MARY HELEN WASHINGTON

Bell Hooks A groundbreaking work of feminst history and theory analyzing the complex relations between various forms of oppression. Ain't I a Woman examines the impact of sexism on black women during slavery, the historic devaluation of black womanhood, black male sexism, racism within the recent women's movement, and black women's involvement with feminsim.

Marina Warner

Christina Barton Alter/Image: Feminism and representation in New Zealand Art 1973-1993 examnies the impact of feminism on the visual arts in New Zealand, identifying and discussing the various strategies women artists have adopted over the last 20 years. The book documents more than 60 visual artists, film and video makers and performance artists who have been influenced by and who have helped shape feminst art practices in New Zealand.

bell hooks In Art on My Mind, bell hooks, a leading cultural critic, responds to the ongoing dialogues about producing, exhibiting, and criticizing art and aesthetics in an art world increasingly concerned with identity politics. Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.

Susan Faludi Winner of the National Book Critics Circle award  for nonfiction, this controversial,  thought-provoking, and timely book is "as groundbreaking as  Simone de Beauvoir's The Second Sex  and Betty Friedan's The Feminine  Mystique." — Newsweek.

Marilyn French

Hilary McD. Beckles Caribbean women, black, white and brown, free and enslaved, migrants and creoles, rich and poor are assembled in this book and their lives examined as they battled both against male domination and among themselves for social advantage. Hilary Beckles uses the method of narrative biography, with its appealing immediacy of women’s language, script and social politics, to expose the gender order of Caribbean slave society as it determined and defined the everyday lives of women. He also explores the effectiveness of women’s actions as they searched for autonomy, material betterment and social security.

Joseph Hansen, Evelyn Reed, Sonja Franeta How big business plays on women's second-class status and social insecurities to market cosmetics and rake in profits. The introduction by Waters explains how the entry of millions of women into the workforce during and after World War II irreversibly changed U.S. society and laid the basis for a renewed rise of struggles for women's emancipation. Also available in: Farsi

Susan Rubin Suleiman The female body has occupied a central place in the Western imagination, its images pervading poetry and story, mythology and religious doctrine, the visual arts, and scientific treatises. It has inspired both attraction and fear, been perceived as beautiful and unclean, alluring and dangerous, a source of pleasure and nurturing but also a source of evil and destruction.

In The Female Body in Western Culture, twenty-three internationally noted scholars and critics, in specially commissioned essays, explore these representations and their consequences for contemporary art and culture. Ranging from Genesis to Gertrude Stein and Angela Carter, from ancient Greek ritual to the Victorian sleeping cure, from images of the Madonna to modern film and Surrealist art, the essays cover a wide spectrum of approaches and subject mailer. They all converge, however, around questions of power and powerlessness, voice and silence, subjecthood and objectification. And they point the way to the new possibilities and displacements of traditional male-female oppositions. Androgyny in a new key? This book demonstrates that a blurring of gender boundaries does not have to deny difference.

Norma Broude, Mary Garrard

Mary Daly 'In this deeply original, provocative book, outrage, hilarity, grief, profanity, lyricism and moral daring join in bursting the accustomed bounds even of feminist discourse.' —The New York Times Book Review

Anne McClintock Imperial Leather chronicles the dangerous liaisons between gender, race and class that shaped British imperialism and its bloody dismantling. Spanning the century between Victorian Britain and the current struggle for power in South Africa, the book takes up the complex relationships between race and sexuality, fetishism and money, gender and violence, domesticity and the imperial market, and the gendering of nationalism within the zones of imperial and anti-imperial power.

Alice Walker As a woman, writer, mother, and feminist, Walker explores the theories and practices of feminism, incorporating what she calls the “womanist” tradition of African american women.

Dominic Smith "Written in prose so clear that we absorb its images as if by mind meld, "The Last Painting" is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it's fiction that keeps you up at night ― first because you're barreling through the book, then because you've slowed your pace to a crawl, savoring the suspense." ―Boston GlobeA New York Times Book Review Editors' ChoiceA New York Times BestsellerA RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH.
Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city's Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it.
New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer's marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict.
Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.

