Feminist art - Knowledge

2888: 2149: 2519:(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. 2765: 2406:, 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. 2933: 2424:(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 2682:

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.

2914: 2735:. 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. 94: 2845: 2653:?” 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. 2572:. 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. 5723: 2434:

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.

2479:, 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. 25: 2702: 2793:, 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. 2789:, 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 2649:

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

2502:, 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, 2393:. 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. 2681:

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.

2819:, 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. 2433:

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

2887: 2268:, 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 2530:. 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)". 3140: 2471:, 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 2731:. 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 2452:, 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 2661:

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.

2932: 2506:, 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. 2697:

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.

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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

6011: 4145: 206: 2632:(1999), combined performance art with streaming video, live chat, and a website to interrogate gender, colonialism, and online consumerism. Works such as 5755: 2331:

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

5268: 1636: 2228:. Feminist art has served as an innovative driving force toward expanding the definition of art by incorporating new media and a new perspective. 3477: 5023: 3537: 3423: 1467: 2624:(1996), utilized hypertext and digital images to create a non-linear narrative experience about gender, war, and trauma. Other works, such as 4729: 4150: 1015: 6027: 5849: 2901: 2256: 5827: 2459:

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

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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,

2273: 2221: 1373: 1358: 1052: 6395: 6140: 5003: 4602: 3556: 2779: 2605: 2402: 2225: 2173: 1353: 1348: 431: 58: 2176:

understand feminist leadership and advocacy within the 20th century.

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

3695:, ed. Claudia Reiche and Verena Kuni (Brooklyn: Autonomeida, 2004). 3231: 2515: 2397: 2390: 2281: 2251: 2217: 1127: 995: 563: 85: 6246: 6044: 4220: 3623:

Generations and Geographies in the Visual Arts: Feminist Readings

3509:"Body Horror." An Intimate Distance: Women, Artists, and the Body 3364:"Women, Art, and Ideology: Questions for Feminist Art Historians" 2593: 2580:

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

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

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Generations and Geographies in the Visual Arts: Feminist Reading

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still speculations that her husband pushed her out the window.

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Carnal Aesthetics: transgressive imagery and feminist politics

3248:"The Other Art History: The Non-Western Women of Feminist Art" 2701: 2364:– part of a larger collection of works she referred to as the 3872:

After the revolution: women who transformed contemporary art

3956: 3943:. Los Angeles: The Museum of Contemporary Art, 2007. Print. 3844: 3084: 2264:

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

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Matrixial Subjectivity, Aesthetics, Ethics Vol I 1990-2000

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under her birth name Drozdik Orsolya as a student at the

2200: 3814: 3812: 3810: 3708:(Essais from 1994-1999) (Univ. of Minnesota Press, 2006) 2494:'s work focused on a serious issue, other artists, like 3743:

See chapter on Bindigirl in Mark Tribe and Reena Jana,

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installation and performance space, 1972, organized by

3234:

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

3159:"Challenge Accepted: Can You Name Five Women Artists?" 2926:

poster, 1973. Photo provided by Sheila de Bretteville.

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Heresies: A Feminist Publication on Art and Politics

