Special
Topics in Curriculum: Feminism(s),
Art, and Education
Summer Session 1999
Ontario Institute for Studies in Education/University
of
Course Level: Masters
Course Number: 1799HS3
Instructor: Hilary E. Davis, PhD
Course
Abstract:
This seminar will explore recent developments in the
theory and practice of North American feminist art, focusing specifically on
its liberatory and pedagogical potential.
Topics to be explored will include: the 'male gaze' & the feminist
oppositional gaze; the role of the spectator in creating meaning & 'getting
the message'; feminist art as activist art; gynocentric aesthetics versus
feminist rejections of aesthetics; & the role of the museum or gallery in
education. The work of feminist artists
and theorists such as the Guerrilla Girls, Adrian Piper, Barbara Kruger,
Griselda Pollock, bell hooks, & Lucy Lippard will be considered. The course will also include visits to
Course
Breakdown
of Assignments:
Preliminary Abstract (5%):
A brief description of your proposed research project
and methodology. Your abstract should be
1-2 paragraphs or no more than 250 words (1 page). Your abstract may change as the course
progresses and your refine your interests.
Due Date:
Tuesday, July 20th (Week 3)
Annotated Bibliography (15%):
This annotated of bibliography should include at least
6 sources which you plan to use in your final paper. At least three of these must be
selected from among the required readings for the course. In annotating this bibliography, please
provide a brief description of the source (article, book, syllabus, web cite,
etc...) and its relevance to your research paper. These brief descriptions should be
approximately one paragraph.
Due Date:
Tuesday, July 20th (Week 3)
Revised Abstract and Paper Outline (30%):
A revised abstract of your research project (again no
more than 250 words) and a detailed outline which reveals the structure of
your essay and briefly describes your key arguments and/or discussions. I recommend describing each of your key
discussions in a brief paragraph. Please
include an updated bibliography (new sources do not need to be annotated). Rough drafts will also be accepted.
Due Date:
Thursday, August 5th (Week 5)
Final Paper (50%):
When submitting your final paper, please submit all
the previous assignments (abstracts, annotated biliography, & outline).
Due Date:
Thursday, August 19th
Bibliographic
Course Outline
Week 1: Introduction: Feminism and Art History
(July 6th
& 8th)
Linda Nochlin, "Why Have There Been No Great
Women Artists?" in Nochlin, Women
Art, and Power and Other Essays. (NY:
Harper & Row Publishers, 1988).
Griselda Pollock, "About Canons and Culture
Wars" and (recommended) "Feminism's Encounter with the Canon,"
in Pollock, Differencing the Canon: Feminist Desire and the Writing of Art's
Histories. (NY: Routledge, 1999).
Griselda Pollock, "Vision, Voice and Power:
Feminist Art Histories and Marxism," in Pollock, Vision and Difference:
Femininity, Feminism and the Histories of Art. (NY:
Routledge, 1988).
Anita Silvers, "Has Her(oine's) Time Now
Come?" in Peggy Zeglin Brand & Carolyn Korsmeyer, (eds.), Feminism
and Tradition in Aesthetics, (University Park, PA: The Pennsylvania State
University Press, 1995).
Isaak, Jo Anna.
"Art History and Its (Dis)Contents" in Isaak, Feminism and
Contemporary Art: The Revolutionary Power of Women's Laughter. (NY: Routledge, 1996).
Mira Schor, "Patrilineage," in Joanna Frueh,
Cassandra L. Langer, & Arlene Raven, (eds.), New Feminist Criticism:
Art, Identity, Action, (NY: Harper Collins, 1991).
Harmony Hammond, "A Space of Infinite and
Pleasurable Possibilities: Lesbian Self-Representation in Visual Art," in
Joanna Frueh, Cassandra L. Langer, & Arlene Raven, (eds.), New Feminist
Criticism: Art, Identity, Action, (NY: Harper Collins, 1991).
Recommended
Norma Broude and Mary D. Garrard. "Introduction: Feminism and Art
History." In Broude and Garrard
(eds.), Feminism and Art History:
Questioning the Litany. (NY: Harper
& Row, 1982).
Pollock, Griselda.
"The Politics of Theory: Generations and Geographies in Feminist
Theory and the Histories of Art Histories" in Pollock (ed.), Generations
and Geographies in the Visual Arts: Feminist
Gloria Feman Orenstein,. "Art History." Signs: Journal of Women in Culture and
Society vol. 1, no. 2 (1975): 505-525.
Maurice Berger,
Introduction to How Art Becomes History: Essays on Art, Society, and
Culture in Post-New Deal
Week 2: The
Aesthetic/Deaesthetic Debate within Feminist Theory
(July 13th
& 15th)
Rozsika Parker & Griselda Pollock, "Crafty
Women and the Hierarchy of the Arts," in Carolyn Korsmeyer (ed.), Aesthetics:
The Big Questions. (Oxford:
Blackwell, 1998).
