36 Susan B. Anthony, the feminist pioneer, gave a progressive speech in 1877 called The Homes of Single Women. “Even when a man’s intellectual convictions shall be sincerely and
fully on the side of freedom and equality for woman, the force of long existing customs and laws will impel him to exert his authority over her." In this speech, she prophesizes that for women to transition from the position of subject to sovereign there would need to be an era of
self-sustained, self-supported female run homes.45 Do we not owe it to the women of the past? They sacrificed so much so that we, their daughters who will inherit this earth, could have more. It would be a travesty to squander the efforts of our mothers and grandmothers simply because we have become complacent or fear the daunting responsibility of being courageous. Women must have the audacity to grapple with deeply rooted gendered truisms that need to be addressed if we ever hope to be free. Through my work I can bring about a new understand of what it means to be a woman.
1 Hardy, Thomas. Far from the Maddening Crowd. London: Macmillan, 1975. 318.
2 Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used against Women. New York:
Harper Perennial, 2002.
3 Cotter, Holland. "Scaling a Minimalist Wall with Bright, Shiny Colors." The New York Times.
2008. Accessed April 19, 2016.
http://www.nytimes.com/2008/01/15/arts/design/15patt.html?_r=0.
4 Hodara, Susan. "Taking on the Role of Gender in Media." The New York Times. 2011.
Accessed April 17, 2016. http://www.nytimes.com/2011/03/13/nyregion/13artwe.html.
5 Reckitt, Helena, and Peggy Phelan. Art and Feminism. London: Phaidon, 2001.41.
6 Reckitt, Art and Feminism, 13
7 Lucie-Smith, Edward. ArtToday. London: Phaidon Press, 1996. 9.
8 Reckitt, Art and Feminism, 33
9 Cotter,"Scaling a Minimalist Wall with Bright, Shiny Colors”
10 Reckitt, Art and Feminism,15-33
11 Adamson, Glenn. Thinking through Craft. Oxford: Berg, 2007. 154.
12 Mulvey, Laura. Fetishism and Curiosity. Bloomington: Indiana University Press, 1996. 47-48.
13 Mulvey, Laura. Visual and Other Pleasures. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2009.
14 Mulvey, Visual and Other Pleasures
15 Mulvey, Visual and Other Pleasures
16 Lucie-Smith, ArtToday, 12
17 Butler, Cornelia H. Modern Women: Women Artists at the Museum of Modern Art. New York:
Museum of Modern Art, 2010. 353.
18 Butler, Modern Women: Women Artists at the Museum of Modern Art. New York: Museum of Modern Art, 2010.
19 Reckitt, Art and Feminism, 41.
20Butler, Modern Women: Women Artists at the Museum of Modern Art. New York: Museum of Modern Art, 35.
21 Hallensleben, Markus. “Importing VALIE EXPORT: Corporeal Topographies in
Contemporary Austrian Body Art." Modern Austrian Literature 42, no. 3 (October 2009): 32-35.
22 Butler, Modern Women: Women Artists at the Museum of Modern Art. New York: Museum of Modern Art, 366-67.
23 Mangini, Elizabeth. “Pipilotti Pickle." PAJ: A Journal Of Performance & Art 23, no. 68 (May 2001): 1-9.
24 Mangini,“Pipilotti Pickle",1-9.
25 Reckitt, Art and Feminism, 40.
26 Parker, Kim, and Wendy Wang. "Modern Parenthood." Pew Research Centers Social Demographic Trends Project RSS. 2013. Accessed April 21, 2016.
http://www.pewsocialtrends.org/2013/03/14/modern-parenthood-roles-of-moms-and-dads-converge-as-they-balance-work-and-family/.
27 "Title IX and Sex Discrimination." Title IX and Sex Discrimination. Accessed April 02, 2016.
http://www2.ed.gov/about/offices/list/ocr/docs/tix_dis.html.
38
28 Mulvey, Fetishism and Curiosity, 47.
29 Tiggeman, M., & Kuring, J. (2004). The Role of Objectification in Disordered Eating and Depressed Mood. British Journal of Clinical Psychology, 43, 299-311.