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

3550: 2664: 3276:Mark, Lisa Gabrielle; Butler, Cornelia H. (2007). 2246:Art historians have noted that there is no female 3877:Bettina Papenberg, Marta Zarzycka (eds.) (2017). 3734:(New York: Thames & Hudson, 2003), pp. 113ff. 3386: 3085:Cheris Kramarae; Dale Spender (1 December 2000). 3078: 6425: 3783:Feminism and art history: questioning the litany 3601:"Quickhit: Calling all Feminist Fiction Writers" 3579:"Barbara Deming Memorial Fund, Inc. : Home" 3445: 3061:"Feminist Art Movement, Artists and Major Works" 2442:Some Living American Women Artists / Last Supper 2184:The emergence of digital graphic art created by 3758:"Bodies© INCorporated | Net Art Anthology" 3665:New Feminist Art Criticism: Critical Strategies 3521: 3470: 3395:Gender and Genius: Towards a Feminist Aesthetic 16:Art that reflects women's lives and experiences 3781:Broude, Norma; Garrard, Mary D., eds. (1982). 6262: 5763: 3972: 3780: 3436: 2753:(1973), is a gender-reversed version of 2547:women's art. With that came the birth of the 2208:painting, to more unorthodox methods such as 2129: 5850:Elizabeth A. Sackler Center for Feminist Art 3637:The New Art History: A Critical Introduction 3278:Wack ! art and the feminist revolution 3232:Rozsika Parker and Griselda Pollock (1987). 2902:Elizabeth A. Sackler Center for Feminist Art 2368:. As with other works from that collection, 6028:Why Have There Been No Great Women Artists? 5828:New York School of Applied Design for Women 3856:. New York: Harry N. Abrams Publishers Inc. 3145:Why Have There Been No Great Women Artists? 2312:. By critiquing institutions that promoted 32:It has been suggested that this article be 6269: 6255: 5779:Feminist art movement in the United States 5770: 5756: 4730:African-American women's suffrage movement 3979: 3965: 3667:. Manchester: Manchester University Press. 3536:: CS1 maint: location missing publisher ( 3522:Butler, Cornelia; Gabrielle, Lisa (2007). 3422:: CS1 maint: location missing publisher ( 3407: 3275: 2984:Feminist art movement in the United States 2778:objectify the female form. Therefore, the 2676: 2651:Why Have There Been No Great Women Artists 2257:Why Have There Been No Great Women Artists 2242:Feminist art movement in the United States 2136: 2122: 1016:African-American women's suffrage movement 3598: 3506: 3392: 3280:Los Angeles: Museum of contemporary art. 2643: 5816:American Association of University Women 4675:Discrimination against transgender women 3924:Madame & Eve. Women Portraying Women 3760:. Anthology.rhizome.org. 27 October 2016 3662: 3437:Hein, Hilde; Korsmeyer, Carolyn (1993). 3227: 3225: 3186:"Feminism art and political imagination" 3105: 3091:. Taylor & Francis. pp. 92–93. 2848: 2843: 2763: 2700: 2179: 2163: 2147: 961:Discrimination against transgender women 57: 3620: 3358: 3138: 2773:(1862) by Jean-Auguste-Dominique Ingres 6426: 3941:Wack!: Art and the Feminist Revolution 3524:WACK!: Art and the Feminist Revolution 3183: 2584:and cyberfeminist collectives such as 6250: 5975:WACK! Art and the Feminist Revolution 5822:National Association of Women Artists 5751: 5024:Post-structuralist discourse analysis 4295:Gender-critical or trans-exclusionary 3960: 3863:WACK! Art and the Feminist Revolution 3776: 3774: 3677: 3222: 5916:The Women's Building (San Francisco) 5875:National Museum of Women in the Arts 3457:The Frost Art Museum Drawing Project 3163:National Museum of Women in the Arts 3134: 3132: 3130: 2469:S.O.S - Stratification Object Series 18: 3785:. Routledge, Taylor & Francis. 3599:Dusenbery, Maya (6 December 2010). 3408:Newman, Michael; Bird, Jon (1999). 2622:My Boyfriend Came Back From The War 2168:Images of Feminist leaders such as 13: 6276: 5906:Women's Art Resources of Minnesota 3838: 3771: 3652:. New York: HarperPerennial. 1995. 3439:Aesthetics in Feminist Perspective 3202:10.1111/j.1527-2001.2003.tb01418.x 2570:Your gaze Hits the side of my face 14: 6470: 6238:Feminist movements and ideologies 3482:Clara - Database of Women Artists 3127: 2725:did in his famous nude painting, 2665:Effect of feminist art on society 5731: 5722: 5721: 5709: 5269:Democratic Republic of the Congo 4685:Diversity, equity, and inclusion 3953:. Ghent: Mer. Papers Kunsthalle. 3889:Visual Politics of Pychoanalysis 2931: 2912: 2898:Between the Door and the Street, 2886: 2105: 1637:Democratic Republic of the Congo 971:Diversity, equity, and inclusion 92: 23: 5880:New York Feminist Art Institute 3821: 3750: 3737: 3724: 3711: 3698: 3686: 3671: 3656: 3642: 3629: 3614: 3592: 3571: 3544: 3515: 3500: 3430: 3401: 3352: 3334: 3320: 3294: 3032: 2380:Towards the end of the decade, 6227:Women in the art history field 5911:Woman's Building (Los Angeles) 3269: 3240: 3177: 3151: 3053: 2477:Hungarian Academy of Fine Arts 2069:Women's suffrage organizations 1: 5895:Washington Women's Art Center 3693:Cyberfeminism: Next Protocols 3393:Battersby, Christine (1989). 3184:Mullin, Amy (November 2003). 3046: 2755:Jean Auguste Dominique Ingres 2558:Jean-Auguste-Dominique Ingres 5935:Exhibitions or installations 5631:Suffragists and suffragettes 3986: 3551:Barbara Deming; Mary Meigs. 3507:Betterton, Rosemary (1996). 2900:2013, Creative Time and the 2721:takes on the same form that 2054:Suffragists and suffragettes 1984:American feminist literature 49:Proposed since January 2024. 7: 6060:Women Artists in Revolution 5900:Women Artists in Revolution 3905:. London and NY: Routledge 2999:Women Artists of Bangladesh 2961: 2152:Black male feminist artist 1294:Views on transgender topics 1284:Views on sexual orientation 10: 6475: 3951:Women's Work is Never Done 3721:(Pelgrave Macmillan, 2020) 3621:Pollock, Griselda (1996). 