Estella Laurer, "Re-Enfranchising Art: Feminist
Interventions in the Theory of Art," in Hilde Hein & Carolyn
Korsmeyer, (eds.), Aesthetics in Feminist Perspective, (Bloomington:
Indiana University Press, 1993).
Lucy Lippard, "Six," in Lippard, The Pink
Glass Swan: Selected Essays on Feminist Art, (NY: New Press, 1995).
Rita Felski, "Why Feminism Doesn't Need an
Aesthetic (And Why It Can't Ignore Aesthetics)," in Peggy Zeglin Brand
& Carolyn Korsmeyer, (eds.), Feminism and Tradition in Aesthetics,
(University Park, PA: The Pennsylvania State University Press, 1995).
Teresa de Lauretis, "Guerrilla in the Midst:
Women's Cinema in the 80s," Screen, vol 31, no. 1 (1990): 6-25.
Hilary E. Davis, "The Temptations and Limitations
of a Feminist Deaesthetic," The Journal of Aesthetic Education,
Vol.27, no. 2 (Summer 1993): 99-105.
***visit to the
Recommended
Rosemary Betterton, "Bodies in the Work: The
Aesthetics and Politics of Women's Non-Representational Painting," in
Betterton, Intimate Distance: Women, Artists and the Body. (New York: Routledge, 1996).
Silvia Bovenschen, "Is There a Feminine
Aesthetic?" in Gisela Ecker, (ed.), Feminist Aesthetics, (Boston:
Beacon Press, 1985).
Janis Jeffries.
"Text and Textiles: Weaving across the Borderlines," in Katy
Deepwell (ed.), New Feminist Art Criticism (Manchester: Manchester University
Press, 1995).
Hilde Hein, "The Role of Feminist Aesthetics in
Feminist Theory," in Peggy Zeglin Brand & Carolyn Korsmeyer, (eds.), Feminism
and Tradition in Aesthetics, (University Park, PA: The Pennsylvania State
University Press, 1995).
Renée Lorraine, "A Gynocentric Aesthetic,"
in Hilde Hein & Carolyn Korsmeyer, (eds.), Aesthetics in Feminist
Perspective, (Bloomington: Indiana University Press, 1993).
Teresa de Lauretis.
"Rethinking Women's Cinema: Aesthetics and Feminist Theory,"
in de Lauretis, Technologies of
Gender: Essays on Theory, Film, and Fiction. (Bloomington & Indianapolis, IN: Indiana
University Press, 1987).
Week 3:
Desire, Power, & the Spectator's ‘Gaze’
(July 20th
& 22nd)
Mary Devereaux, "Oppressive Texts, Resisting Readers,
and the Gendered Spectator: The ‘New’ Aesthetics," in Peggy Zeglin Brand
& Carolyn Korsmeyer, (eds.), Feminism and Tradition in Aesthetics,
(University Park, PA: The Pennsylvania State University Press, 1995).
Laura Mulvey, "Visual Pleasure and Narrative
Cinema," in Mulvey, Visual and Other Pleasures, (Bloomington, IN:
Indiana University Press, 1989).
Jackie Stacey, "Desperately Seeking
Difference," in
bell hooks, "The Oppositional Gaze: Black Female
Spectators," in hooks, Black Looks: Race and Representation. (Toronto: Between the Lines, 1992).
Jacqueline Bobo, "Daughters of the Dust"
(Chapter 4) and "Black Women Reading Daughters of the Dust" (Chapter
5) in Black Women as Cultural Readers.
(NY: Columbia University Press, 1995).
E. Ann Kaplan, "Preface" and "‘Healing
Imperialized Eyes’: Independent Women Filmmakers and the Look," in Kaplan,
Looking for the Other: Feminism, Film, and the Imperial Gaze. (New York: Routledge, 1997).
*** Julie Dash, Daughters of the Dust (film,
1992)***
Recommended
Patricia White, "Governing Lesbian Desire:
Nocturne's Oedipal Fantasy," in Laura Pietropaolo and
Judith Mayne, "The Subject of Spectatorship"
and "The Paradoxes of Spectatorship," in Mayne, Cinema and
Spectatorship. (London: Routledge,
1993).
Hilary E. Davis.
"The Phenomenology of a Feminist Reader: Toward the Recuperation of
Pleasure," (Educational Theory, Fall 1996).
Dee Dee Glass, Laura Mulvey, Judith Williamson, &
Griselda Pollock, "Feminist Film Practice and Pleasure," in Russell
Ferguson et al, (eds.), Discourses: Conversations in Postmodern Art and
Culture. (Cambridge, MA: The MIT
Press, 1990).