30 "The Objectification and Dismemberment of Women in the Media." Undergraduate Research Journal for the Human Sciences. Accessed March 28, 2016.
https://www.kon.org/urc/v5/greening.html.
31 Reckitt, Art and Feminism, 21.
32Gloria Steinem. BrainyQuote.com, Xplore Inc, 2016.
http://www.brainyquote.com/quotes/quotes/g/gloriastei164928.html, accessed April 8, 2016.
33 Buszek, Maria Elena. Extra/ordinary: Craft and Contemporary Art. Durham, NC: Duke University Press, 2011.
34 See included DVD for a clip of In Closed Spaces.
35 Elmgreen, Michael, and Ingar Dragset. "Homely Spaces for Homeless Kids." In Home Is the Place You Left, edited by Adnan Yildiz, 172. Köln: König, 2008.
36 See included DVD for a clip of In Closed Spaces.
37 Mulvey, Visual and Other Pleasures
38 Hudek, Antony. The Object. Cambridge: MIT Press, 2014. 14.
39 Basha, Regine. "Interview with Elana Herzog." Elana Herzog. January 1, 2010. Accessed April 20, 2015. http://www.elanaherzog.com/press.html.
40 Frid, Dianna. "Elana Herzog: Four Projects for Spaces, 1996 to the Present. (Critical Essay)."
Textile: The Journal of Cloth &Culture, March 22, 2004.
41 Traister, Rebecca. "Introduction." In All the Single Ladies: Unmarried Women and the Rise of an Independent Nation, 3. New York: Simon & Schuster, 2016.
42 See DVD for a clip of Tied in Knots
43 Elmgrenn, Micheal, and Ingar Dragset, Home Is the Place You Left Behind, 27.
44 Reckitt, Art and Feminism, 87.
45 Dubois, Ellen Carol, ed. Elizabeth Cady Stanton and Susan B. Anthony: Correspondence, Writings, Speeches. Introduction by Gera Lerner. New York: Schocken Books, 1981.
Illustrations
Figure 1
Miriam Schapiro, Mary Cassatt & Me, 1976., Acrylic and collage on paper, 30”x22”.Reproduced from ArtStor, http://artstor.org(accesssed April 12, 2015).
40
Figure 2
Installation by Vicky Hodgetts, Susan Frazier and Robin Weltsch, Womanhouse: The Nuturant Kitchen, 1972. Mixed Media. Installed in abandoned mansion in L.A., later destroyed
Reproduced from ArtStor, http://artstor.org(accessed April 12, 2015).
Figure 3
EXPORT, VALIE. Hyperbulie. 1973. Still from video. Center Georges Pompidou, Paris.
Accessed February 27, 2016. https://theartstack.com/artist/valie-export/hyperbulie.
42
Figure 4
AtelierRist. "Pipilotti Rist- I'm Not the Girl Who Misses Much." YouTube. January 22, 2008.
Accessed April 10, 2016. https://www.youtube.com/watch?v=TJgiSyCr6BY
Figure 5
Pipilotti Rist, Ever Is Over All, 1997. Video installation, two overlapping projections, dimensions varied. The Museum of Modern Art. Reproduced from ArtStor,
http://artstor.org(accessed April 12, 2015).
44
Figure 6
Guerrilla Girls, Do Women Have to Be Naked…, 1989. Poster. New Museum of Contemporary Art Exhibitions. Reproduced from ArtStor, http://artstor.org(accessed April 12, 2015).
Figure 7
Guerrilla Girls, Do Women Have to be Naked…, 2012. Poster. Reproduced for Guerillagirls.com, http://www.guerrillagirls.com/naked-through-the-ages(accessed April 12, 2015)
Figure 8
Carmen Electra. Playboy, January 2009. Reproduced from Centerfold-babes, http://www.centerfold-babes.net/pb/carmen-electra/03.jpg(accessed March 25, 2016).
46
Figure 9
American Apparel. "Jeans." Advertisement. DeFuze. October 24, 2015. Accessed March 12, 2016.
http://www.defuzemag.co.uk/american-apparel-the-story-behind-the-bankruptcy/.