3441:. Bloomington: Indiana UP. 3397:. Indiana UP: Bloomington. 3236:. New York: Pandora Press. 3115:. The Art Story Foundation 2879: 2612:developed the idea of the 2235: 2231: 6368: 6318: 6282: 6235: 6214: 6078: 6037: 6003: 5985: 5934: 5837: 5808: 5785: 5703: 5643: 5582: 5575: 5254: 4959: 4705:Female genital mutilation 4648: 4581: 4478: 4198: 4187: 4114:Majority-Muslim countries 4079: 4046: 4003: 3994: 3901:Griselda Pollock (1996). 3706:The Matrixial Borderspace 3368:Women's Studies Quarterly 3218:– via ResearchGate. 2759:painting of the same name 2085:Women's rights by country 991:Female genital mutilation 6222:List of feminist artists 6020:The Feminist Art Journal 5678:Women's studies journals 5636:Women's rights activists 4190:Movements and ideologies 3663:Deepwell, Kathy (1995). 3025: 2989:List of feminist artists 2575: 2533: 2409: 2334: 2090:Feminists by nationality 2064:Women's studies journals 2059:Women's rights activists 782:Movements and ideologies 5926:Women's Studio Workshop 5921:Women's Interart Center 5838:Venues or organizations 5221:International relations 3678:Isaak, Jo Anne (1996). 3139:Nochlin, Linda (1973). 3113:"Feminist art movement" 2719:Philip Golub Reclining, 2677:Example of feminist art 1478:International relations 344:Intersectional variants 6310:Manic Pixie Dream Girl 6065:Women's Caucus for Art 5986:Films or documentaries 5860:Feminist Art Coalition 5651:Conservative feminisms 4949:Women in the workforce 4917:Violence against women 4892:Sexual objectification 4852:Opposition to feminism 4054:Bicycling and feminism 3860:Connie Butler (2007). 2906:Brooklyn Museum of Art 2860: 2853: 2774: 2733:Philip Golub Reclining 2714: 2691:Philip Golub Reclining 2644:Promoting feminist art 2616:. Some works, such as 2366:aggregation sculptures 2193: 2177: 2161: 2004:Conservative feminisms 1259:Bicycling and feminism 1235:Women in the workforce 1203:Violence against women 1178:Sexual objectification 1138:Opposition to feminism 400:Vegetarian ecofeminism 70: 5994:!Women Art Revolution 5795:Feminist art movement 5691:Women in peacekeeping 5231:Revisionist mythology 4668:Children's literature 3717:Ettinger, Bracha L., 3704:Ettinger, Bracha L., 3019:British women artists 2979:Feminist art movement 2920:Sheila de Bretteville 2852: 2847: 2767: 2704: 2454:feminist art movement 2306:civil rights movement 2238:Feminist art movement 2183: 2167: 2151: 2034:Feminist rhetoricians 2024:Feminist philosophers 1576:Revisionist mythology 1279:Views on prostitution 1264:Criticism of marriage 954:Children's literature 61: 39:Feminist art movement 5133:Pathways perspective 4978:Gender mainstreaming 4897:Substantive equality 4877:Reproductive justice 4827:Matriarchal religion 4680:Diversity (politics) 3682:. London: Routledge. 3625:. london: Routledge. 3511:. London: Routledge. 3147:. New York: Collier. 3014:French women artists 3004:Women in photography 2954:Feminist Art Program 2791:Old Master paintings 2638:Bodies© INCorporated 2544:Museum of Modern Art 2444:(1972) appropriated 2356:integrity. In 1963, 2310:Second-wave feminism 2286:Anna Claypoole Peale 2270:nude drawing classes 2203:associated with the 2172:can help readers of 2158:The Holy Virgin Mary 2014:Feminist art critics 1989:Feminist comic books 1946:Lists and categories 1625:By continent/country 1456:Pathways perspective 1339:Gender mainstreaming 1274:Views on pornography 1183:Substantive equality 1163:Reproductive justice 1113:Matriarchal religion 966:Diversity (politics) 907:Political lesbianism 217:Other women's rights 6126:Helen Frankenthaler 5870:Lesbian Art Project 5716:Feminism portal 5596:Ecofeminist authors 5446:Trinidad and Tobago 5386:Republic of Ireland 5246:Composition studies 4927:Women's empowerment 4882:Sex workers' rights 4807:Feminist capitalism 4787:Internalized sexism 4720:Feminism in culture 4603:Kurdish (Jineology) 3947:Catherine de Zegher 3559:on December 6, 2012 3478:"Mary Beth Adelson" 3453:"Mary Beth Edelson" 3165:. February 27, 2017 2994:Postmodern feminism 2554:La Grande Odalisque 2224:, video, film, and 2112:Feminism portal 2019:Feminist economists 2009:Ecofeminist authors 1814:Trinidad and Tobago 1754:Republic of Ireland 1446:Composition studies 1213:Women's empowerment 1168:Sex workers' rights 1093:Feminist capitalism 1073:Internalized sexism 1006:Feminism in culture 119:History of feminism 67:Beauty Interrupted, 6413:Literary criticism 6191:Carolee Schneemann 5951:Three Weeks in May 5091:Literary criticism 4968:Complementarianism 4690:Effects on society 4658:Complementarianism 4470:Women's liberation 3488:on 10 January 2014 3330:. 7 February 2015. 3328:"Is Art Feminine?" 2861: 2854: 2775: 2715: 2610:Bracha L. Ettinger 2194: 2178: 2162: 1424:Literary criticism 1289:Views on sexuality 976:Effects on society 944:Complementarianism 924:Women's liberation 679:Religious variants 653:trans-exclusionary 371:Radical lesbianism 71: 6421: 6420: 6389:Johanson analysis 6343:Female buddy film 6305:Celluloid ceiling 6244: 6243: 6116:Mary Beth Edelson 6111:Elaine de Kooning 5959:The Sister Chapel 5745: 5744: 5699: 5698: 5108:Political ecology 5014:Écriture féminine 4912:Triple oppression 4902:Toxic masculinity 4887:Sexual harassment 4747:Feminist stripper 4725:Feminist movement 4644: 4643: 4582:Ethnic and racial 4183: 4182: 3932:978-1-78627-156-3 3897:978-1-78076-316-3 3874:. Prestel Verlag. 