associated with the 2188:can help readers of 2174:The Holy Virgin Mary 2030:Feminist art critics 2005:Feminist comic books 1962:Lists and categories 1641:By continent/country 1472:Pathways perspective 1355:Gender mainstreaming 1290:Views on pornography 1199:Substantive equality 1179:Reproductive justice 1129:Matriarchal religion 982:Diversity (politics) 918:Political lesbianism 228:Other women's rights 6147:Helen Frankenthaler 5891:Lesbian Art Project 5737:Feminism portal 5617:Ecofeminist authors 5467:Trinidad and Tobago 5407:Republic of Ireland 5267:Composition studies 4948:Women's empowerment 4903:Sex workers' rights 4828:Feminist capitalism 4808:Internalized sexism 4741:Feminism in culture 4619:Kurdish (Jineology) 3963:Catherine de Zegher 3575:on December 6, 2012 3494:"Mary Beth Adelson" 3469:"Mary Beth Edelson" 3181:. February 27, 2017 3010:Postmodern feminism 2570:La Grande Odalisque 2240:, video, film, and 2128:Feminism portal 2035:Feminist economists 2025:Ecofeminist authors 1830:Trinidad and Tobago 1770:Republic of Ireland 1462:Composition studies 1229:Women's empowerment 1184:Sex workers' rights 1109:Feminist capitalism 1089:Internalized sexism 1022:Feminism in culture 130:History of feminism 78:Beauty Interrupted, 6434:Literary criticism 6212:Carolee Schneemann 5972:Three Weeks in May 5112:Literary criticism 4989:Complementarianism 4711:Effects on society 4679:Complementarianism 4486:Women's liberation 3504:on 10 January 2014 3346:. 7 February 2015. 3344:"Is Art Feminine?" 2877: 2870: 2791: 2731: 2626:Bracha L. Ettinger 2210: 2194: 2178: 1440:Literary criticism 1305:Views on sexuality 992:Effects on society 960:Complementarianism 935:Women's liberation 690:Religious variants 664:trans-exclusionary 382:Radical lesbianism 82: 6442: 6441: 6410:Johanson analysis 6364:Female buddy film 6326:Celluloid ceiling 6265: 6264: 6137:Mary Beth Edelson 6132:Elaine de Kooning 5980:The Sister Chapel 5766: 5765: 5720: 5719: 5129:Political ecology 5035:Écriture féminine 4933:Triple oppression 4923:Toxic masculinity 4908:Sexual harassment 4768:Feminist stripper 4746:Feminist movement 4660: 4659: 4598:Ethnic and racial 4199: 4198: 3948:978-1-78627-156-3 3913:978-1-78076-316-3 3890:. Prestel Verlag. 3843:Norma Broude and 3808:978-0-429-50053-4 3746:Christiane Paul, 3651:Harris, Jonathan 3619:. Feministing.com 3376:Pollock, Griselda 3303:978-0-914357-99-5 3114:978-0-415-92088-9 3025:Women Surrealists 2875: (1974–1979) 2462:Leonardo da Vinci 2454:Mary Beth Edelson 2221:feminist movement 2215:is a category of 2186:Elena Poniatowska 2162: 2161: 2113: 2112: 1632: 1631: 1622:womanist theology 1565:Political ecology 1396:Écriture féminine 1323: 1322: 1214:Triple oppression 1204:Toxic masculinity 1189:Sexual harassment 1049:Feminist stripper 1027:Feminist movement 583: 582: 514:Africana womanism 345: 344: 67: 66: 62: 16:(Redirected from 6487: 6470:Feminist theatre 6465:Feminist artists 6460:Contemporary art 6292: 6285: 6278: 6269: 6268: 6207:Rachel Rosenthal 6182:Georgia O'Keeffe 6117:Louise Bourgeois 5988:The Dinner Party 5793: 5786: 5779: 5770: 5769: 5756: 5755: 5746: 5745: 5735: 5734: 5733: 5601: 5600: 5584:History of women 5060:Political theory 4960: 4953:Women-only space 4838:Likeability trap 4803:Invisible labour 4721:Female education 4212: 4211: 4207: 4167:African-American 4097:Women's suffrage 4088: 4075:Feminist history 4017: 4016: 3997: 3990: 3983: 3974: 3973: 3936:Kathleen Soriano 3901:Griselda Pollock 3873: 3848: 3841: 3835: 3832: 3821: 3820: 3794: 3785: 3784: 3782: 3781: 3770: 3764: 3763:(Taschen, 2007). 3757: 3751: 3744: 3738: 3731: 3725: 3718: 3712: 3706: 3700: 3699: 3691: 3685: 3684: 3676: 3670: 3669: 3662: 3656: 3655:Routledge, 2001. 3649: 3643: 3642: 3634: 3628: 3627: 3625: 3624: 3612: 3606: 3605: 3603: 3602: 3597:. 