Figure 10
Burger King. "BK Super Seven Incher." Advertisement. The Telegraph. August 2014. Accessed March 25, 2016.
http://www.telegraph.co.uk/women/womens-life/11018413/Burger-King-raped-my-face-claims-model-on-angry-YouTube-video.html.
48
Figure 11
Kendall Brown, The Construction of Memory, 2015. Clovers and fishing wire, 6’x 6’x 8’.
Figure 12
Kendall Brown, Installation shot of The Construction of Memory (2015)
Figure 13
50
Figure 14
Kendall Brown, In Closed Spaces (interior view), 2015. Interior doors, wood paneling, monitor, digital film, 2 minutes 25 seconds, h:7’ x w:3’6” x d: 4’.
Figure 15
Kendall Brown, In Closed Spaces (exterior view), 2015. Interior doors, wood panel flooring, television monitor, h:7’x w:3’6” x d: 4’.
52
Figure 16
Kendall Brown, Vacillate, 2015. Wire screen, h:6’ x w:3’6” x d:1’
Figure 17
Kendall Brown, Dancing Down Staircase, 2015. Embroidery hoop, gold leaf, and Nude Descending a Staircase projection, h: 6’x w: 3’ d: 4’
54
Figure 18
Kendall Brown, Dancing Down Staircase(alternative view), 2015. Embroidery hoop, gold leaf, and Nude Descending a Staircase projection, h: 6’x w: 3’ d: 4’
Figure 19
Kendall Brown, Vacillate (detail shot), 2015. Wire screen, h:6’ x w:3’6” x d:1’
56
Figure 20
Kendall Brown, Tied in Knots, 2016. Ceramic, projection, and wedding dress, dimensions vary.
Figure 21
Kendall Brown, Tied in Knots (interior view), 2016. Ceramic, projection, and wedding dress, dimensions vary.
58 Illustration Citations
Figure 1.
Miriam Schapiro, Mary Cassatt & Me, 1976., Acrylic and collage on paper, 30”x22”.Reproduced from ArtStor, http://artstor.org(accessed April 12, 2015).
Figure 2.
Installation by Vicky Hodgetts, Susan Frazier and Robin Weltsch, Womanhouse: The Nuturant Kitchen, 1972. Mixed Media. Installed in abandoned mansion in L.A., later destroyed
Reproduced from ArtStor, http://artstor.org(accessed April 12, 2015).
Figure 3.
EXPORT, VALIE. Hyperbulie. 1973. Still from video. Center Georges Pompidou, Paris.
Accessed February 27, 2016. https://theartstack.com/artist/valie-export/hyperbulie.
Figure 4.
AtelierRist. "Pipilotti Rist- I'm Not the Girl Who Misses Much." YouTube. January 22, 2008.
Accessed April 10, 2016. https://www.youtube.com/watch?v=TJgiSyCr6BY Figure 5.
Pipilotti Rist, Ever Is Over All, 1997. Video installation, two overlapping projections, dimensions varied. The Museum of Modern Art. Reproduced from ArtStor,
http://artstor.org(accessed April 12, 2015).
Figure 6.
Guerrilla Girls, Do Women Have to Be Naked…, 1989. Poster. New Museum of Contemporary Art Exhibitions. Reproduced from ArtStor, http://artstor.org(accessed April 12, 2015).
Figure 7
Guerrilla Girls, Do Women Have to be Naked…, 2012. Poster. Reproduced for Guerillagirls.com, http://www.guerrillagirls.com/naked-through-the-ages(accessed April 12, 2015)
Figure 8.
Carmen Electra. Playboy, January 2009. Reproduced from Centerfold-babes,
http://www.centerfold-babes.net/pb/carmen-electra/03.jpg(accessed March 25, 2016).
Figure 9.
American Apparel. "Jeans." Advertisement. DeFuze. October 24, 2015. Accessed March 12, 2016. http://www.defuzemag.co.uk/american-apparel-the-story-behind-the-bankruptcy/.
Figure 10.
Burger King. "BK Super Seven Incher." Advertisement. The Telegraph. August 2014. Accessed March 25, 2016. http://www.telegraph.co.uk/women/womens-life/11018413/Burger-King-raped-my-face-claims-model-on-angry-YouTube-video.html.