Marija Gimbutas, Miriam Robbins Dexter The Living Goddesses crowns a lifetime of innovative, influential work by one of the twentieth-century's most remarkable scholars. Marija Gimbutas wrote and taught with rare clarity in her original—and originally shocking—interpretation of prehistoric European civilization. Gimbutas flew in the face of contemporary archaeology when she reconstructed goddess-centered cultures that predated historic patriarchal cultures by many thousands of years.
This volume, which was close to completion at the time of her death, contains the distillation of her studies, combined with new discoveries, insights, and analysis. Editor Miriam Robbins Dexter has added introductory and concluding remarks, summaries, and annotations. The first part of the book is an accessible, beautifully illustrated summation of all Gimbutas's earlier work on "Old European" religion, together with her ideas on the roles of males and females in ancient matrilineal cultures. The second part of the book brings her knowledge to bear on what we know of the goddesses today—those who, in many places and in many forms, live on.

Marta Caminero-Santangelo She's out of the attic. In this provocative work, the subversive madwoman so privileged by feminist theorists and critics emerges from her confinement into the world of real social power. How, Marta Caminero-Santangelo asks, can such a figure be subversive if she's effectively imprisoned, silent and unseen? Taking issue with a prominent strand of current feminist literary criticism, Caminero-Santangelo identifies a counternarrative in writing by women in the last half-century, one that rejects madness, even as a symbolic resolution.

Caminero-Santangelo considers such writers as Toni Morrison, Eudora Welty, Sylvia Plath, Cristina Garcia, Kate Millett, Helena Maria Viramontes, and Shirley Jackson, locating their narratives of female madness within the context of popularized Freudianism, sociology of "the" African-American family, images in the mass media, and other elements of culture to which their writings respond. Their works, Caminero-Santangelo maintains, appropriate images linking madness to feminine aberrance, but do so to expose the regulatory functions that such images serve. These writings reveal how the silent protest emblematized by the madwoman, and celebrated in feminist critical practice, simply serves to lock women into stereotypes long used to oppress them.

The Madwoman Can't Speak offers an alternative explanation for the compelling nature of the figure of the madwoman, allowing a critical move away from the dangerous, ultimately disempowering notions of the subversive potential of madness.

Cicely Mary Hamilton This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.

Katy Deepwell This text reviews feminist art strategies as they emerged in the late 1980s and early 1990s in America and the UK. It draws together the views of prominent practitioners, critics, academics and curators on a broad range of controversial issues. The central focus of the book is feminism's engagement with psychoanalysis and post-modernism and its aim of deconstructing the borders between art and craft, and theory and practice. Feminist politics in the art world are also investigated through discussion of the negotiations of feminist curators, responses to feminist exhibitions, issues surrounding pornography and the censorship of women's work, and the role of feminist teaching on fine art and design degree courses. The book covers a variety of art work, including installation work, painting, textiles and photography.

Jelto Drenth The Origin of the World is a revealing, intimate, and ultimately liberating study of female sexuality at its heart: the vagina. Working from the assumption that sex is pleasurable and fulfilling insofar as its participants fully understand how it works, sexologist Jelto Drenth gives readers a guided tour of the complex, challenging, and often misunderstood "origin of the world."

Drenth describes the workings of the vagina in simple language, enriching his description throughout the book with the imagery, mythology, lore, and history that has surrounded the vagina since the Middle Ages. The Origin of the World moves from basic physiognomic facts to the realms of anthropology, art history, science fiction, and feminist literature-all in the service of mapping the dark continent. Drenth's journey takes him from Renaissance woodcuts to vibrators, clitoridectomies to "virginity checks," fears of the vagina (the vagina dentata) to its celebration. Part medical exposition covering the function of female genitalia from orgasm to pregnancy and part cultural history discussing contemporary and historical views of such aspects of the feminine as pubic hair, Freud's theories of coitus, and slang terms for the vagina, The Origin of the World is encyclopedic in its breadth, fascinating in its content, and familiar in its subject.