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Lippard 2683: 2662: 2594: 2565:Guerrilla Girls 2552: 2466:The Last Supper 2428: 2391:Suzanne Valadon 2353: 2338:people of color 2313:Lucy R. Lippard 2270:equivalent. In 2260: 2252:Main articles: 2250: 2226:performance art 2158: 2122: 2120: 2115: 2114: 2016: 1963: 1955: 1954: 1953: 1862:Northern Cyprus 1642: 1634: 1633: 1628: 1450:Science fiction 1401: 1380:Women's studies 1345:Feminist method 1335: 1325: 1324: 1319: 1265: 1257: 1256: 1255: 1239: 1149:Oedipus complex 1139:Men in feminism 1104:Language reform 1079:Ideal womanhood 1059:Gender equality 1054:Formal equality 1017:Feminationalism 955:Cognitive labor 949: 941: 940: 939: 896:Post-structural 795: 785: 784: 783: 692: 682: 681: 680: 663: 660:Gender-critical 659: 658: 609:Femonationalism 593: 585: 584: 579: 558:Native American 498: 453:Critical theory 415: 357: 347: 346: 341: 296:Second Republic 224: 194: 161: 135:Women's history 115: 63: 39: 35: 28: 23: 22: 15: 12: 11: 5: 6493: 6483: 6482: 6477: 6472: 6467: 6462: 6457: 6440: 6439: 6437: 6436: 6431: 6430: 6429: 6424: 6419: 6412: 6407: 6402: 6396: 6394: 6387: 6386: 6384: 6383: 6382: 6381: 6376: 6366: 6361: 6356: 6351: 6349:Women's cinema 6345: 6343: 6337: 6336: 6334: 6333: 6328: 6323: 6318: 6313: 6311:Hawksian woman 6307: 6305: 6301: 6300: 6298:Women in media 6295: 6294: 6287: 6280: 6272: 6263: 6262: 6257: 6254: 6253: 6251: 6250: 6245: 6239: 6237: 6233: 6232: 6230: 6229: 6224: 6219: 6214: 6209: 6204: 6202:M. C. Richards 6199: 6194: 6189: 6187:Barbara Kruger 6184: 6179: 6174: 6169: 6164: 6159: 6154: 6149: 6144: 6139: 6134: 6129: 6124: 6119: 6114: 6109: 6107:Alison Bechdel 6103: 6101: 6097: 6096: 6094: 6093: 6088: 6083: 6078: 6076:The Waitresses 6073: 6068: 6062: 6060: 6056: 6055: 6053: 6052: 6045: 6037: 6028: 6026: 6022: 6021: 6019: 6018: 6010: 6008: 6004: 6003: 6001: 6000: 5992: 5984: 5976: 5968: 5959: 5957: 5953: 5952: 5950: 5949: 5944: 5939: 5934: 5929: 5924: 5918: 5913: 5908: 5906:SOHO20 Gallery 5903: 5898: 5893: 5888: 5883: 5878: 5868: 5866:A.I.R. Gallery 5862: 5860: 5856: 5855: 5853: 5852: 5846: 5840: 5833: 5831: 5827: 5826: 5824: 5823: 5818: 5813: 5807: 5804: 5803: 5796: 5795: 5788: 5781: 5773: 5764: 5763: 5761: 5760: 5750: 5740: 5725: 5722: 5721: 5718: 5717: 5715: 5714: 5709: 5705:SCUM Manifesto 5701: 5696: 5691: 5690: 5689: 5684: 5674: 5668: 5666: 5662: 5661: 5659: 5654: 5649: 5644: 5639: 5634: 5629: 5624: 5619: 5614: 5609: 5607: 5598: 5594: 5593: 5589: 5588: 5587: 5586: 5576: 5574:United Kingdom 5571: 5566: 5561: 5556: 5551: 5546: 5541: 5536: 5531: 5526: 5521: 5516: 5511: 5506: 5501: 5496: 5491: 5486: 5481: 5476: 5471: 5470: 5469: 5464: 5459: 5454: 5449: 5444: 5439: 5434: 5424: 5419: 5414: 5409: 5404: 5399: 5394: 5389: 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5328: 5327: 5322: 5317: 5312: 5307: 5302: 5297: 5292: 5281: 5280: 5279: 5277: 5273: 5272: 5270: 5269: 5264: 5259: 5254: 5249: 5247:Existentialism 5244: 5239: 5234: 5233: 5232: 5222: 5217: 5216: 5215: 5210: 5205: 5203:Existentialism 5200: 5199: 5198: 5196:Justice ethics 5188: 5183: 5178: 5168: 5163: 5158: 5157: 5156: 5146: 5141: 5136: 5131: 5126: 5121: 5120: 5119: 5114: 5109: 5099: 5094: 5089: 5084: 5079: 5078: 5077: 5072: 5062: 5057: 5052: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5012: 5006: 5001: 4996: 4994:Gender studies 4991: 4986: 4984: 4978: 4977: 4973: 4972: 4967: 4965:Women's rights 4962: 4959:Women's health 4955: 4950: 4945: 4940: 4935: 4930: 4925: 4920: 4915: 4910: 4905: 4900: 4895: 4890: 4885: 4880: 4875: 4870: 4865: 4860: 4855: 4850: 4845: 4843:Male privilege 4840: 4835: 4830: 4825: 4820: 4812:International 4810: 4805: 4800: 4795: 4790: 4785: 4780: 4775: 4770: 4765: 4764: 4763: 4758: 4753: 4743: 4738: 4733: 4728: 4723: 4718: 4713: 4708: 4703: 4698: 4693: 4692: 4691: 4681: 4676: 4670: 4669: 4668: 4666: 4662: 4661: 4658: 4657: 4655: 4650: 4645: 4644: 4643: 4633: 4632: 4631: 4626: 4621: 4611: 4606: 4601: 4599: 4595: 4594: 4590: 4589: 4584: 4583: 4582: 4572: 4567: 4562: 4561: 4560: 4555: 4550: 4540: 4539: 4538: 4533: 4528: 4523: 4513: 4508: 