Page 11 - Many feminist artists ... criticised the emphasis on personal experience as narrowly individualistic and lacking an account of the unconscious.
... young women [artists] in the 1990s discovered a refreshing spirit of political radicalism, a visceral pleasure in images and materials, and a direct articulation of subjective experience.
page 12 - Others, from Eva Hesse to Ana Mendieta and Susan Hiller, seek less to express overt political concerns than to articulate the experience of living in a particular body - coded as female - in a specific time and place.
Rachel Whiteread's sculpture addresses issues of private, domestic and public space, forgotten and negative space, which have been important feminist concerns. Her work evidences an implicit debt to feminism.
page 18 - Peggy Phelan - Survey
I prefer a bold, if broad, definition: feminism is the conviction that gender has been, and continues to be, a fundamental category for the organization of culture. Moreover, the pattern of that organizaion usually favours men over women.
Is feminist a meaningful conceptual or aesthetic category when applied to artworks that range from Rona Pondick's needlepoint to Helen Chadwick's Piss Flowers (1991-92)? .... From work whose emotional range encompasses the gravity of vocalist Diamanda Galas' Plague Mass (1991) to the witty insouciance of Nicole Eisenmans's painting Betty Gets It (1992)?
Is feminism a useful descriptive term for art that employs radically different modes of address, aspiration and genre? ... these persistent questions remind us that rationality gives us ways to make categories while art gives us ways to resist them.
Page 20 – Following [J L] Austin, art can be understood as a specific kind of action and feminism a specific form of language. The promise of feminist art is the performative creation of new realities. Successful feminist art beckons us towards possibilities in thought and in practice still to be created, still to be lived.
Page 35 – quoting from Linda Nochlin essay ‘Why have there been no great women artists?’ [originally Art News, 69:9 (Jan 1971)]
The fault lies not in our stars, our hormones, our menstrual cycles or our empty internal spaces, but in our institutions and our educations – education understood to include everything that happens to us from the moment we enter, head first, into this world of meaningful symbols, signs and signals.
Page 43 – While feminist theorists in the 1980s were especially interested in the psychoanalytic work of Freud and Lacan, in the 1990s the work of Melanie Klein began to be reinvestigated by feminist art historians. Mignon Nixon, for example, offered a provocative reading of Janine Antoni, Louise Bourgeois and Eva Hesse, which employed Klein’s ideas about the oral drive and transitional objects. Nixon’s essay suggests a generative way to move beyond the analysis of the gaze, while retaining the crucial role of the unconscious in the creation and interpretation of art. [referring to Nixon ‘The gnaw and the lick: orality in recent feminist art’ October 1996]