1. Unit 8: Art and Identity Representing “Otherness” in the Art World:
Gender, Race, Ethnicity, Sexual Orientation, Class…

2. Second-Wave Feminism
Begins circa 1963 with Betty Friedan’s publication of The Feminine Mystique
Goals of the movement were different from First-Wave Feminism, which had concentrated on making women equal under the law (voting rights, inheritance, property rights). Second-Wavers wanted social equality, freedom, and recognition of women’s work. Issues like equitable pay, education, the “second shift” of housework and child care, and female sexuality rose to the front.
Strategies were demonstrations, consciousness-raising (CR), and other forms of activism that incorporated media.
Slogan: “The Personal is Political”

3. Key Concerns of Second-Wave Feminist Art:
Defining a shared experience—essentialism
Exploring and exposing the female body
Prioritization of female experience over formal concerns or styles
Restoring and revaluing previous women artists
Examining the relationship between women and domesticity/private space
Challenging sexist art world practices
Rehabilitating “decorative” arts and “crafts”

4. Carolee Schneeman Interior Scroll
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Carolee Schneeman
Interior Scroll
1975 photographs of performance and scroll text 48 x 72 in.

5. Carolee Schneeman Interior Scroll
I MET A HAPPY MAN A STRUCTURALIST FILMMAKER --BUT DON’T CALL ME THAT IT’S SOMETHING I DO-- HE SAID WE ARE FOND OF YOU YOU ARE CHARMING BUT DON’T ASK US TO LOOK AT YOUR FILMS WE CANNOT THERE ARE CERTAIN FILMS WE CANNOT LOOK AT: THE PERSONAL CLUTTER THE PERSISTENCE OF FEELINGS THE HAND-TOUCH SENSIBILITY THE DIARISTIC INDULGENCE THE PAINTERLY MESS THE DENSE GESTALT THE PRIMITIVE TECHNIQUES
(I DON’T TAKE THE ADVICE OF MEN WHO ONLY TALK TO THEMSELVES)
PAY ATTENTION TO CRITICAL AND PRACTICAL FILM LANGUAGE IT EXISTS FOR AND IN ONLY ONE GENDER
HE SAID YOU CAN DO AS I DO TAKE ONE CLEAR PROCESS FOLLOW ITS STRICTEST IMPLICATIONS INTELLECTUALLY ESTABLISH A SYSTEM OF PERMUTATIONS ESTABLISH THEIR VISUAL SET
Carolee Schneeman
Interior Scroll
1975 photographs of performance and scroll text 48 x 72 in.
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

6. Carolee Schneeman Interior Scroll
I SAID MY FILM IS CONCERNED WITH DIET AND DIGESTION
VERY WELL HE SAID THEN WHY THE TRAIN?
THE TRAIN IS DEATH AS THERE IS DIE IN DIET AND DI IN DIGESTION
THEN YOU ARE BACK TO METAPHORS AND MEANINGS MY WORK HAS NO MEANNING BEYOND THE LOGIC OF ITS SYSTEMS I HAVE DONE AWAY WITH EMOTION INTUITION INSPIR- ATION SPONTINEITY -- AGGRAND- IZED HABITS WHICH SET ARTISTS APART FROM ORDINARY PEOPLE - THOSE UNCLEAR TENDENCIES WHICH ARE INFLICTED FOR VIEWERS…
IT’S TRUE WHEN I WATCH YOUR FILMS MY MIND WANDERS FREELY DURING THE HALF HOUR OF PULSING DITS I DREAM OF MY LOVER WRITE A GROCERY LIST RUMMAGE THROUGH THE TRUNK FOR A MISSING SWEATER PLAN THE DRAIN- AGE PIPES FOR THE ROOT CELLAR -- IT IS PLEASANT NOT TO BE MANIPULATED
Carolee Schneeman
Interior Scroll
1975 photographs of performance and scroll text 48 x 72 in.
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