3827:Norma Broude and 3792:978-0-429-50053-4 3730:Christiane Paul, 3635:Harris, Jonathan 3603:. Feministing.com 3360:Pollock, Griselda 3287:978-0-914357-99-5 3098:978-0-415-92088-9 3009:Women Surrealists 2859: (1974–1979) 2446:Leonardo da Vinci 2438:Mary Beth Edelson 2205:feminist movement 2199:is a category of 2170:Elena Poniatowska 2146: 2145: 2097: 2096: 1616: 1615: 1606:womanist theology 1549:Political ecology 1380:Écriture féminine 1307: 1306: 1198:Triple oppression 1188:Toxic masculinity 1173:Sexual harassment 1033:Feminist stripper 1011:Feminist movement 572: 571: 503:Africana womanism 334: 333: 56: 55: 51: 6466: 6449:Feminist theatre 6444:Feminist artists 6439:Contemporary art 6271: 6264: 6257: 6248: 6247: 6186:Rachel Rosenthal 6161:Georgia O'Keeffe 6096:Louise Bourgeois 5967:The Dinner Party 5772: 5765: 5758: 5749: 5748: 5735: 5734: 5725: 5724: 5714: 5713: 5712: 5580: 5579: 5563:History of women 5039:Political theory 4939: 4932:Women-only space 4817:Likeability trap 4782:Invisible labour 4700:Female education 4196: 4195: 4191: 4151:African-American 4081:Women's suffrage 4072: 4059:Feminist history 4001: 4000: 3981: 3974: 3967: 3958: 3957: 3920:Kathleen Soriano 3885:Griselda Pollock 3857: 3832: 3825: 3819: 3816: 3805: 3804: 3778: 3769: 3768: 3766: 3765: 3754: 3748: 3747:(Taschen, 2007). 3741: 3735: 3728: 3722: 3715: 3709: 3702: 3696: 3690: 3684: 3683: 3675: 3669: 3668: 3660: 3654: 3653: 3646: 3640: 3639:Routledge, 2001. 3633: 3627: 3626: 3618: 3612: 3611: 3609: 3608: 3596: 3590: 3589: 3587: 3586: 3581:. 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Lippard 2667: 2646: 2578: 2549:Guerrilla Girls 2536: 2450:The Last Supper 2412: 2375:Suzanne Valadon 2337: 2322:people of color 2297:Lucy R. Lippard 2254:equivalent. In 2244: 2236:Main articles: 2234: 2210:performance art 2142: 2106: 2104: 2099: 2098: 2000: 1947: 1939: 1938: 1937: 1846:Northern Cyprus 1626: 1618: 1617: 1612: 1434:Science fiction 1385: 1364:Women's studies 1329:Feminist method 1319: 1309: 1308: 1303: 1249: 1241: 1240: 1239: 1223: 1133:Oedipus complex 1123:Men in feminism 1088:Language reform 1063:Ideal womanhood 1043:Gender equality 1038:Formal equality 1001:Feminationalism 938: 930: 929: 928: 885:Post-structural 784: 774: 773: 772: 681: 671: 670: 669: 652: 649:Gender-critical 648: 647: 598:Femonationalism 582: 574: 573: 568: 547:Native American 487: 442:Critical theory 404: 346: 336: 335: 330: 285:Second Republic 213: 183: 150: 124:Women's history 104: 52: 28: 24: 17: 12: 11: 5: 6472: 6462: 6461: 6456: 6451: 6446: 6441: 6436: 6419: 6418: 6416: 6415: 6410: 6409: 6408: 6403: 6398: 6391: 6386: 6381: 6375: 6373: 6366: 6365: 6363: 6362: 6361: 6360: 6355: 6345: 6340: 6335: 6330: 6328:Women's cinema 6324: 6322: 6316: 6315: 6313: 6312: 6307: 6302: 6297: 6292: 6290:Hawksian woman 6286: 6284: 6280: 6279: 6277:Women in media 6274: 6273: 6266: 6259: 6251: 6242: 6241: 6236: 6233: 6232: 6230: 6229: 6224: 6218: 6216: 6212: 6211: 6209: 6208: 6203: 6198: 6193: 6188: 6183: 6181:M. C. Richards 6178: 6173: 6168: 6166:Barbara Kruger 6163: 6158: 6153: 6148: 6143: 6138: 6133: 6128: 6123: 6118: 6113: 6108: 6103: 6098: 6093: 6088: 6086:Alison Bechdel 6082: 6080: 6076: 6075: 6073: 6072: 6067: 6062: 6057: 6055:The Waitresses 6052: 6047: 6041: 6039: 6035: 6034: 6032: 6031: 6024: 6016: 6007: 6005: 6001: 6000: 5998: 5997: 5989: 5987: 5983: 5982: 5980: 5979: 5971: 5963: 5955: 5947: 5938: 5936: 5932: 5931: 5929: 5928: 5923: 5918: 5913: 5908: 5903: 5897: 5892: 5887: 5885:SOHO20 Gallery 5882: 5877: 5872: 5867: 5862: 5857: 5847: 5845:A.I.R. Gallery 5841: 5839: 5835: 5834: 5832: 5831: 5825: 5819: 5812: 5810: 5806: 5805: 5803: 5802: 5797: 5792: 5786: 5783: 5782: 5775: 5774: 5767: 5760: 5752: 5743: 5742: 5740: 5739: 5729: 5719: 5704: 5701: 5700: 5697: 5696: 5694: 5693: 5688: 5684:SCUM Manifesto 5680: 5675: 5670: 5669: 5668: 5663: 5653: 5647: 5645: 5641: 5640: 5638: 5633: 5628: 5623: 5618: 5613: 5608: 5603: 5598: 5593: 5588: 5586: 5577: 5573: 5572: 5568: 5567: 5566: 5565: 5555: 5553:United Kingdom 5550: 5545: 5540: 5535: 5530: 5525: 5520: 5515: 5510: 5505: 5500: 5495: 5490: 5485: 5480: 5475: 5470: 5465: 5460: 5455: 5450: 5449: 5448: 5443: 5438: 5433: 5428: 5423: 5418: 5413: 5403: 5398: 5393: 5388: 5383: 5378: 5373: 5368: 5363: 5358: 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5307: 5306: 5301: 5296: 5291: 5286: 5281: 5276: 5271: 5260: 5259: 5258: 5256: 5252: 5251: 5249: 5248: 5243: 5238: 5233: 5228: 5226:Existentialism 5223: 5218: 5213: 5212: 5211: 5201: 5196: 5195: 5194: 5189: 5184: 5182:Existentialism 5179: 5178: 5177: 5175:Justice ethics 5167: 5162: 5157: 5147: 5142: 5137: 5136: 5135: 5125: 5120: 5115: 5110: 5105: 5100: 5099: 5098: 5093: 5088: 5078: 5073: 5068: 5063: 5058: 5057: 5056: 5051: 5041: 5036: 5031: 5026: 5021: 5016: 5011: 5006: 5001: 4996: 4991: 4985: 4980: 4975: 4973:Gender studies 4970: 4965: 4963: 4957: 4956: 4952: 4951: 4946: 4944:Women's rights 4941: 4938:Women's health 4934: 4929: 4924: 4919: 4914: 4909: 4904: 4899: 4894: 4889: 4884: 4879: 4874: 4869: 4864: 4859: 4854: 4849: 4844: 4839: 4834: 4829: 4824: 4822:Male privilege 4819: 4814: 4809: 4804: 4799: 4791:International 4789: 4784: 4779: 4774: 4769: 4764: 4759: 4754: 4749: 4744: 4743: 4742: 4737: 4732: 4722: 4717: 4712: 4707: 4702: 4697: 4692: 4687: 4682: 4677: 4672: 4671: 4670: 4660: 4654: 4653: 4652: 4650: 4646: 4645: 4642: 4641: 4639: 4634: 4629: 4628: 4627: 4617: 4616: 4615: 4610: 4605: 4595: 4590: 4585: 4583: 4579: 4578: 4574: 4573: 4568: 4567: 4566: 4556: 4551: 4546: 4545: 4544: 4539: 4534: 4524: 4523: 4522: 4517: 4512: 4507: 4497: 4492: 4486: 4485: 4484: 4482: 4476: 4475: 4473: 4472: 4467: 4466: 4465: 4455: 4450: 4445: 4440: 4435: 4430: 4429: 4428: 4418: 4413: 4408: 4403: 4398: 4393: 4392: 4391: 4381: 4376: 4371: 4366: 4361: 4356: 4351: 4346: 4341: 4340: 4339: 4329: 4324: 4319: 4314: 4313: 4312: 4302: 4297: 4292: 4287: 4282: 4277: 4276: 4275: 4265: 4260: 4259: 4258: 4248: 4243: 4238: 4233: 4228: 4223: 4218: 4213: 4208: 4202: 4200: 4193: 4185: 4184: 4181: 4180: 4178: 4177: 4176: 4175: 4174: 4173: 4168: 4163: 4153: 4148: 4138: 4137: 4136: 4129:United Kingdom 4126: 4121: 4116: 4111: 4106: 4101: 4096: 4091: 4085: 4083: 4077: 4076: 4074: 4073: 4066: 4061: 4056: 4050: 4048: 4044: 4043: 4041: 4040: 4035: 4030: 4029: 4028: 4018: 4013: 4007: 4005: 3998: 3992: 3991: 3984: 3983: 3976: 3969: 3961: 3955: 3954: 3944: 3934: 3913: 3899: 3887:(ed.) (2013). 