4502: 4501: 4500: 4498: 4492: 4491: 4489: 4488: 4483: 4482: 4481: 4471: 4466: 4461: 4456: 4451: 4446: 4445: 4444: 4434: 4429: 4424: 4419: 4414: 4409: 4408: 4407: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4357: 4356: 4355: 4345: 4340: 4335: 4330: 4329: 4328: 4318: 4313: 4308: 4303: 4298: 4293: 4292: 4291: 4281: 4276: 4275: 4274: 4264: 4259: 4254: 4249: 4244: 4239: 4234: 4229: 4224: 4218: 4216: 4209: 4201: 4200: 4197: 4196: 4194: 4193: 4192: 4191: 4190: 4189: 4184: 4179: 4169: 4164: 4154: 4153: 4152: 4145:United Kingdom 4142: 4137: 4132: 4127: 4122: 4117: 4112: 4107: 4101: 4099: 4093: 4092: 4090: 4089: 4082: 4077: 4072: 4066: 4064: 4060: 4059: 4057: 4056: 4051: 4046: 4045: 4044: 4034: 4029: 4023: 4021: 4014: 4008: 4007: 4000: 3999: 3992: 3985: 3977: 3971: 3970: 3960: 3950: 3929: 3915: 3903:(ed.) (2013). 3898: 3891: 3884: 3883:The MIT Press. 3874: 3856: 3853: 3850: 3849: 3836: 3822: 3807: 3786: 3765: 3752: 3739: 3726: 3713: 3701: 3686: 3671: 3657: 3644: 3629: 3607: 3586: 3569:"Our Founders" 3559: 3542:. Los Angeles. 3530: 3515: 3485: 3460: 3445: 3416: 3401: 3367: 3349: 3335: 3309: 3302: 3284: 3255: 3237: 3212:(4): 189–213. 3192: 3166: 3142: 3120: 3113: 3093: 3067: 3066: 3064: 3061: 3058: 3057: 3046: 3045: 3043: 3040: 3038: 3037: 3032: 3027: 3022: 3017: 3012: 3007: 3002: 2997: 2992: 2987: 2981: 2979: 2976: 2975: 2974: 2972:in Fresno, CA. 2953: 2946: 2944: 2934: 2927: 2925: 2908: 2901: 2897: 2894: 2871:Judy Chicago, 2852:Judy Chicago, 2831:In her piece, 2733:Her painting, 2694: 2691: 2682: 2679: 2661: 2658: 2650:Victoria Vesna 2630:Matrixial Gaze 2618:World Wide Web 2616:, such as the 2593: 2590: 2582:Barbara Kruger 2551: 2548: 2540:Barbara Deming 2427: 2424: 2416:'s 1964 work, 2352: 2349: 2345:liberalization 2249: 2246: 2230:conceptual art 2160: 2159: 2157: 2156: 2149: 2142: 2134: 2131: 2130: 2117: 2116: 2111: 2110: 2109: 2108: 2103: 2095: 2094: 2090: 2089: 2088: 2087: 2082: 2077: 2072: 2067: 2062: 2057: 2052: 2047: 2045:Feminist poets 2042: 2037: 2032: 2027: 2022: 2015: 2014: 2012:Feminist songs 2009: 2008: 2007: 2002: 1992: 1991: 1990: 1988:by nationality 1980: 1974: 1971: 1970: 1964: 1961: 1960: 1957: 1956: 1952: 1951: 1950: 1949: 1939: 1937:United Kingdom 1934: 1929: 1924: 1919: 1914: 1909: 1904: 1899: 1894: 1889: 1884: 1879: 1874: 1869: 1864: 1859: 1854: 1849: 1844: 1839: 1834: 1833: 1832: 1827: 1822: 1817: 1812: 1807: 1802: 1797: 1787: 1782: 1777: 1772: 1767: 1762: 1757: 1752: 1747: 1742: 1737: 1732: 1727: 1722: 1717: 1712: 1707: 1702: 1697: 1692: 1691: 1690: 1685: 1680: 1675: 1670: 1665: 1660: 1655: 1644: 1643: 1640: 1639: 1636: 1635: 1630: 1629: 1627: 1626: 1625: 1624: 1614: 1609: 1604: 1599: 1594: 1589: 1588: 1587: 1577: 1572: 1567: 1562: 1561: 1560: 1555: 1550: 1548:Existentialism 1545: 1544: 1543: 1541:Justice ethics 1533: 1528: 1523: 1513: 1508: 1503: 1502: 1501: 1499:Constructivism 1491: 1486: 1481: 1476: 1475: 1474: 1464: 1459: 1454: 1453: 1452: 1447: 1442: 1437: 1427: 1422: 1417: 1411: 1408: 1407: 1406:Areas of study 1403: 1402: 1400: 1399: 1392: 1387: 1382: 1377: 1372: 1367: 1362: 1357: 1352: 1350:Gender studies 1347: 1341: 1336: 1331: 1330: 1327: 1326: 1321: 1320: 1318: 1317: 1315:SCUM Manifesto 1312: 1307: 1302: 1297: 1292: 1287: 1282: 1277: 1271: 1266: 1263: 1262: 1259: 1258: 1254: 1253: 1248: 1246:Women's rights 1243: 1240:Women's health 1236: 1231: 1226: 1221: 1216: 1211: 1206: 1201: 1196: 1191: 1186: 1181: 1176: 1171: 1166: 1161: 1156: 1151: 1146: 1141: 1136: 1131: 1126: 1124:Male privilege 1121: 1116: 1111: 1106: 1101: 1093:International 1091: 1086: 1081: 1076: 1071: 1066: 1061: 1056: 1051: 1046: 1045: 1044: 1039: 1034: 1024: 1019: 1014: 1009: 1004: 999: 994: 989: 984: 979: 974: 973: 972: 962: 957: 951: 950: 947: 946: 943: 942: 938: 937: 932: 930:Technofeminism 927: 926: 925: 920: 915: 905: 904: 903: 893: 888: 887: 886: 885: 884: 874: 869: 859: 858: 857: 856: 855: 840: 835: 830: 829: 828: 823: 813: 808: 803: 797: 796: 