A slideshow connected to a lecture of Feminism & Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Saisha Grayson-Knoth.

1. Feminism & Art
1960s – the present

2. Feminist Art: 1960s – the present
but also
The Feminist Critique of Art:
The beginning of human history – 1960s

3. Prehistoric Wall Painting (Line Drawing)

4. The intersection of Feminism and Art produces many interesting
effects, disrupting the story of Modernist Art and its smooth transitions
from one “important” style to the next.
Feminist Art can be a way of categorizing art made by (mostly) women
that consciously links its strategies and goals to those of the Women’s
Rights Movement of the late 1960s and 70s, and to feminist ideas and
politics ever since.
Feminist challenges to the art world and its institutional bias also made
space for women (and other artists interested in working against the
grain) to make and show art of all kinds, whether feminist or not, in
ways that they hadn’t been able to before.
Perhaps most importantly, Feminism continually serves as a critical lens
for considering all cultural production, including conceptual categories
like Art, Women, and Importance, in relation to gender and power.

5. Jackson Pollock at work in his studio,
1950. Photograph by Hans Namuth.
(source)
Carolee Schneeman, Eye Body: 36
Transformative Actions, 1963,
Paint, glue, fur, feathers, garden snakes,
glass, and plastic with the studio
installation "Big Boards.” Photograph by
Erró. (source)

6. Carolee Schneeman, Interior Scroll,
1977, Performance. (source)
“…He said we are fond of you
You are charming
But don't ask us to look
At your films
We cannot look at:
the personal clutter
the persistence of feeling
the hand-touch sensibility
the diaristic indulgence
the painterly mess
the dense gestalt…
he said we can be friends
equally though we are not artists
equally I said we cannot
be friends equally and we
cannot be artists equally…
He told me he lived with
A ‘sculptress’ I asked does
That make me a ‘film-makeress’
‘Oh no,’ he said. ‘We think of you
As a dancer.’ ”
- Excerpt from Interior Scroll

7. Yoko Ono, Cut Piece, 1964,
Performance. (source)
Vito Acconci, Following Piece, 1969,
Performance. (source).

8. Adrian Piper, Mythic Being:
Cruising White Women #1 of 3,
1975, Photograph of
performance. (source)
Adrian Piper, My Calling
Card #1, 1986, Lithograph.
(source)

9. Martha Rosler, Bringing the War Home:
House Beautiful (Giacometti),1967–72,
Photomontage. (source)
Martha Rosler, Body Beautiful or Beauty
Knows No Pain (Cargo Cult), 1967–72,
Photomontage. (source)

10. Judy Chicago, The Dinner
Party, 1974–79, Ceramic,
porcelain, and textile.
(source)

11. Cindy Sherman, Untitled Film Stills #7 (left) and #21 (right), 1978, Black and white
photographs.

12. Barbara Kruger, Untitled (We Won’t Play Nature to Your Culture), 1983, (left), and
Untitled (We Don’t Need Another Hero), 1987, (right), Photostats.

13. Coco Fusco and Guillermo Gomez-Peña, The Year of the White Bear and Two
Undiscovered Amerindians visit the West, 1992–1994, Performance at museums.
(source)

14. Kara Walker, Gone, An Historical Romance of a Civil War as it Occurred between
the Dusky Thighs of One Young Negress and Her Heart [detail], 1994, Cut paper
on wall. (source)

15. Mickalene Thomas, Le déjeuner sur
l’herbe: Les Trois Femmes Noires,
2010, Rhinestones, acrylic, and enamel
on wood panel. (source)
Édouard Manet (1832–1883), Le
déjeuner sur l’herbe (Lunch on the
Grass), 1863, Oil on canvas. (source)