Karen Alexander, "Julie Dash: Daughters of the
Dust and a Black Aesthetic," in Pam Cook & Philip Dodd, (eds.), Women
and Film: A Sight and Sound Reader, (Philadelphia: Temple University Press,
1993)
Week 4: Is it Art?
Is it Politics? Does it Raise
Consciousness?: Theory & Practice in Political and Activist Art
(July 27th
& 29th)
Carol Becker, "Herbert Marcuse and the Subversive
Potential of Art," in Becker, Zones of Contention: Essays on Art,
Institutions, Gender and Anxiety.
(Albany, NY: State University Press of New York, 1996).
Lucy Lippard, "Trojan Horses: Activist Art and
Power," in Brian Wallis (ed.), Art After Modernism: Rethinking Representation,
(NY: The New Museum of Contemporary Art, 1984).
Peggy Zeglin Brand, "Revising the
Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art,"
in Peggy Zeglin Brand & Carolyn Korsmeyer, (eds.), Feminism and
Tradition in Aesthetics, (University Park, PA: The Pennsylvania State
University Press, 1995).
Nina Felshin, "Introduction," in Felshin,
(ed.), But is it Art? The Spirit of Art as Activism, (Seattle: Bay
Press, 1995).
Elizabeth Hess, "Guerrilla Girl Power: Why the
Art World Needs a Conscience," in Nina Felshin, (ed.), But is it Art?
The Spirit of Art as Activism, (Seattle: Bay Press, 1995).
Linda Hutcheon, "Risky Business: The
‘Transideological’ Politics of Irony," in Hutcheon, Irony's Edge: The
Theory and Politics of Irony. (NY:
Routledge, 1996).
*** visit to artist-run galleries at 80 Spadina &
401
Recommended
Lucy Lippard, "Equal Parts," "The
Guerilla Girls," "The Garbage Girls," in Lippard, The Pink
Glass Swan: Selected Essays on Feminist Art, (NY: New Press, 1995).
Paul von Blum, "Women Political Artists in
Suzaan Boettger, "In the Missionary Position:
Recent Feminist Ecological Art," in Joanna Frueh, Cassandra L. Langer,
& Arlene Raven, (eds.), New Feminist Criticism: Art, Identity, Action,
(NY: Harper Collins, 1991).
Paul Von Blum, "Women Political Artists in
Week 5: Public Spaces: Feminist Art in Museums &
Galleries & Art Education
(August 3rd
& 5th)
Martha Rosler, "Lookers, Buyers, Dealers, and
Makers: Thoughts on Audience," in Brian Wallis (ed.), Art After
Modernism: Rethinking Representation, (NY: The New Museum of Contemporary
Art, 1984).
Julie Springer, "Deconstructing the Art Museum:
Gender, Power, and Educational Reform," in Georgia Collins and Renee
Sandell (eds.). Gender Issues in Art
Education: Content, Context, and Strategies. (Reston, VA: National Art Education
Association, 1996).
Carol Becker, "The Education of Young Artists and
the Issue of Audience," in Becker, Zones of Contention: Essays on Art,
Institutions, Gender and Anxiety.
(Albany, NY: State University Press of New York, 1996).
Georgia C. Collins, "Explanations Owed My Sister:
A Reconsideration of Feminism in Art Education," Studies in Art Education, Vol. 36, no.
2 (1993): 69-83.
Laurie E. Hicks,
"A Feminist Analysis of Empowerment and Community in Art
Education," Studies in Art Education vol. 32, no. 1 (1990): 3646.
Elizabeth Ament, "Strategies for Teaching Art
Based on Feminist Aesthetics," in Georgia Collins and Renee Sandell
(eds.). Gender Issues in Art
Education: Content, Context, and Strategies. (Reston, VA: National Art Education
Association, 1996).
Debra Attenborough, "Feminist Interventions in
Teaching Art History," in Georgia Collins and Renee Sandell (eds.). Gender Issues in Art Education: Content,
Context, and Strategies. (Reston,
VA: National Art Education Association, 1996).
Mary Wyrick, "Teaching Feminist Art and Social
Activism," in Georgia Collins and Renee Sandell (eds.). Gender Issues in Art Education: Content,
Context, and Strategies. (Reston,
VA: National Art Education Association, 1996).
*** visit Art Gallery of Ontario***
Recommended
Sally McRorie, "On Teaching and Learning
Aesthetics: Gender and Related Issues," in Georgia Collins and Renee
Sandell (eds.). Gender Issues in Art
Education: Content, Context, and Strategies. (Reston, VA: National Art Education
Association, 1996).
hooks, bell.
"Introduction: Art Matters," "Art on My Mind," and
"The Poetics of Soul: Art for Everyone," in hooks, Art on My Mind:
Visual Politics. (New York: The New
Press, 1995).
