From a lecture given on 7 November 2011 at the Ludwig-Maximilians-Universitat Munchen, and on 1 December 2011 at the Freie Universitat Berlin, Top Girls focuses on media images, since the late 1990s, which were intended to provoke some, imagined group of (always humourless) feminists. These images appeared, in a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against what was caricatured as a kind of extreme, and usually man-hating feminism, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.

This article can be found in miscellaneous articles, folder 5A.

Martha Wilson Sourcebook is the first in a new publication series by ICI that offers a fresh perspective on social, political, and cultural issues impacting artists’ practices. Each compendium is comprised of articles, letters, newspaper cuttings, extracts from books, and images that an artist selects from their own archive and annotates with personal commentaries on the themes that arise. By using this subjective approach as a lens through which to rediscover pivotal debates in art and reconsider seminal texts, as well as to introduce little-known or out-of-print material, the Sourcebook series places emphasis on the histories and theories that have had a formative influence on an artist’s thought process.

n.paradoxa's 12 Step Guide to Feminist Art, Art History and Criticism invites readers to ask themselves difficult questions about the visibility of women artists, stereotypes of women artists in canons of art history, and to think about different theoretical approaches to a feminist art history of women artists. It offers further reading on a number of issues including: images of women; women as cultural producers; the politics of feminist art; and distinguishing between art in/of the feminine and feminist art.

This Article can be found in, Miscellaneous articles folder 5A

Feminist Futures? sets out to ask if and in what way feminism remains relevant to theatre and performance practice of the twenty-first century. Responding to this question is an excellent, cross-generational mix of theatre scholars and practitioners whose essays engage in lively, cutting edge critical debates on issues such as citizenship, autobiography, cultural heritage, political agency, and body/technology, as circulating in contemporary feminism and performance today.

In this richly detailed memoir, Pam Tent offers a fascinating glimpse into the tumultuous life of a liberation movement – both artistic and sexual – whose influence is still apparent in the worlds of theatre, music, fashion, gay politics, gay spirituality, and urban club life.

Taken from banners carried in a 1992 protest outside the Guggenheim Museum, the title phrase 'Where is Ana Mendieta?' evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Jane Blocker discusses the power of Mendieta's earth-and-body art to alter, unsettle, and broaden terms of identity itself.

David Wojnarowicz's photography, painting, performance, and writing aggressively challenge authority and hypocrisy. Brush Fires in the Social Landscape brings us the voice of an artist who spoke to and for a generation wrestling with issues of sexuality, identity, and the fragility of life.

Part of the Library of Performing Rights (LPR) (P3041).

This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)