This lightly written exploration can be seen as both an owner's manual and a guide for the perplexed. Women and men alike will benefit from its entertaining erudition and from its fundamental mission of demystifying sex and sexuality in the service of greater understanding and, from that understanding, greater pleasure.
(20041101)

Norma Broude, Mary D. Garrard Since its inception nearly 25 years ago the Feminist Art movement has presented a challenge to mainstream modernism that has radically transformed the art world. In The Power of Feminist Art, coeditors Norma Broude and Mary D. Garrard, professors of art history at The American University in Washington, D.C., bring together many of the influential art historians, critics, and artists who participated in the events of the 1970s. Together, they have created this landmark volume, the first history and analysis documenting this fertile and dynamic period of artistic growth. We learn about the first feminist art education programs, with artists Judy Chicago and Miriam Schapiro helping to lay the foundation; about the now legendary Womanhouse project; and about such banner exhibitions as "Women Artists: 1550-1950, " organized in 1976 by art historians Linda Nochlin and Ann Sutherland Harris. We follow the development of the movement as seen in the various feminist organizations, networks, exhibitions, and publications it generated; and most particularly in the emergence of feminist art. Performance art, social protest and public art, and collaboration; exploration of such formerly taboo aesthetic areas as "Pattern and Decoration"; and subjects such as divinity and the body viewed from female perspectives are among the multiple aspects of the Feminist Art movement. The last section of the book traces the ups and downs of the movement, as experienced through the backlash of the 1980s and the resurgence of women's issues in the 1990s. Uncompromising, probing, thoughtful, and as provocative and exciting as the period itself, The Power of Feminist Art is an immensely stunning book. Reproductions ofhundreds of works of feminist art from the 1970s and beyond - by such artists as Judith Baca, Harmony Hammond, Joyce Kozloff, Barbara Kruger, Ana Mendieta, Alice Neel, Faith Ringgold, Betye Saar, Miriam Schapiro, Cindy Sherman, Nancy Spero, May Stevens, and Hannah Wilke - and the

Judith Nies Brief biographies of seven women whose philosophies and actions have had great impact on American society: Sarah Moore Grimkâe, Harriet Tubman, Elizabeth Cady Stanton, Mother Jones, Anna Louise Strong, Charlotte Perkins Gilman, and Dorothy Day.

Camille Paglia A collection of twenty of Paglia's out-spoken essays on contemporary issues in America's ongoing cultural debate such as Anita Hill, Robert Mapplethorpe, the beauty myth, and the decline of education in America.

Edward Lucie-Smith Edward Lucie-Smith's examination of sexuality in Western art from prehistory to the present first treats the tradition chronologically, then considers its characteristic themes and symbols.

Geraldine Audre Lorde essays & speeches

Stephanie Golden Slaying the Mermaid addresses the great numbers of women of all ages who find themselves constantly disregarding their own well-being to put the needs of others first.

Drawing on the experiences of a diverse array of women, Stephanie Golden examines the dichotomy between selfhood and sacrifice, enabling women to become conscious of self-defeating behavior. Using the image of Hans Christian Andersen's Little Mermaid, the ultimate ideal of the self-sacrificing woman, Golden offers a new paradigm: in order to run with the wolves, you must first slay the mermaid.

Slaying the Mermaid uncovers the mythic and archetypal roots of the need felt by women to sacrifice their personal potential for the good of others. This book will help women reclaim their energy, creativity, and identity, while rediscovering the original, empowering meaning of sacrifice as an expansive and self-fulfilling act.

Luce Irigaray Speculum of the Other Woman by Luce Irigaray is incontestably one of the most important works in feminist theory to have been published in this generation. For the profession of psychoanalysis, Irigaray believes, female sexuality has remained a "dark continent," unfathomable and unapproachable; its nature can only be misunderstood by those who continue to regard women in masculine terms. In the first section of the book, "The Blind Spot of an Old Dream of Symmetry," Irigaray rereads Freud's essay "Femininity," and his other writings on women, bringing to the fore the masculine ideology implicit in psychoanalytic theory and in Western discourse in general: woman is defined as a disadvantaged man, a male construct with no status of her own.

In the last section, "Plato's Hystera," Irigaray reinterprets Plato's myth of the cave, of the womb, in an attempt to discover the origins of that ideology, to ascertain precisely the way in which metaphors were fathered that henceforth became vehicles of meaning, to trace how woman came to be excluded from the production of discourse. Between these two sections is "Speculum"-ten meditative, widely ranging, and freely associational essays, each concerned with an aspect of the history of Western philosophy in its relation to woman, in which Irigaray explores woman's essential difference from man.