Rosalyn Deutsche, "Uneven Development: Public Art
in
Deborah Root, "Art and Taxidermy: Warehouse of
Treasures," in Root, Cannibal Culture: Art, Appropriation, and the
Commodification of Difference.
(Boulder, Co: WestView Press, 1996).
James Clifford, "On Collecting Art and
Culture," in Russell Ferguson et al (eds.), Out There: Marginalization
and Contemporary Cultures.
(Cambridge, MA: The MIT Press, 1990).
Kathleen Walsh-Piper, "Museum Education and the
Aesthetic Experience," The Journal of Aesthetic Education, vol. 28,
no. 3 (Fall 1994): 103 - 115.
Susan L. Feagin and Craig Allen Subler, "Showing
Pictures: Aesthetics and the
Barbara Soren, "The Museum as Curricular
Site," The Journal of Aesthetic Education, vol. 26, no. 3 (Fall
1992): 91 - 101.
Week 6:
Bodies & Bad Behaviour -- Art which shocks, subverts, & transgresses
(Thursday,
August 12th,
Rosemary Betterton,
"Intimate Distance: Women, Artists and the Body" and
"Body Horror? Food (and Sex and Death) in Women's Art," in Intimate
Distance: Women, Artists and the Body.
(New York: Routledge, 1996).
Josephine Withers.
"Feminist Performance Art: Performing, Discovering, Transforming
Ourselves," in Norma Broude and Mary D. Garrard (eds.), The Power of
Feminist Art: The American Movement of the 1970s, History and Impact. (NY: Harry N. Abrams, Inc. Publishers, 1994).
Peggy Phelan,
"The Ontology of Performance: Representation without
Reproduction," in Phelan, Unmarked: The Politics of Performance. (NY: Routledge, 1993).
Kay Larson, "Women's Work (or Is It Art?) Is
Never Done," The New York Times,
Amelia Jones, "The Rhetoric of the Pose: Hannah
Wilke and the Radical Narcissism of Feminist Body Art," in Jones, Body
Art: Performing the Subject.
(Minneapolis: University of Minnesota Press, 1998).
Michelle Hirschhorn, "Orlan Artist in the
Post-Human Age of Mechanical Reincarnation: body as reader (to be re-)
made," in Pollock (ed.), Generations and Geographies in the Visual
Arts: Feminist Readings. (NY:
Routledge, 1996).
Maria Gould, "The Flesh Becomes Word: Avoiding
Orlan," Descant 103: The Anatomy Theatre and the Theatre of the Body,
Vol. 29, no. 4 (Winter 1998): 87-102.
***film, TBA***
Recommended
Roberta Smith, "Women Artists Engage the
‘Enemy,’" The New York Times,
Isaak, Jo Anna.
"The Revolutionary Power of Women's Laughter," in Issak, Feminism
and Contemporary Art: The Revolutionary Power of Women's Laughter. (New York & London: Routledge, 1996).
Andrea Liss, "The Body in Question: Rethinking
Motherhood, Alterity, and Desire," in Joanna Frueh, Cassandra L. Langer,
& Arlene Raven, (eds.), New Feminist Criticism: Art, Identity, Action,
(NY: Harper Collins, 1991).
RoseLee Goldberg, "The Art of Ideas and the Media
Generation, 1968 to 1986," in Goldberg, Performance Art: From Futurism
to the Present. (NY: HN Abrams, 1988).
Peggy Phelan, "Broken Symmetries," in
Phelan, Unmarked: The Politics of Performance. (NY: Routledge, 1993).
Maurice Berger,
"Black Skins, White Masks: Adrian Piper and the Politics of
Viewing," in Berger, How Art Becomes History: Essays on Art, Society,
and Culture in Post-New Deal
Adrian Piper, "Passing for White, Passing for
Black" in Joanna Frueh, Cassandra L. Langer, & Arlene Raven, (eds.),
New Feminist Criticism: Art, Identity, Action, (NY: Harper Collins, 1991)
Lucy R. Lippard, "The Pains and Pleasures of
Rebirth: European and American Women's Body Art" and "Rape: Show and Tell," in
Lippard, The Pink Glass Swan: Selected Feminist Essays on Art. (NY: The New Press, 1995).
Marcia Tucker, "Attack of the Giant Ninja Mutant
Barbies," in exhibition catalogue, Bad Girls. (Cambridge, MA: MIT Press, 1994).
Arlene Raven, "We Did Not Move from Theory/We
Moved to the Sorest Wounds," "Star Studded: Porn Stars Perform,"
and "Not a Pretty Picture: Can Violent Art Heal?" in Raven, Crossing
Over: Feminism and Art of Social Concern, (Ann Arbor, MI: UMI Research
Press, 1988).