3882: 3875: 3868: 3867:The MIT Press. 3858: 3840: 3837: 3834: 3833: 3820: 3806: 3791: 3770: 3749: 3736: 3723: 3710: 3697: 3685: 3670: 3655: 3641: 3628: 3613: 3591: 3570: 3553:"Our Founders" 3543: 3526:. Los Angeles. 3514: 3499: 3469: 3444: 3429: 3400: 3385: 3351: 3333: 3319: 3293: 3286: 3268: 3239: 3221: 3196:(4): 189–213. 3176: 3150: 3126: 3104: 3097: 3077: 3051: 3050: 3048: 3045: 3042: 3041: 3030: 3029: 3027: 3024: 3022: 3021: 3016: 3011: 3006: 3001: 2996: 2991: 2986: 2981: 2976: 2971: 2965: 2963: 2960: 2959: 2958: 2956:in Fresno, CA. 2937: 2930: 2928: 2918: 2911: 2909: 2892: 2885: 2881: 2878: 2855:Judy Chicago, 2836:Judy Chicago, 2815:In her piece, 2717:Her painting, 2678: 2675: 2666: 2663: 2645: 2642: 2634:Victoria Vesna 2614:Matrixial Gaze 2602:World Wide Web 2600:, such as the 2577: 2574: 2566:Barbara Kruger 2535: 2532: 2524:Barbara Deming 2411: 2408: 2400:'s 1964 work, 2336: 2333: 2329:liberalization 2233: 2230: 2214:conceptual art 2144: 2143: 2141: 2140: 2133: 2126: 2118: 2115: 2114: 2101: 2100: 2095: 2094: 2093: 2092: 2087: 2079: 2078: 2074: 2073: 2072: 2071: 2066: 2061: 2056: 2051: 2046: 2041: 2036: 2031: 2029:Feminist poets 2026: 2021: 2016: 2011: 2006: 1999: 1998: 1996:Feminist songs 1993: 1992: 1991: 1986: 1976: 1975: 1974: 1972:by nationality 1964: 1958: 1955: 1954: 1948: 1945: 1944: 1941: 1940: 1936: 1935: 1934: 1933: 1923: 1921:United Kingdom 1918: 1913: 1908: 1903: 1898: 1893: 1888: 1883: 1878: 1873: 1868: 1863: 1858: 1853: 1848: 1843: 1838: 1833: 1828: 1823: 1818: 1817: 1816: 1811: 1806: 1801: 1796: 1791: 1786: 1781: 1771: 1766: 1761: 1756: 1751: 1746: 1741: 1736: 1731: 1726: 1721: 1716: 1711: 1706: 1701: 1696: 1691: 1686: 1681: 1676: 1675: 1674: 1669: 1664: 1659: 1654: 1649: 1644: 1639: 1628: 1627: 1624: 1623: 1620: 1619: 1614: 1613: 1611: 1610: 1609: 1608: 1598: 1593: 1588: 1583: 1578: 1573: 1572: 1571: 1561: 1556: 1551: 1546: 1545: 1544: 1539: 1534: 1532:Existentialism 1529: 1528: 1527: 1525:Justice ethics 1517: 1512: 1507: 1497: 1492: 1487: 1486: 1485: 1483:Constructivism 1475: 1470: 1465: 1460: 1459: 1458: 1448: 1443: 1438: 1437: 1436: 1431: 1426: 1421: 1411: 1406: 1401: 1395: 1392: 1391: 1390:Areas of study 1387: 1386: 1384: 1383: 1376: 1371: 1366: 1361: 1356: 1351: 1346: 1341: 1336: 1334:Gender studies 1331: 1325: 1320: 1315: 1314: 1311: 1310: 1305: 1304: 1302: 1301: 1299:SCUM Manifesto 1296: 1291: 1286: 1281: 1276: 1271: 1266: 1261: 1255: 1250: 1247: 1246: 1243: 1242: 1238: 1237: 1232: 1230:Women's rights 1227: 1224:Women's health 1220: 1215: 1210: 1205: 1200: 1195: 1190: 1185: 1180: 1175: 1170: 1165: 1160: 1155: 1150: 1145: 1140: 1135: 1130: 1125: 1120: 1115: 1110: 1108:Male privilege 1105: 1100: 1095: 1090: 1085: 1077:International 1075: 1070: 1065: 1060: 1055: 1050: 1045: 1040: 1035: 1030: 1029: 1028: 1023: 1018: 1008: 1003: 998: 993: 988: 983: 978: 973: 968: 963: 958: 957: 956: 946: 940: 939: 936: 935: 932: 931: 927: 926: 921: 919:Technofeminism 916: 915: 914: 909: 904: 894: 893: 892: 882: 877: 876: 875: 874: 873: 863: 858: 848: 847: 846: 845: 844: 829: 824: 819: 818: 817: 812: 802: 797: 792: 786: 785: 780: 779: 776: 775: 771: 770: 765: 764: 763: 753: 748: 743: 742: 741: 736: 731: 721: 720: 719: 714: 709: 704: 694: 689: 683: 682: 677: 676: 673: 672: 668: 667: 662: 657: 644: 643: 642: 637: 632: 622: 617: 616: 615: 605: 600: 595: 590: 584: 583: 581:Other variants 580: 579: 576: 575: 570: 569: 567: 566: 561: 556: 551: 550: 549: 539: 538: 537: 527: 526: 525: 520: 515: 505: 499: 496: 495: 489: 488: 486: 485: 480: 479: 478: 473: 463: 462: 461: 451: 450: 449: 444: 434: 429: 428: 427: 416: 413: 412: 406: 405: 403: 402: 397: 396: 395: 385: 380: 379: 378: 373: 368: 358: 352: 347: 342: 341: 338: 337: 332: 331: 329: 328: 327: 326: 316: 315: 314: 309: 307:Cayman Islands 302:United Kingdom 299: 294: 293: 292: 287: 279: 274: 269: 264: 259: 254: 249: 244: 239: 233: 230: 229: 222: 221: 220: 219: 212: 211: 210: 209: 204: 193: 190: 189: 185: 184: 182: 181: 176: 171: 166: 160: 157: 156: 152: 151: 149: 148: 147: 146: 141: 136: 131: 121: 116: 110: 105: 102: 101: 98: 97: 89: 88: 82: 81: 54: 53: 31: 29: 22: 15: 9: 6: 4: 3: 2: 6471: 6460: 6459:Political art 6457: 6455: 6452: 6450: 6447: 6445: 6442: 6440: 6437: 6435: 6432: 6431: 6429: 6414: 6411: 6407: 6404: 6402: 6399: 6397: 6394: 6393: 6392: 6390: 6387: 6385: 6382: 6380: 6379:Art criticism 6377: 6376: 6374: 6371: 6367: 6359: 6356: 6354: 6351: 6350: 6349: 6346: 6344: 6341: 6339: 6336: 6334: 6331: 6329: 6326: 6325: 6323: 6321: 6320:Women in film 6317: 6311: 6308: 6306: 6303: 6301: 6298: 6296: 6293: 6291: 6288: 6287: 6285: 6281: 6272: 6267: 6265: 6260: 6258: 6253: 6252: 6249: 6239: 6234: 6228: 6225: 6223: 6220: 6219: 6217: 6213: 6207: 6204: 6202: 6199: 6197: 6196:Cindy Sherman 6194: 6192: 6189: 6187: 6184: 6182: 6179: 6177: 6174: 6172: 6169: 6167: 6164: 6162: 6159: 6157: 6154: 6152: 6149: 6147: 6144: 6142: 6139: 6137: 6134: 6132: 6129: 6127: 6124: 