Figure 11.
Kendall Brown, The Construction of Memory, 2015. Clovers and fishing wire, 6’x 6’x 8’.
Figure12.
Kendall Brown, Installation shot of The Construction of Memory (2015) Figure 13.
Kendall Brown, 287 Miles, 2014, screen doors h:6’ x w: 2’x d:3’6”.
Figure 14.
Kendall Brown, In Closed Spaces (interior view), 2015. Interior doors, wood paneling, monitor, digital film, 2 minutes 25 seconds, h:7’ x w:3’6” x d: 4’.
Figure 15.
Kendall Brown, In Closed Spaces (exterior view), 2015. Interior doors, wood panel flooring, television monitor, h:7’x w:3’6” x d: 4’.
Figure 16.
Kendall Brown, Vacillate, 2015. Wire screen, h:6’ x w:3’6” x d:1’
Figure 17.
Kendall Brown, Dancing Down Staircase, 2015. Embroidery hoop, gold leaf, and Nude Descending a Staircase projection, h: 6’x w: 3’ d: 4’
Figure 18.
Kendall Brown, Dancing Down Staircase(alternative view), 2015. Embroidery hoop, gold leaf, and Nude Descending a Staircase projection, h: 6’x w: 3’ d: 4’
Figure 19.
Kendall Brown, Vacillate (detail shot), 2015. Wire screen, h:6’ x w:3’6” x d:1’
Figure 20.
Kendall Brown, Tied in Knots, 2016. Ceramic, projection, and wedding dress, dimensions vary.
Figure 21.
Kendall Brown, Tied in Knots (interior view), 2016. Ceramic, projection, and wedding dress, dimensions vary.
60
Bibliography
Basha, Regine. "Interview with Elana Herzog." Elana Herzog. January 1, 2010. Accessed April 20, 2015. http://www.elanaherzog.com/press.html.
Buszek, Maria Elena. Extra/ordinary: Craft and Contemporary Art. Durham, NC: Duke University Press, 2011.
Butler, Cornelia H. Modern Women: Women Artists at the Museum of Modern Art. New York:
Museum of Modern Art:, 2010.
Cotter, Holland. "Scaling a Minimalist Wall With Bright, Shiny Colors." The New York Times.
2008. Accessed April 19, 2016.
http://www.nytimes.com/2008/01/15/arts/design/15patt.html?_r=0.
Elmgreen, Michael, and Ingar Dragset. "Homely Spaces for Homeless Kids." In Home Is the Place You Left, edited by Adnan Yildiz, 172. Köln: König, 2008
Frid, Dianna. "Elana Herzog: Four Projects for Spaces, 1996 to the Present.(Critical Essay)."
Textile: The Journal of Cloth &Culture, March 22, 2004.
Gloria Steinem. BrainyQuote.com, Xplore Inc, 2016.
http://www.brainyquote.com/quotes/quotes/g/gloriastei164928.html, accessed April 8, 2016.
Hallensleben, Markus. "Importing Valie Export: Corporeal Topographies in Contemporary Austrian Body Art." Modern Austrian Literature 42, no. 3 (October 2009): 32-35.
Hardy, Thomas. Far from the Maddening Crowd. London: Macmillan, 1975. 318.
Hodara, Susan. "Taking on the Role of Gender in Media." The New York Times. 2011. Accessed April 17, 2016. http://www.nytimes.com/2011/03/13/nyregion/13artwe.html.
Hudek, Antony. The Object. Cambridge: MIT Press, 2014. 14.
Lucie-Smith, Edward. ArtToday. London: Phaidon Press, 1996. 9.
Mangini, Elizabeth. “Pipilotti Pickle." PAJ: A Journal Of Performance & Art 23, no. 68 (May 2001): 1-9.
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"The Objectification and Dismemberment of Women in the Media." Undergraduate Research Journal for the Human Sciences. Accessed March 28, 2016.
https://www.kon.org/urc/v5/greening.html
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http://www.pewsocialtrends.org/2013/03/14/modern-parenthood-roles-of-moms-and-dads-converge-as-they-balance-work-and-family/.
Reckitt, Helena, and Peggy Phelan. