Feminist art movement in the United States

First-generation feminist artists include Judy Chicago, Miriam Schapiro, Suzanne Lacy, Judith Bernstein, Sheila de Bretteville, Mary Beth Edelson, Carolee Schneeman, Rachel Rosenthal, and many other women.

[1] The movement spread quickly through museum protests in both New York (May 1970) and Los Angeles (June 1971), via an early network called W.E.B.

While the coalition sprung up as a protest movement following Greek kinetic sculptor Panagiotis "Takis" Vassilakis's physical removal of his work Tele-Sculpture (1960) from a 1969 exhibition at the Museum of Modern Art, New York, it quickly issued a broad list of demands to "art museums in general".

Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen.

Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno.

After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992.

Womanhouse existed in 1972, was organized by Judy Chicago and Miriam Schapiro, and was the first public exhibition of feminist art.

Womanhouse, like the Fresno project, also developed into a feminist studio space and promoted the concept of collaborative women's art.

in Woman in Sexist Society, which was later reprinted in ArtNews, where she claimed that there were no "great" women artists at that time, nor in history.

The artists collaged over the heads of Christ and his apostles in Some Living American Women Artists / Last Supper include Lynda Benglis, Louise Bourgeois, Elaine de Kooning, Helen Frankenthaler, Nancy Graves, Lila Katzen, Lee Krasner, Georgia O'Keeffe, Louise Nevelson, Yoko Ono, M. C. Richards, Alma Thomas, and June Wayne.

[16] The New York Feminist Art Institute opened in June 1979 at 325 Spring Street in the Port Authority Building.

The founding members and the initial board of directors were Nancy Azara, Miriam Schapiro, Selena Whitefeather, Lucille Lessane, Irene Peslikis and Carol Stronghilos.

[17] For instance, feminist writer and arts editor at Ms. Magazine Harriet Lyons was an adviser from its start.

[18] In 1977, Suzanne Lacy and collaborator Leslie Labowitz combined performance art with activism in Three Weeks in May on the steps of Los Angeles City Hall.

The performance, which included a map of rapes in the city, and self-defense classes, highlighted sexual violence against women.

So there's all these kind of double standards and all these kind of words that prevent women's experience from entering—even when they express it—from entering the mainstream of art.Guerrilla Girls was formed by 7 women artists in the spring of 1985 in response to the Museum of Modern Art's exhibition "An International Survey of Recent Painting and Sculpture", which opened in 1984.

The exhibition was the inaugural show in the MoMA's newly renovated and expanded building, and was planned to be a survey of the most important contemporary artists.

They have also partnered with Amnesty International, contributing pieces to a show under the organization's "Protect the Human" initiative.

[51]Sister Serpents was a radical feminist art collective that began as a small group women in Chicago in the summer of 1989, as a direct response to the Webster v. Reproductive Health Services Supreme Court decision.

A resource for artists and scholars in the United States, it publishes a calendar of events and runs conferences, discussions and education projects.

These artists use museological practices to confront the ways in which museums rewrite history through the politics of collecting and presentation ...

[73] Feminist art curatorial practices are collaborative and reject the notion of an artist as an individual creative genius.

Artist Tatyana Fazlalizadeh, started this project in Brooklyn, NYC, but had also been in Chicago, Paris, and Mexico City.

Hebron found only 18percent feature art by women, and male artists made 74 percent of the covers.

[85] The Future is Female The Future is Female art exhibit located within the 21C Museum and Hotel in Louisville, Kentucky opened its doors just following our most recent presidential election and features feminist art works that operate to epitomize the experience of womanhood while simultaneously addressing larger global issues.

The exhibit highlights the artwork of handful of feminist artists including Vibha Galhotra, Alison Saar, Carrie Mae Weems, Michele Pred, Frances Goodman, Kiki Smith, and Sanell Aggenbach who emerged in the wake of the second wave Feminist Arts Movement.