6122: 6119: 6117: 6114: 6112: 6109: 6107: 6104: 6102: 6099: 6097: 6094: 6092: 6091:Lynda Benglis 6089: 6087: 6084: 6083: 6081: 6079:Notable women 6077: 6071: 6068: 6066: 6063: 6061: 6058: 6056: 6053: 6051: 6048: 6046: 6043: 6042: 6040: 6036: 6029: 6025: 6022: 6021: 6017: 6014: 6013: 6009: 6008: 6006: 6002: 5996: 5995: 5991: 5990: 5988: 5984: 5977: 5976: 5972: 5969: 5968: 5964: 5961: 5960: 5956: 5953: 5952: 5948: 5945: 5944: 5940: 5939: 5937: 5933: 5927: 5924: 5922: 5919: 5917: 5914: 5912: 5909: 5907: 5904: 5901: 5898: 5896: 5893: 5891: 5888: 5886: 5883: 5881: 5878: 5876: 5873: 5871: 5868: 5866: 5863: 5861: 5858: 5855: 5851: 5848: 5846: 5843: 5842: 5840: 5836: 5829: 5826: 5823: 5820: 5817: 5814: 5813: 5811: 5807: 5801: 5800:Women artists 5798: 5796: 5793: 5791: 5788: 5787: 5784: 5780: 5773: 5768: 5766: 5761: 5759: 5754: 5753: 5750: 5738: 5730: 5728: 5720: 5718: 5717: 5706: 5705: 5702: 5692: 5689: 5686: 5685: 5681: 5679: 5676: 5674: 5671: 5667: 5664: 5662: 5659: 5658: 5657: 5654: 5652: 5649: 5648: 5646: 5642: 5637: 5634: 5632: 5629: 5627: 5624: 5622: 5619: 5617: 5614: 5612: 5609: 5607: 5604: 5602: 5599: 5597: 5594: 5592: 5589: 5587: 5585: 5581: 5578: 5574: 5564: 5561: 5560: 5559: 5558:United States 5556: 5554: 5551: 5549: 5546: 5544: 5541: 5539: 5536: 5534: 5531: 5529: 5526: 5524: 5521: 5519: 5516: 5514: 5511: 5509: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5481: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5412: 5409: 5408: 5407: 5406:Latin America 5404: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5382: 5379: 5377: 5374: 5372: 5369: 5367: 5364: 5362: 5359: 5357: 5354: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5305: 5302: 5300: 5297: 5295: 5292: 5290: 5287: 5285: 5282: 5280: 5277: 5275: 5272: 5270: 5267: 5266: 5265: 5262: 5261: 5257: 5253: 5247: 5244: 5242: 5239: 5237: 5236:Technoscience 5234: 5232: 5229: 5227: 5224: 5222: 5219: 5217: 5214: 5210: 5207: 5206: 5205: 5202: 5200: 5197: 5193: 5190: 5188: 5185: 5183: 5180: 5176: 5173: 5172: 5171: 5168: 5166: 5163: 5161: 5158: 5156: 5153: 5152: 5151: 5148: 5146: 5143: 5141: 5138: 5134: 5131: 5130: 5129: 5126: 5124: 5121: 5119: 5116: 5114: 5111: 5109: 5106: 5104: 5101: 5097: 5094: 5092: 5089: 5087: 5086:Art criticism 5084: 5083: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5064: 5062: 5059: 5055: 5052: 5050: 5047: 5046: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5010: 5007: 5005: 5002: 5000: 4999:Men's studies 4997: 4995: 4992: 4990: 4987: 4986: 4984: 4981: 4979: 4976: 4974: 4971: 4969: 4966: 4964: 4962: 4958: 4950: 4947: 4945: 4942: 4940: 4935: 4933: 4930: 4928: 4925: 4923: 4920: 4918: 4915: 4913: 4910: 4908: 4907:Transmisogyny 4905: 4903: 4900: 4898: 4895: 4893: 4890: 4888: 4885: 4883: 4880: 4878: 4875: 4873: 4870: 4868: 4867:Purplewashing 4865: 4863: 4862:Protofeminism 4860: 4858: 4855: 4853: 4850: 4848: 4845: 4843: 4840: 4838: 4835: 4833: 4830: 4828: 4825: 4823: 4820: 4818: 4815: 4813: 4810: 4808: 4805: 4803: 4800: 4798: 4794: 4790: 4788: 4785: 4783: 4780: 4778: 4775: 4773: 4772:Honor killing 4770: 4768: 4765: 4763: 4760: 4758: 4755: 4753: 4750: 4748: 4745: 4741: 4738: 4736: 4733: 4731: 4728: 4727: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4703: 4701: 4698: 4696: 4693: 4691: 4688: 4686: 4683: 4681: 4678: 4676: 4673: 4669: 4666: 4665: 4664: 4661: 4659: 4656: 4655: 4651: 4647: 4638: 4635: 4633: 4630: 4626: 4623: 4622: 4621: 4618: 4614: 4611: 4609: 4606: 4604: 4601: 4600: 4599: 4596: 4594: 4591: 4589: 4586: 4584: 4580: 4572: 4569: 4565: 4562: 4561: 4560: 4557: 4555: 4552: 4550: 4547: 4543: 4540: 4538: 4535: 4533: 4530: 4529: 4528: 4525: 4521: 4518: 4516: 4513: 4511: 4508: 4506: 4503: 4502: 4501: 4498: 4496: 4493: 4491: 4488: 4487: 4483: 4481: 4477: 4471: 4468: 4464: 4461: 4460: 4459: 4456: 4454: 4451: 4449: 4448:Transnational 4446: 4444: 4441: 4439: 4436: 4434: 4431: 4427: 4424: 4423: 4422: 4419: 4417: 4414: 4412: 4409: 4407: 4404: 4402: 4399: 4397: 4394: 4390: 4387: 4386: 4385: 4382: 4380: 4377: 4375: 4372: 4370: 4367: 4365: 4362: 4360: 4357: 4355: 4352: 4350: 4347: 4345: 4342: 4338: 4335: 4334: 4333: 4330: 4328: 4325: 4323: 4320: 4318: 4317:Individualist 4315: 4311: 4308: 4307: 4306: 4303: 4301: 4298: 4296: 4293: 4291: 4288: 4286: 4283: 4281: 4278: 4274: 4271: 4270: 4269: 4266: 4264: 4261: 4257: 4254: 4253: 4252: 4249: 4247: 4244: 4242: 4239: 4237: 4234: 4232: 4229: 4227: 4224: 4222: 4219: 4217: 4216:Anti-abortion 4214: 4212: 4209: 4207: 4204: 4203: 4201: 4197: 4194: 4192: 4186: 4172: 4169: 4167: 4164: 4162: 4159: 4158: 4157: 4154: 4152: 4149: 4147: 4144: 4143: 4142: 4141:United States 4139: 4135: 4132: 4131: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4110: 4107: 4105: 4102: 4100: 4097: 4095: 4092: 4090: 4087: 4086: 4084: 4082: 4078: 4071: 4067: 4065: 4062: 4060: 4057: 4055: 4052: 4051: 4049: 4045: 4039: 4036: 4034: 4031: 4027: 4024: 4023: 4022: 4019: 4017: 4014: 4012: 4009: 4008: 4006: 4002: 3999: 3997: 3993: 3989: 3982: 3977: 3975: 3970: 3968: 3963: 3962: 3959: 3952: 3948: 3945: 3942: 3938: 3935: 3933: 3929: 3925: 3921: 3917: 3914: 3912: 3911:0-415-14128-1 3908: 3904: 3900: 3898: 3894: 3891:. I.B.Tauris 3890: 3886: 3883: 3881:. I.B.Tauris. 