791: 790: 787: 786: 782: 781: 776: 775: 774: 764: 759: 754: 753: 752: 747: 742: 732: 731: 730: 725: 720: 715: 705: 700: 694: 693: 688: 687: 684: 683: 679: 678: 673: 668: 655: 654: 653: 648: 643: 633: 628: 627: 626: 616: 611: 606: 601: 595: 594: 592:Other variants 591: 590: 587: 586: 581: 580: 578: 577: 572: 567: 562: 561: 560: 550: 549: 548: 538: 537: 536: 531: 526: 516: 510: 507: 506: 500: 499: 497: 496: 491: 490: 489: 484: 474: 473: 472: 462: 461: 460: 455: 445: 440: 439: 438: 427: 424: 423: 417: 416: 414: 413: 408: 407: 406: 396: 391: 390: 389: 384: 379: 369: 363: 358: 353: 352: 349: 348: 343: 342: 340: 339: 338: 337: 327: 326: 325: 320: 318:Cayman Islands 313:United Kingdom 310: 305: 304: 303: 298: 290: 285: 280: 275: 270: 265: 260: 255: 250: 244: 241: 240: 233: 232: 231: 230: 223: 222: 221: 220: 215: 204: 201: 200: 196: 195: 193: 192: 187: 182: 177: 171: 168: 167: 163: 162: 160: 159: 158: 157: 152: 147: 142: 132: 127: 121: 116: 113: 112: 109: 108: 100: 99: 93: 92: 65: 64: 42: 40: 33: 26: 9: 6: 4: 3: 2: 6492: 6481: 6480:Political art 6478: 6476: 6473: 6471: 6468: 6466: 6463: 6461: 6458: 6456: 6453: 6452: 6450: 6435: 6432: 6428: 6425: 6423: 6420: 6418: 6415: 6414: 6413: 6411: 6408: 6406: 6403: 6401: 6400:Art criticism 6398: 6397: 6395: 6392: 6388: 6380: 6377: 6375: 6372: 6371: 6370: 6367: 6365: 6362: 6360: 6357: 6355: 6352: 6350: 6347: 6346: 6344: 6342: 6341:Women in film 6338: 6332: 6329: 6327: 6324: 6322: 6319: 6317: 6314: 6312: 6309: 6308: 6306: 6302: 6293: 6288: 6286: 6281: 6279: 6274: 6273: 6270: 6260: 6255: 6249: 6246: 6244: 6241: 6240: 6238: 6234: 6228: 6225: 6223: 6220: 6218: 6217:Cindy Sherman 6215: 6213: 6210: 6208: 6205: 6203: 6200: 6198: 6195: 6193: 6190: 6188: 6185: 6183: 6180: 6178: 6175: 6173: 6170: 6168: 6165: 6163: 6160: 6158: 6155: 6153: 6150: 6148: 6145: 6143: 6140: 6138: 6135: 6133: 6130: 6128: 6125: 6123: 6120: 6118: 6115: 6113: 6112:Lynda Benglis 6110: 6108: 6105: 6104: 6102: 6100:Notable women 6098: 6092: 6089: 6087: 6084: 6082: 6079: 6077: 6074: 6072: 6069: 6067: 6064: 6063: 6061: 6057: 6050: 6046: 6043: 6042: 6038: 6035: 6034: 6030: 6029: 6027: 6023: 6017: 6016: 6012: 6011: 6009: 6005: 5998: 5997: 5993: 5990: 5989: 5985: 5982: 5981: 5977: 5974: 5973: 5969: 5966: 5965: 5961: 5960: 5958: 5954: 5948: 5945: 5943: 5940: 5938: 5935: 5933: 5930: 5928: 5925: 5922: 5919: 5917: 5914: 5912: 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5889: 5887: 5884: 5882: 5879: 5876: 5872: 5869: 5867: 5864: 5863: 5861: 5857: 5850: 5847: 5844: 5841: 5838: 5835: 5834: 5832: 5828: 5822: 5821:Women artists 5819: 5817: 5814: 5812: 5809: 5808: 5805: 5801: 5794: 5789: 5787: 5782: 5780: 5775: 5774: 5771: 5759: 5751: 5749: 5741: 5739: 5738: 5727: 5726: 5723: 5713: 5710: 5707: 5706: 5702: 5700: 5697: 5695: 5692: 5688: 5685: 5683: 5680: 5679: 5678: 5675: 5673: 5670: 5669: 5667: 5663: 5658: 5655: 5653: 5650: 5648: 5645: 5643: 5640: 5638: 5635: 5633: 5630: 5628: 5625: 5623: 5620: 5618: 5615: 5613: 5610: 5608: 5606: 5602: 5599: 5595: 5585: 5582: 5581: 5580: 5579:United States 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5560: 5557: 5555: 5552: 5550: 5547: 5545: 5542: 5540: 5537: 5535: 5532: 5530: 5527: 5525: 5522: 5520: 5517: 5515: 5512: 5510: 5507: 5505: 5502: 5500: 5497: 5495: 5492: 5490: 5487: 5485: 5482: 5480: 5477: 5475: 5472: 5468: 5465: 5463: 5460: 5458: 5455: 5453: 5450: 5448: 5445: 5443: 5440: 5438: 5435: 5433: 5430: 5429: 5428: 5427:Latin America 5425: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5326: 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5287: 5286: 5283: 5282: 5278: 5274: 5268: 5265: 5263: 5260: 5258: 5257:Technoscience 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5231: 5228: 5227: 5226: 5223: 5221: 5218: 5214: 5211: 5209: 5206: 5204: 5201: 5197: 5194: 5193: 5192: 5189: 5187: 5184: 5182: 5179: 5177: 5174: 5173: 5172: 5169: 5167: 5164: 5162: 5159: 5155: 5152: 5151: 5150: 5147: 5145: 5142: 5140: 