7. Carolee Schneeman Interior Scroll
HE PROTESTED YOU ARE UNABLE TO APPRECIATE THE SYSTEM THE GRID THE NUMERICAL RATIONAL PROCEDURES --THE PYTHAGOREAN CUES
I SAW MY FAILINGS WERE WORTHY OF DISMISSAL I’D BE BURIED ALIVE MY WORKS LOST…
HE SAID WE COULD BE FRIENDS EQUALLY THO WE ARE NOT ARTISTS EQUALLY
I SAID WE CANNOT BE FRIENDS EQUALLY AND WE CANNOT BE ARTISTS EQUALLY
HE TOLD ME HE HAD LIVED WITH A “SCULPTRESS” I ASKED DOES THAT MAKE ME A FILM-MAKERESS?
OH NO HE SAID WE THINK OF YOU AS A DANCER
Carolee Schneeman
Interior Scroll
1975 photographs of performance and scroll text 48 x 72 in.
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

8. HE SAID WE COULD BE FRIENDS EQUALLY THO WE ARE NOT ARTISTS EQUALLY
I MET A HAPPY MAN A STRUCTURALIST FILMMAKER --BUT DON’T CALL ME THAT IT’S SOMETHING I DO-- HE SAID WE ARE FOND OF YOU YOU ARE CHARMING BUT DON’T ASK US TO LOOK AT YOUR FILMS WE CANNOT THERE ARE CERTAIN FILMS WE CANNOT LOOK AT: THE PERSONAL CLUTTER THE PERSISTENCE OF FEELINGS THE HAND-TOUCH SENSIBILITY THE DIARISTIC INDULGENCE THE PAINTERLY MESS THE DENSE GESTALT THE PRIMITIVE TECHNIQUES
(I DON’T TAKE THE ADVICE OF MEN WHO ONLY TALK TO THEMSELVES)
PAY ATTENTION TO CRITICAL AND PRACTICAL FILM LANGUAGE IT EXISTS FOR AND IN ONLY ONE GENDER
HE SAID YOU CAN DO AS I DO TAKE ONE CLEAR PROCESS FOLLOW ITS STRICTEST IMPLICATIONS INTELLECTUALLY ESTABLISH A SYSTEM OF PERMUTATIONS ESTABLISH THEIR VISUAL SET
I SAID MY FILM IS CONCERNED WITH DIET AND DIGESTION
VERY WELL HE SAID THEN WHY THE TRAIN?
THE TRAIN IS DEATH AS THERE IS DIE IN DIET AND DI IN DIGESTION
THEN YOU ARE BACK TO METAPHORS AND MEANINGS MY WORK HAS NO MEANNING BEYOND THE LOGIC OF ITS SYSTEMS I HAVE DONE AWAY WITH EMOTION INTUITION INSPIR- ATION SPONTINEITY -- AGGRAND- IZED HABITS WHICH SET ARTISTS APART FROM ORDINARY PEOPLE - THOSE UNCLEAR TENDENCIES WHICH ARE INFLICTED FOR VIEWERS…
IT’S TRUE WHEN I WATCH YOUR FILMS MY MIND WANDERS FREELY DURING THE HALF HOUR OF PULSING DITS I DREAM OF MY LOVER WRITE A GROCERY LIST RUMMAGE THROUGH THE TRUNK FOR A MISSING SWEATER PLAN THE DRAIN- AGE PIPES FOR THE ROOT CELLAR -- IT IS PLEASANT NOT TO BE MANIPULATED
HE PROTESTED YOU ARE UNABLE TO APPRECIATE THE SYSTEM THE GRID THE NUMERICAL RATIONAL PROCEDURES --THE PYTHAGOREAN CUES
I SAW MY FAILINGS WERE WORTHY OF DISMISSAL I’D BE BURIED ALIVE MY WORKS LOST…
HE SAID WE COULD BE FRIENDS EQUALLY THO WE ARE NOT ARTISTS EQUALLY
I SAID WE CANNOT BE FRIENDS EQUALLY AND WE CANNOT BE ARTISTS EQUALLY
HE TOLD ME HE HAD LIVED WITH A “SCULPTRESS” I ASKED DOES THAT MAKE ME A FILM-MAKERESS?
OH NO HE SAID WE THINK OF YOU AS A DANCER
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