3880: 3876: 3873: 3869: 3866: 3864: 3859: 3855: 3851: 3847: 3843: 3842: 3830: 3824: 3815: 3813: 3811: 3802: 3798: 3794: 3788: 3784: 3777: 3775: 3759: 3753: 3746: 3745:New Media Art 3740: 3733: 3727: 3720: 3714: 3707: 3701: 3694: 3689: 3681: 3674: 3666: 3659: 3651: 3645: 3638: 3632: 3624: 3617: 3602: 3595: 3580: 3574: 3563:September 25, 3558: 3554: 3547: 3539: 3533: 3525: 3518: 3510: 3503: 3487: 3483: 3479: 3473: 3458: 3454: 3448: 3440: 3433: 3425: 3419: 3411: 3404: 3396: 3389: 3381: 3377: 3373: 3369: 3365: 3361: 3355: 3347: 3343: 3337: 3329: 3323: 3307: 3303: 3297: 3289: 3283: 3279: 3272: 3258:on 2018-03-03 3257: 3253: 3249: 3243: 3235: 3228: 3226: 3211: 3207: 3203: 3199: 3195: 3191: 3187: 3180: 3164: 3160: 3154: 3146: 3142: 3135: 3133: 3131: 3114: 3108: 3100: 3094: 3090: 3089: 3081: 3066: 3062: 3056: 3052: 3035: 3031: 3020: 3017: 3015: 3012: 3010: 3007: 3005: 3002: 3000: 2997: 2995: 2992: 2990: 2987: 2985: 2982: 2980: 2977: 2975: 2974:Cyberfeminism 2972: 2970: 2967: 2966: 2955: 2951: 2947: 2943: 2941: 2934: 2929: 2925: 2921: 2915: 2910: 2907: 2903: 2899: 2895: 2889: 2884: 2883: 2877: 2875: 2869: 2865: 2858: 2851: 2846: 2842: 2839: 2834: 2833: 2831: 2830: 2825: 2820: 2818: 2813: 2809: 2806: 2805: 2803: 2799: 2794: 2792: 2788: 2783: 2781: 2772: 2771: 2766: 2762: 2760: 2756: 2752: 2751: 2747:The painting 2745: 2744: 2742: 2736: 2734: 2730: 2729: 2724: 2720: 2713: 2709: 2708: 2703: 2699: 2695: 2694: 2692: 2688: 2687:Sylvia Sleigh 2683: 2674: 2671: 2662: 2659: 2654: 2652: 2641: 2639: 2635: 2631: 2627: 2623: 2619: 2615: 2611: 2607: 2603: 2599: 2598:digital media 2595: 2591: 2587: 2583: 2582:cyberfeminism 2573: 2571: 2567: 2562: 2559: 2555: 2550: 2545: 2542:In 1985, the 2540: 2531: 2529: 2525: 2520: 2518: 2517: 2512: 2507: 2505: 2504:Robert Morris 2501: 2497: 2496:Lynda Benglis 2493: 2488: 2486: 2480: 2478: 2474: 2473:Orshi Drozdik 2470: 2466: 2462: 2457: 2455: 2451: 2447: 2443: 2439: 2435: 2431: 2429: 2428: 2423: 2422: 2417: 2407: 2405: 2404: 2399: 2394: 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1454: 1453: 1452: 1449: 1447: 1444: 1442: 1439: 1435: 1432: 1430: 1427: 1425: 1422: 1420: 1419:Art criticism 1417: 1416: 1415: 1412: 1410: 1407: 1405: 1402: 1400: 1397: 1396: 1394: 1393: 1389: 1388: 1382: 1381: 1377: 1375: 1372: 1370: 1369:Men's studies 1367: 1365: 1362: 1360: 1357: 1355: 1352: 1350: 1347: 1345: 1342: 1340: 1337: 1335: 1332: 1330: 1327: 1326: 1324: 1323: 1318: 1313: 1312: 1300: 1297: 1295: 1292: 1290: 1287: 1285: 1282: 1280: 1277: 1275: 1272: 1270: 1269:Views on BDSM 1267: 1265: 1262: 1260: 1257: 1256: 1254: 1253: 1245: 1244: 1236: 1233: 1231: 1228: 1226: 1221: 1219: 1216: 1214: 1211: 1209: 1206: 1204: 1201: 1199: 1196: 1194: 1193:Transmisogyny 1191: 1189: 1186: 1184: 1181: 1179: 1176: 1174: 1171: 1169: 1166: 1164: 1161: 1159: 1156: 1154: 1153:Purplewashing 1151: 1149: 1148:Protofeminism 1146: 1144: 1141: 1139: 1136: 1134: 1131: 1129: 1126: 1124: 1121: 1119: 1116: 1114: 1111: 1109: 1106: 1104: 1101: 1099: 1096: 1094: 1091: 1089: 1086: 1084: 1080: 1076: 1074: 1071: 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Retrieved 3064: 3055: 3034: 2969:Art+Feminism 2946:Judy Chicago 2938: 2923: 2897: 2894:Suzanne Lacy 2870: 2866: 2862: 2856: 2837: 2835: 2827: 2824:Judy Chicago 2822: 2821: 2816: 2814: 2810: 2807: 2801: 2798:Ana Mendieta 2796: 2795: 2784: 2776: 2768: 2748: 2746: 2740: 2738: 2737: 2732: 2726: 2718: 2716: 2705: 2696: 2690: 2685: 2684: 2680: 2668: 2657: 2655: 2650: 2647: 2637: 2629: 2626:Prema Murthy 2621: 2618:Olia Lialina 2579: 2569: 2563: 2553: 2541: 2537: 2521: 2514: 2508: 2499: 2492:Ana Mendieta 2489: 2485:Ana Mendieta 2481: 2468: 2465:Hannah Wilke 2461:Judith Black 2458: 2449: 2441: 2436: 2432: 2425: 2419: 2416:Judy Chicago 2413: 2401: 2395: 2379: 2369: 2365: 2361: 2358:Yayoi Kusama 2354: 2338: 2326: 2294: 2290:Mary Cassatt 2255: 2248:Michelangelo 2245: 2197:Feminist art 2196: 2195: 2190:Angela Davis 1876:Saudi Arabia 1672:South Africa 1515:Epistemology 1490:Legal theory 1413: 1409:Architecture 1399:Anthropology 1378: 1344:Gynocentrism 1208:War on women 1143:Pro-feminism 1098:Gender-blind 1048:Gender quota 1021:Art movement 795:Anti-fascist 729:Dianic Wicca 608:Postfeminism 483:Xenofeminism 466:Postcolonial 383:Sex-positive 66: 48: 37: 6401:Female gaze 6384:Film theory 6333:Chick flick 6201:Alma Thomas 6156:Lee Krasner 6146:Lila Katzen 6121:Suzi Ferrer 6070:Where We At 6023:(1972–1977) 6015:(1977–1992) 5962:(1974–1978) 5666:Comic books 5591:Art critics 5513:South Korea 5493:Philippines 5473:New Zealand 5468:Netherlands 5199:Pornography 5187:Metaphysics 5128:Criminology 5123:Archaeology 5096:Film theory 4797:Women's Day 4542:Ecofeminist 4401:Reactionary 4349:Materialist 4124:Switzerland 4119:New Zealand 4038:Fourth-wave 4021:Second-wave 3732:Digital Art 3169:February 9, 2832:(1974–1979) 2782:enjoys it. 2780:male viewer 2658:Ms Magazine 2427:Roe v. Wade 2387:art history 2382:progressive 2350:objectified 2342:pin-up girl 2274:still lives 2154:Chris Ofili 1881:South Korea 1861:Philippines 1841:New Zealand 1836:Netherlands 1559:Pornography 1537:Metaphysics 1451:Criminology 1429:Film theory 1404:Archaeology 1083:Women's Day 880:Libertarian 822:Ecofeminism 739:Ecofeminist 620:Reactionary 613:Neofeminism 554:Multiracial 459:Ecofeminist 454:Materialist 297:Switzerland 277:New Zealand 6428:Categories 6353:Final girl 6300:Jouissance 6206:June Wayne 5943:Womanhouse 5809:Precursors 5656:Literature 5601:Economists 5321:Bangladesh 5255:By country 5204:Psychology 5160:Empiricism 5155:Aesthetics 5150:Philosophy 5009:Patriarchy 4989:Matriarchy 4793:Girl's Day 4767:Girl power 4740:In hip hop 4663:Literature 4598:Indigenous 4537:Reclaiming 4433:Standpoint 4406:Separatism 4379:Postmodern 4273:Vegetarian 4263:Difference 4206:Analytical 4033:Third-wave 4016:First-wave 3916:Liz Rideal 3801:1028731181 3764:2020-05-30 3607:2015-09-25 3585:2015-09-25 3492:10 January 3462:11 January 3306:Walker Art 3302:"Oven-Pan" 3262:2019-03-17 3215:2022-01-15 3119:13 January 3047:References 2940:Womanhouse 2586:VNS Matrix 2528:Mary Meigs 2389:, such as 2346:sexualized 2278:landscapes 2222:craftivism 2077:Categories 1979:Literature 1689:Bangladesh 1564:Psychology 1510:Empiricism 1505:Aesthetics 1500:Philosophy 1374:Patriarchy 1359:Matriarchy 1079:Girl's Day 1053:Girl power 1026:In hip hop 949:Literature 912:Separatist 890:Postmodern 856:Difference 790:Analytical 734:Reclaiming 542:Indigenous 447:Standpoint 376:Separatist 228:by country 6396:Male gaze 6295:Seriality 6141:Eva Hesse 5411:Argentina 5371:Indonesia 5361:Hong Kong 5316:Australia 5216:Seriality 5140:Geography 5066:Sociology 5019:Economics 5004:Kyriarchy 4500:Christian 4480:Religious 4421:Socialist 4211:Anarchist 4156:States of 4094:Australia 3532:cite book 3418:cite book 3412:. London. 