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5118: 5115: 5113: 5110: 5108: 5107:Art criticism 5105: 5104: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5083: 5080: 5076: 5073: 5071: 5068: 5067: 5066: 5063: 5061: 5058: 5056: 5053: 5051: 5048: 5046: 5043: 5041: 5038: 5036: 5033: 5031: 5028: 5026: 5023: 5021: 5020:Men's studies 5018: 5016: 5013: 5011: 5008: 5007: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4985: 4983: 4979: 4971: 4968: 4966: 4963: 4961: 4956: 4954: 4951: 4949: 4946: 4944: 4941: 4939: 4936: 4934: 4931: 4929: 4928:Transmisogyny 4926: 4924: 4921: 4919: 4916: 4914: 4911: 4909: 4906: 4904: 4901: 4899: 4896: 4894: 4891: 4889: 4888:Purplewashing 4886: 4884: 4883:Protofeminism 4881: 4879: 4876: 4874: 4871: 4869: 4866: 4864: 4861: 4859: 4856: 4854: 4851: 4849: 4846: 4844: 4841: 4839: 4836: 4834: 4831: 4829: 4826: 4824: 4821: 4819: 4815: 4811: 4809: 4806: 4804: 4801: 4799: 4796: 4794: 4793:Honor killing 4791: 4789: 4786: 4784: 4781: 4779: 4776: 4774: 4771: 4769: 4766: 4762: 4759: 4757: 4754: 4752: 4749: 4748: 4747: 4744: 4742: 4739: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4717: 4714: 4712: 4709: 4707: 4704: 4702: 4699: 4697: 4694: 4690: 4687: 4686: 4685: 4682: 4680: 4677: 4675: 4672: 4671: 4667: 4663: 4654: 4651: 4649: 4646: 4642: 4639: 4638: 4637: 4634: 4630: 4627: 4625: 4622: 4620: 4617: 4616: 4615: 4612: 4610: 4607: 4605: 4602: 4600: 4596: 4588: 4585: 4581: 4578: 4577: 4576: 4573: 4571: 4568: 4566: 4563: 4559: 4556: 4554: 4551: 4549: 4546: 4545: 4544: 4541: 4537: 4534: 4532: 4529: 4527: 4524: 4522: 4519: 4518: 4517: 4514: 4512: 4509: 4507: 4504: 4503: 4499: 4497: 4493: 4487: 4484: 4480: 4477: 4476: 4475: 4472: 4470: 4467: 4465: 4464:Transnational 4462: 4460: 4457: 4455: 4452: 4450: 4447: 4443: 4440: 4439: 4438: 4435: 4433: 4430: 4428: 4425: 4423: 4420: 4418: 4415: 4413: 4410: 4406: 4403: 4402: 4401: 4398: 4396: 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4373: 4371: 4368: 4366: 4363: 4361: 4358: 4354: 4351: 4350: 4349: 4346: 4344: 4341: 4339: 4336: 4334: 4333:Individualist 4331: 4327: 4324: 4323: 4322: 4319: 4317: 4314: 4312: 4309: 4307: 4304: 4302: 4299: 4297: 4294: 4290: 4287: 4286: 4285: 4282: 4280: 4277: 4273: 4270: 4269: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4232:Anti-abortion 4230: 4228: 4225: 4223: 4220: 4219: 4217: 4213: 4210: 4208: 4202: 4188: 4185: 4183: 4180: 4178: 4175: 4174: 4173: 4170: 4168: 4165: 4163: 4160: 4159: 4158: 4157:United States 4155: 4151: 4148: 4147: 4146: 4143: 4141: 4138: 4136: 4133: 4131: 4128: 4126: 4123: 4121: 4118: 4116: 4113: 4111: 4108: 4106: 4103: 4102: 4100: 4098: 4094: 4087: 4083: 4081: 4078: 4076: 4073: 4071: 4068: 4067: 4065: 4061: 4055: 4052: 4050: 4047: 4043: 4040: 4039: 4038: 4035: 4033: 4030: 4028: 4025: 4024: 4022: 4018: 4015: 4013: 4009: 4005: 3998: 3993: 3991: 3986: 3984: 3979: 3978: 3975: 3968: 3964: 3961: 3958: 3954: 3951: 3949: 3945: 3941: 3937: 3933: 3930: 3928: 3927:0-415-14128-1 3924: 3920: 3916: 3914: 3910: 3907:. I.B.Tauris 3906: 3902: 3899: 3897:. I.B.Tauris. 3896: 3892: 3889: 3885: 3882: 3880: 3875: 3871: 3867: 3863: 3859: 3858: 3846: 3840: 3831: 3829: 3827: 3818: 3814: 3810: 3804: 3800: 3793: 3791: 3775: 3769: 3762: 3761:New Media Art 3756: 3749: 3743: 3736: 3730: 3723: 3717: 3710: 3705: 3697: 3690: 3682: 3675: 3667: 3661: 3654: 3648: 3640: 3633: 3618: 3611: 3596: 3590: 3579:September 25, 3574: 3570: 3563: 3555: 3549: 3541: 3534: 3526: 3519: 3503: 3499: 3495: 3489: 3474: 3470: 3464: 3456: 3449: 3441: 3435: 3427: 3420: 3412: 3405: 3397: 3393: 3389: 3385: 3381: 3377: 3371: 3363: 3359: 3353: 3345: 3339: 3323: 3319: 3313: 3305: 3299: 3295: 3288: 3274:on 2018-03-03 3273: 3269: 3265: 3259: 3251: 3244: 3242: 3227: 3223: 3219: 3215: 3211: 3207: 3203: 3196: 3180: 3176: 3170: 3162: 3158: 3151: 3149: 3147: 3130: 3124: 3116: 3110: 3106: 3105: 3097: 3082: 3078: 3072: 3068: 3051: 3047: 3036: 3033: 3031: 3028: 3026: 3023: 3021: 3018: 3016: 3013: 3011: 3008: 