9. 1974-79 various media 48 ft. each side
Judy Chicago
The Dinner Party
various media 48 ft. each side
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

10. Judy Chicago The Dinner Party 1974-79 various media 48 ft. each side
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

11. Judy Chicago The Dinner Party Emily Dickinson Plate
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

13. Georgia O’Keeffe’s Place Setting and one of her paintings
Slide concept by William V. Ganis, PhD
FOR EDUCATIONAL USE ONLY
For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Judy Chicago
The Dinner Party
various media 48 ft. each side

14. VALIE EXPORT, Actionpants: Genital Panic, 1968-1969, and Touch-and-Taste Cinema, 1968-1971

16. VALIE EXPORT, Action Pants: Genital Panic, 1968-69

17. Robert Morris, Advertisement, Castelli-Sonnabend Gallery 1974

18. Lynda Benglis, Ad in Artforum Magazine, November 1974.

20. Sarah Lucas, Bitch, 1995

21. Betye Saar, The Liberation of Aunt Jemima, 1972

22. Adrian Piper, My Calling (Cards), 1986-90

23. Adrian Piper, My Calling (Cards), 1986-90

24. Adrian Piper, My Calling (Cards), 1986-90

25. Guerilla Girls, The Advantages of Being a Woman Artist, 1988

26. Guerilla Girls, Do Women Have to Be Naked, 1989

28. Coco Fusco and Guillermo Gomez-Peña, Undiscovered Amerindians, 1992-94

29. The Couple in the Cage film

31. James Luna, Artifact Piece, Museum of Man, San Diego, 1987

32. Yasumasa Morimura, Portrait (Nine Faces), 1989

33. Yasumasa Morimura, Portrait (Nine Faces), 1989

34. Yasumasa Morimura, Futago (Twins), 1988

35. Edouard Manet, Olympia, 1863 Artist: Édouard Manet Title: Olympia
Medium: Oil on canvas
Size: 4'3" X 6'2 ¼" (1.31 X1.91 m)
Date: 1863
Source/ Museum: Musée du Louvre, Paris

36. Kehinde Wiley, Napoleon Leading the Army Over the Alps, 2005

37. Kehinde Wiley, Ice-T, 2005
Ingres and Wiley

38. Kara Walker, Camptown Ladies, 1998 cut paper pasted on gallery walls

39. Kara Walker, Camptown Ladies, 1998, 9’ x 67’

40. Kara Walker, Camptown Ladies, 1998, 9’ x 67’

41. Kara Walker, Camptown Ladies, 1998, 9’ x 67’

42. Kara Walker, Camptown Ladies, 1998, 9’ x 67’

43. Kara Walker, A Subtlety, or The Marvelous Sugar Baby, 2014 (video clip)

44. At the behest of Creative Time Kara E
At the behest of Creative Time Kara E. Walker has confected: A Subtlety, or the Marvelous Sugar Baby
an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant

45. Chris Ofili, The Holy Virgin Mary, 1996

46. Fred Wilson, Metalwork, 1793-1880, detail from Mining the Museum, 1992

47. Diego Velazquez, Portrait of Pope Innocent X, 1650
Francis Bacon, Study after Velazquez’s Portrait of Pope Innocent X,1953
Diego Velazquez, Portrait of Pope Innocent X, 1650

48. Keith Haring, Ignorance = Fear, 1989

49. NAMES Project, AIDS Memorial Quilt, 1987 to present

50. David Wojnarowicz, Peter Hujar Dreaming/Yukio Mishima: St
David Wojnarowicz, Peter Hujar Dreaming/Yukio Mishima: St. Sebastian, 1982

51. Félix Gonzalez-Torres, Untitled (Portrait of Ross in LA), 1991