3210:143993527 2952:, at the 2723:Velasquez 2630:Bindigirl 2606:hypertext 2522:In 1975, 2418:'s work, 2403:Cut Piece 2352:fashion. 2226:fiber art 2174:Knowledge 1967:Feminists 1779:Argentina 1739:Indonesia 1729:Hong Kong 1684:Australia 1591:Sociology 1473:Geography 1463:Economics 1354:Male gaze 1349:Kyriarchy 815:Networked 697:Christian 432:Jineology 420:Anarchist 410:Socialist 290:Francoist 242:Australia 188:Timelines 6176:Yoko Ono 6030:" (1971) 5727:Category 5661:American 5533:Thailand 5488:Pakistan 5458:Malaysia 5441:Paraguay 5431:Honduras 5279:Ethiopia 5145:Pedagogy 5071:Rhetoric 5061:Sexology 5054:Womanist 5049:Thealogy 5044:Theology 4842:Misogyny 4710:Femicide 4695:Equality 4649:Concepts 4564:Orthodox 4527:Neopagan 4515:Womanist 4495:Buddhist 4463:Africana 4458:Womanism 4354:Maternal 4344:Lipstick 4310:Activism 4280:Equality 4246:Cultural 4231:Carceral 4166:Virginia 4146:Timeline 4089:Timeline 4026:timeline 4011:Timeline 3988:Feminism 3949:(2015). 3922:(2018). 3852:(1994). 3380:40004832 3362:(1987). 3312:30 March 3252:Artspace 2962:See also 2516:Rhythm 0 2500:Artforum 2398:Yoko Ono 2391:quilting 2370:Oven-Pan 2362:Oven-Pan 2360:created 2282:portrait 2252:Da Vinci 2218:body art 1962:Articles 1901:Thailand 1856:Pakistan 1826:Malaysia 1809:Paraguay 1799:Honduras 1647:Ethiopia 1601:Theology 1586:Sexology 1581:Sex wars 1495:Pedagogy 1248:Outlooks 1128:Misogyny 996:Femicide 981:Equality 937:Concepts 902:Cultural 861:Equality 842:Stiletto 837:Lipstick 761:Orthodox 724:Neopagan 712:Womanist 692:Buddhist 640:Embedded 635:Imperial 630:Carceral 603:Maternal 564:Womanism 252:Colombia 139:Canadian 129:American 86:Feminism 78:a series 76:Part of 6045:subRosa 5673:Parties 5548:Ukraine 5543:Vietnam 5453:Lebanon 5351:Germany 5341:Finland 5336:Denmark 5311:Albania 5299:Senegal 5294:Nigeria 5209:Therapy 5192:Science 5103:Biology 4625:Mizrahi 4593:Chicana 4554:Islamic 4490:Atheist 4426:Marxist 4396:Radical 4332:Liberal 4327:Lesbian 4305:Hip hop 4285:Eugenic 4226:Atheist 4199:General 4171:Wyoming 4004:General 3996:History 3190:Hypatia 3143:(ed.). 3070:4 April 2880:Gallery 2594:subRosa 2232:History 1916:Ukraine 1911:Vietnam 1821:Lebanon 1719:Germany 1709:Finland 1704:Denmark 1679:Albania 1667:Senegal 1662:Nigeria 1569:Therapy 1542:science 1441:Biology 897:Radical 851:Liberal 827:Eugenic 751:Islamic 687:Atheist 535:Lesbian 530:Chicana 523:Ratchet 518:Lesbian 513:Hip hop 437:Marxist 361:Lesbian 237:Austria 134:British 103:History 44:Discuss 6372:theory 6348:Horror 6283:Tropes 6038:Groups 5978:(2007) 5970:(1979) 5954:(1977) 5946:(1972) 5830:(1892) 5824:(1889) 5818:(1881) 5687:(1967) 5611:Muslim 5606:Jewish 5584:People 5538:Turkey 5528:Taiwan 5518:Sweden 5503:Russia 5498:Poland 5483:Norway 5436:Mexico 5416:Brazil 5391:Israel 5356:Greece 5346:France 5326:Canada 5264:Africa 5170:Ethics 5029:Method 4961:Theory 4872:Racism 4632:Romani 4620:Jewish 4559:Jewish 4505:Mormon 4453:Victim 4416:Social 4389:French 4337:Equity 4300:Global 4236:Choice 4109:Kuwait 4099:Canada 4047:Social 3930: 3909: 3895: 3799: 3789: 3378: 3284: 3208: 3095: 2804:(1976) 2743:(1973) 2693:(1971) 2592:, and 2588:, OBN/ 2490:While 2318:racism 2314:sexism 2308:, and 2304:, the 1906:Turkey 1896:Taiwan 1886:Sweden 1871:Russia 1866:Poland 1851:Norway 1804:Mexico 1784:Brazil 1759:Israel 1724:Greece 1714:France 1694:Canada 1632:Africa 1520:Ethics 1317:Theory 1158:Racism 866:Social 756:Jewish 702:Mormon 660:Victim 593:Equity 559:Romani 471:Global 324:states 281:Spain 267:Kuwait 247:Canada 179:Fourth 169:Second 144:German 34:merged 6215:Lists 5902:(WAR) 5737:Index 5644:Other 5621:Poets 5576:Lists 5523:Syria 5463:Nepal 5426:Haiti 5421:Chile 5401:Japan 5396:Italy 5366:India 5331:China 5284:Ghana 5274:Egypt 4832:Media 4637:White 4588:Black 4549:Hindu 4520:Asian 4443:Trans 4438:State 4369:Post- 4322:Labor 4251:Cyber 4134:Wales 4104:Japan 3376:JSTOR 3206:S2CID 3026:Notes 2924:Pink, 2576:1990s 2534:1980s 2410:1970s 2396:With 2335:1960s 2280:, or 1953:Lists 1891:Syria 1831:Nepal 1794:Haiti 1789:Chile 1769:Japan 1764:Italy 1734:India 1699:China 1652:Ghana 1642:Egypt 1118:Media 871:Labor 746:Hindu 717:Asian 665:White 625:State 508:Black 425:Queer 312:Wales 262:Japan 257:India 174:Third 164:First 155:Waves 36:into 5381:Iraq 5376:Iran 5289:Mali 4795:and 4613:Sámi 4571:Sikh 4359:Neo- 4161:Utah 3928:ISBN 3918:and 3907:ISBN 3893:ISBN 3797:OCLC 3787:ISBN 3565:2015 3538:link 3494:2014 3464:2014 3424:link 3314:2024 3282:ISBN 3171:2018 3121:2014 3093:ISBN 3072:2018 2948:and 2316:and 2288:and 2240:and 2156:’s 1749:Iraq 1744:Iran 1657:Mali 1468:FDPA 1081:and 768:Sikh 69:2011 5081:Art 4510:New 4364:New 4290:Fat 4268:Eco 4256:HCI 3346:CNN 3198:doi 2757:'s 2636:'s 2628:'s 2620:'s 2568:'s 2556:by 2456:." 2448:’s 2440:'s 2348:or 2250:or 2201:art 1414:Art 810:HCI 707:New 651:or 356:Fat 42:. 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