3006: 3003: 3001: 2998: 2996: 2993: 2991: 2990:Cyberfeminism 2988: 2986: 2983: 2982: 2971: 2967: 2963: 2959: 2957: 2950: 2945: 2941: 2937: 2931: 2926: 2923: 2919: 2915: 2911: 2905: 2900: 2899: 2893: 2891: 2885: 2881: 2874: 2867: 2862: 2858: 2855: 2850: 2849: 2847: 2846: 2841: 2836: 2834: 2829: 2825: 2822: 2821: 2819: 2815: 2810: 2808: 2804: 2799: 2797: 2788: 2787: 2782: 2778: 2776: 2772: 2768: 2767: 2763:The painting 2761: 2760: 2758: 2752: 2750: 2746: 2745: 2740: 2736: 2729: 2725: 2724: 2719: 2715: 2711: 2710: 2708: 2704: 2703:Sylvia Sleigh 2699: 2690: 2687: 2678: 2675: 2670: 2668: 2657: 2655: 2651: 2647: 2643: 2639: 2635: 2631: 2627: 2623: 2619: 2615: 2614:digital media 2611: 2607: 2603: 2599: 2598:cyberfeminism 2589: 2587: 2583: 2578: 2575: 2571: 2566: 2561: 2558:In 1985, the 2556: 2547: 2545: 2541: 2536: 2534: 2533: 2528: 2523: 2521: 2520:Robert Morris 2517: 2513: 2512:Lynda Benglis 2509: 2504: 2502: 2496: 2494: 2490: 2489:Orshi Drozdik 2486: 2482: 2478: 2473: 2471: 2467: 2463: 2459: 2455: 2451: 2447: 2445: 2444: 2439: 2438: 2433: 2423: 2421: 2420: 2415: 2410: 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1470: 1469: 1468: 1465: 1463: 1460: 1458: 1455: 1451: 1448: 1446: 1443: 1441: 1438: 1436: 1435:Art criticism 1433: 1432: 1431: 1428: 1426: 1423: 1421: 1418: 1416: 1413: 1412: 1410: 1409: 1405: 1404: 1398: 1397: 1393: 1391: 1388: 1386: 1385:Men's studies 1383: 1381: 1378: 1376: 1373: 1371: 1368: 1366: 1363: 1361: 1358: 1356: 1353: 1351: 1348: 1346: 1343: 1342: 1340: 1339: 1334: 1329: 1328: 1316: 1313: 1311: 1308: 1306: 1303: 1301: 1298: 1296: 1293: 1291: 1288: 1286: 1285:Views on BDSM 1283: 1281: 1278: 1276: 1273: 1272: 1270: 1269: 1261: 1260: 1252: 1249: 1247: 1244: 1242: 1237: 1235: 1232: 1230: 1227: 1225: 1222: 1220: 1217: 1215: 1212: 1210: 1209:Transmisogyny 1207: 1205: 1202: 1200: 1197: 1195: 1192: 1190: 1187: 1185: 1182: 1180: 1177: 1175: 1172: 1170: 1169:Purplewashing 1167: 1165: 1164:Protofeminism 1162: 1160: 1157: 1155: 1152: 1150: 1147: 1145: 1142: 1140: 1137: 1135: 1132: 1130: 1127: 1125: 1122: 1120: 1117: 1115: 1112: 1110: 1107: 1105: 1102: 1100: 1096: 1092: 1090: 1087: 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607: 605: 602: 600: 599:Anti-abortion 597: 596: 589: 588: 576: 573: 571: 568: 566: 563: 559: 556: 555: 554: 551: 547: 544: 543: 542: 539: 535: 532: 530: 527: 525: 522: 521: 520: 517: 515: 512: 511: 509: 508: 505: 504:Multicultural 502: 501: 495: 492: 488: 487:Transnational 485: 483: 480: 479: 478: 475: 471: 468: 467: 466: 463: 459: 456: 454: 451: 450: 449: 446: 444: 441: 437: 434: 433: 432: 429: 428: 426: 425: 422: 419: 418: 412: 409: 405: 404:Postgenderism 402: 401: 400: 399:Transfeminism 397: 395: 392: 388: 385: 383: 380: 378: 375: 374: 373: 370: 368: 365: 364: 362: 361: 356: 351: 350: 336: 333: 332: 331: 330:United States 328: 324: 321: 319: 316: 315: 314: 311: 309: 306: 302: 299: 297: 294: 293: 291: 289: 286: 284: 283:Liechtenstein 281: 279: 276: 274: 271: 269: 266: 264: 261: 259: 256: 254: 251: 249: 246: 245: 243: 242: 238: 235: 234: 229: 226: 225: 219: 216: 214: 211: 210: 209: 206: 205: 203: 202: 198: 197: 191: 188: 186: 183: 181: 178: 176: 173: 172: 170: 169: 165: 164: 156: 153: 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Retrieved 3080: 3071: 3050: 2985:Art+Feminism 2962:Judy Chicago 2954: 2939: 2913: 2910:Suzanne Lacy 2886: 2882: 2878: 2872: 2853: 2851: 2843: 2840:Judy Chicago 2838: 2837: 2832: 2830: 2826: 2823: 2817: 2814:Ana Mendieta 2812: 2811: 2800: 2792: 2784: 2764: 2762: 2756: 2754: 2753: 2748: 2742: 2734: 2732: 2721: 2712: 2706: 2701: 2700: 2696: 2684: 2673: 2671: 2666: 2663: 2653: 2645: 2642:Prema Murthy 2637: 2634:Olia Lialina 2595: 2585: 2579: 2569: 2557: 2553: 2537: 2530: 2524: 2515: 2508:Ana Mendieta 2505: 2501:Ana Mendieta 2497: 2484: 2481:Hannah Wilke 2477:Judith Black 2474: 2465: 2457: 2452: 2448: 2441: 2435: 2432:Judy Chicago 2429: 2417: 2411: 2395: 2385: 2381: 2377: 2374:Yayoi