Claudia Dreifus

Naomi Wolf One of our bestselling and most respected cultural critics, Naomi Wolf, acclaimed author of The Beauty Myth and The End of America, brings us an astonishing work of cutting-edge science and cultural history that radically reframes how we understand the vagina—and, consequently, how we understand women.

A “New Biography,” Vagina is at once serious, provocative, and immensely entertaining—a radical and endlessly fascinating exploration of the gateway to female consciousness from a remarkable writer and thinker at the forefront of the new feminism.

Hilary Robinson Choose Expedited shipping and get a free book or CD of my choice.

Barbara G. Walker This fascinating guide to the history and mythology of woman-related symbols features:

Unique organization by shape of symbol or type of sacred object

21 different sections including Round and Oval Motifs, Sacred Objects, Secular-Sacred Objects, Rituals, Deities' Signs, Supernaturals, Body Parts, Nature, Birds, Plants, Minerals, Stones and Shells, and more

Introductory essays for each section

753 entries and 636 illustrations

Alphabetical index for easy reference

Three-Rayed Sun The sun suspended in heaven by three powers, perhaps the Triple Goddess who gave birth to it (see Three-Way Motifs).

Corn Dolly An embodiment of the harvest to be set in the center of the harvest dance, or fed to the cattle to `make them thrive year round' (see Secular-Sacred Objects).

Tongue In Asia, the extended tongue was a sign of life-force as the tongue between the lips imitated the sacred lingam-yoni: male within female genital. Sticking out the tongue is still a polite sign of greeting in northern India and Tibet (see Body Parts).

Cosmic Egg In ancient times the primeval universe-or the Great Mother-took the form of an egg. It carried all numbers and letters within an ellipse, to show that everything is contained within one form at the beginning (see Round and Oval Motifs).

Barbara G. Walker Do You Know...

where the legend of a cat's nine lives comes from?

why "mama" is a word understood in nearly all languages?

how the custom of kissing began?

whether there really was a female pope?

why Cinderella's glass slipper was so important to the Prince?

The answers to these and countless other intriguing questions are given in this compulsively readable, feminist encyclopedia. Twenty-five years in preparation, this unique, comprehensive sourcebook focuses on mythology anthropology, religion, and sexuality to uncover precisely what other encyclopedias leave out or misrepresent. The Woman's Encyclopedia presents the fascinating stories behind word origins, legends, superstitions, and customs. A browser's delight and an indispensable resource, it offers 1,350 entries on magic, witchcraft, fairies, elves, giants, goddesses, gods, and psychological anomalies such as demonic possession; the mystical meanings of sun, moon, earth, sea, time, and space; ideas of the soul, reincarnation, creation and doomsday; ancient and modern attitudes toward sex, prostitution, romance, rape, warfare, death and sin, and more.

Tracing these concepts to their prepatriarchal origins, Barbara G. Walker explores a "thousand hidden pockets of history and custom in addition to the valuable material recovered by archaeologists, orientalists, and other scholars."

Not only a compendium of fascinating lore and scholarship, The Woman's Encyclopedia is a revolutionary book that offers a rare opportunity for both women and men to see our cultural heritage in a fresh light, and draw upon the past for a more humane future.

Jill Hamilton

Harriett Gilbert Amusing and authoritative history of western women's sexuality, from Sparta to the Singing Sixties, from Christianity to the Women's Movement. Hilariously illustrated.

Linda Nochlin

Whitney Chadwick A reappraisal of the position and work of women artists from the Middle Ages to the present. It examines the way in which women's work has been perceived in the history of Western art - often in direct reference to gender - and re-examines the works themselves. Revisions and new illustrations bring this volume up-to-date, with an additional chapter focusing on issues of identity, class, race and sexuality, many of which are addressed in the work of contemporary artists. Some of those discussed are Rachel Whiteread, Mona Hatoum, Hanna Wilke, Kiki Smith, Sophie Calle and Susan Hiller.