Kusama 2370: 2354: 2342: 2310: 2306:Mary Cassatt 2271: 2264:Michelangelo 2261: 2213:Feminist art 2212: 2211: 2206:Angela Davis 1892:Saudi Arabia 1688:South Africa 1531:Epistemology 1506:Legal theory 1429: 1425:Architecture 1415:Anthropology 1394: 1360:Gynocentrism 1224:War on women 1159:Pro-feminism 1114:Gender-blind 1064:Gender quota 1037:Art movement 806:Anti-fascist 740:Dianic Wicca 619:Postfeminism 494:Xenofeminism 477:Postcolonial 394:Sex-positive 77: 59: 48: 18:Feminist Art 6422:Female gaze 6405:Film theory 6354:Chick flick 6222:Alma Thomas 6177:Lee Krasner 6167:Lila Katzen 6142:Suzi Ferrer 6091:Where We At 6044:(1972–1977) 6036:(1977–1992) 5983:(1974–1978) 5687:Comic books 5612:Art critics 5534:South Korea 5514:Philippines 5494:New Zealand 5489:Netherlands 5220:Pornography 5208:Metaphysics 5149:Criminology 5144:Archaeology 5117:Film theory 4818:Women's Day 4558:Ecofeminist 4417:Reactionary 4365:Materialist 4140:Switzerland 4135:New Zealand 4054:Fourth-wave 4037:Second-wave 3748:Digital Art 3185:February 9, 2848:(1974–1979) 2798:enjoys it. 2796:male viewer 2674:Ms Magazine 2443:Roe v. Wade 2403:art history 2398:progressive 2366:objectified 2358:pin-up girl 2290:still lives 2170:Chris Ofili 1897:South Korea 1877:Philippines 1857:New Zealand 1852:Netherlands 1575:Pornography 1553:Metaphysics 1467:Criminology 1445:Film theory 1420:Archaeology 1099:Women's Day 891:Libertarian 833:Ecofeminism 750:Ecofeminist 631:Reactionary 624:Neofeminism 565:Multiracial 470:Ecofeminist 465:Materialist 308:Switzerland 288:New Zealand 6449:Categories 6374:Final girl 6321:Jouissance 6227:June Wayne 5964:Womanhouse 5830:Precursors 5677:Literature 5622:Economists 5342:Bangladesh 5276:By country 5225:Psychology 5181:Empiricism 5176:Aesthetics 5171:Philosophy 5030:Patriarchy 5010:Matriarchy 4814:Girl's Day 4788:Girl power 4761:In hip hop 4684:Literature 4614:Indigenous 4553:Reclaiming 4449:Standpoint 4422:Separatism 4395:Postmodern 4289:Vegetarian 4279:Difference 4222:Analytical 4049:Third-wave 4032:First-wave 3932:Liz Rideal 3817:1028731181 3780:2020-05-30 3623:2015-09-25 3601:2015-09-25 3508:10 January 3478:11 January 3322:Walker Art 3318:"Oven-Pan" 3278:2019-03-17 3231:2022-01-15 3135:13 January 3063:References 2956:Womanhouse 2602:VNS Matrix 2544:Mary Meigs 2405:, such as 2362:sexualized 2294:landscapes 2238:craftivism 2093:Categories 1995:Literature 1705:Bangladesh 1580:Psychology 1526:Empiricism 1521:Aesthetics 1516:Philosophy 1390:Patriarchy 1375:Matriarchy 1095:Girl's Day 1069:Girl power 1042:In hip hop 965:Literature 923:Separatist 901:Postmodern 867:Difference 801:Analytical 745:Reclaiming 553:Indigenous 458:Standpoint 387:Separatist 239:by country 6417:Male gaze 6316:Seriality 6162:Eva Hesse 5432:Argentina 5392:Indonesia 5382:Hong Kong 5337:Australia 5237:Seriality 5161:Geography 5087:Sociology 5040:Economics 5025:Kyriarchy 4516:Christian 4496:Religious 4437:Socialist 4227:Anarchist 4172:States of 4110:Australia 3548:cite book 3434:cite book 3428:. London. 3226:143993527 2968:, at the 2739:Velasquez 2646:Bindigirl 2622:hypertext 2538:In 1975, 2434:'s work, 2419:Cut Piece 2368:fashion. 2242:fiber art 2190:Knowledge 1983:Feminists 1795:Argentina 1755:Indonesia 1745:Hong Kong 1700:Australia 1607:Sociology 1489:Geography 1479:Economics 1370:Male gaze 1365:Kyriarchy 826:Networked 708:Christian 443:Jineology 431:Anarchist 421:Socialist 301:Francoist 253:Australia 199:Timelines 6197:Yoko Ono 6051:" (1971) 5748:Category 5682:American 5554:Thailand 5509:Pakistan 5479:Malaysia 5462:Paraguay 5452:Honduras 5300:Ethiopia 5166:Pedagogy 5092:Rhetoric 5082:Sexology 5075:Womanist 5070:Thealogy 5065:Theology 4863:Misogyny 4731:Femicide 4716:Equality 4665:Concepts 4580:Orthodox 4543:Neopagan 4531:Womanist 4511:Buddhist 4479:Africana 4474:Womanism 4370:Maternal 4360:Lipstick 4326:Activism 4296:Equality 4262:Cultural 4247:Carceral 4182:Virginia 4162:Timeline 4105:Timeline 4042:timeline 4027:Timeline 4004:Feminism 3965:(2015). 3938:(2018). 3868:(1994). 3396:40004832 3378:(1987). 3328:30 March 3268:Artspace 2978:See also 2532:Rhythm 0 2516:Artforum 2414:Yoko Ono 2407:quilting 2386:Oven-Pan 2378:Oven-Pan 2376:created 2298:portrait 2268:Da Vinci 2234:body art 1978:Articles 1917:Thailand 1872:Pakistan 1842:Malaysia 1825:Paraguay 1815:Honduras 1663:Ethiopia 1617:Theology 1602:Sexology 1597:Sex wars 1511:Pedagogy 1264:Outlooks 1144:Misogyny 1012:Femicide 997:Equality 948:Concepts 913:Cultural 872:Equality 853:Stiletto 848:Lipstick 772:Orthodox 735:Neopagan 723:Womanist 703:Buddhist 651:Embedded 646:Imperial 641:Carceral 614:Maternal 575:Womanism 263:Colombia 150:Canadian 140:American 97:Feminism 89:a series 87:Part of 6066:subRosa 5694:Parties 5569:Ukraine 5564:Vietnam 5474:Lebanon 5372:Germany 5362:Finland 5357:Denmark 5332:Albania 5320:Senegal 5315:Nigeria 5230:Therapy 5213:Science 5124:Biology 4641:Mizrahi 4609:Chicana 4570:Islamic 4506:Atheist 4442:Marxist 4412:Radical 4348:Liberal 4343:Lesbian 4321:Hip hop 4301:Eugenic 4242:Atheist 4215:General 4187:Wyoming 4020:General 4012:History 3206:Hypatia 3159:(ed.). 3086:4 April 2896:Gallery 2610:subRosa 2248:History 1932:Ukraine 1927:Vietnam 1837:Lebanon 1735:Germany 1725:Finland 1720:Denmark 1695:Albania 1683:Senegal 1678:Nigeria 1585:Therapy 1558:science 1457:Biology 908:Radical 862:Liberal 838:Eugenic 762:Islamic 698:Atheist 546:Lesbian 541:Chicana 534:Ratchet 529:Lesbian 524:Hip hop 448:Marxist 372:Lesbian 248:Austria 145:British 114:History 55:Discuss 6393:theory 6369:Horror 6304:Tropes 6059:Groups 5999:(2007) 5991:(1979) 5975:(1977) 5967:(1972) 5851:(1892) 5845:(1889) 5839:(1881) 5708:(1967) 5632:Muslim 5627:Jewish 5605:People 5559:Turkey 5549:Taiwan 5539:Sweden 5524:Russia 5519:Poland 5504:Norway 5457:Mexico 5437:Brazil 5412:Israel 5377:Greece 5367:France 5347:Canada 5285:Africa 5191:Ethics 5050:Method 4982:Theory 4893:Racism 4648:Romani 4636:Jewish 4575:Jewish 4521:Mormon 4469:Victim 4432:Social 4405:French 4353:Equity 4316:Global 4252:Choice 4125:Kuwait 4115:Canada 4063:Social 3946: 3925: 3911: 3815: 3805: 3394: 3300: 3224: 3111: 2820:(1976) 2759:(1973) 2709:(1971) 2608:, and 2604:, OBN/ 2506:While 2334:racism 2330:sexism 2324:, and 2320:, the 1922:Turkey 1912:Taiwan 1902:Sweden 1887:Russia 1882:Poland 1867:Norway 1820:Mexico 1800:Brazil 1775:Israel 1740:Greece 1730:France 1710:Canada 1648:Africa 1536:Ethics 1333:Theory 1174:Racism 877:Social 767:Jewish 713:Mormon 671:Victim 604:Equity 570:Romani 482:Global 335:states 292:Spain 278:Kuwait 258:Canada 190:Fourth 180:Second 155:German 45:merged 6236:Lists 5923:(WAR) 5758:Index 5665:Other 5642:Poets 5597:Lists 5544:Syria 5484:Nepal 5447:Haiti 5442:Chile 5422:Japan 5417:Italy 5387:India 5352:China 5305:Ghana 5295:Egypt 4853:Media 4653:White 4604:Black 4565:Hindu 4536:Asian 4459:Trans 4454:State 4385:Post- 4338:Labor 4267:Cyber 4150:Wales 4120:Japan 3392:JSTOR 3222:S2CID 3042:Notes 2940:Pink, 2592:1990s 2550:1980s 2426:1970s 2412:With 2351:1960s 2296:, or 1969:Lists 1907:Syria 1847:Nepal 1810:Haiti 1805:Chile 1785:Japan 1780:Italy 1750:India 1715:China 1668:Ghana 1658:Egypt 1134:Media 882:Labor 757:Hindu 728:Asian 676:White 636:State 519:Black 436:Queer 323:Wales 273:Japan 268:India 185:Third 175:First 166:Waves 47:into 5402:Iraq 5397:Iran 5310:Mali 4816:and 4629:Sámi 4587:Sikh 4375:Neo- 4177:Utah 3944:ISBN 3934:and 3923:ISBN 3909:ISBN 3813:OCLC 3803:ISBN 3581:2015 3554:link 3510:2014 3480:2014 3440:link 3330:2024 3298:ISBN 3187:2018 3137:2014 3109:ISBN 3088:2018 2964:and 2332:and 2304:and 2256:and 2172:’s 1765:Iraq 1760:Iran 1673:Mali 1484:FDPA 1097:and 779:Sikh 80:2011 5102:Art 4526:New 4380:New 4306:Fat 4284:Eco 4272:HCI 3362:CNN 3214:doi 2773:'s 2652:'s 2644:'s 2636:'s 2584:'s 2572:by 2472:." 2464:’s 2456:'s 2364:or 2266:or 2217:art 1430:Art 821:HCI 718:New 662:or 367:Fat 53:. 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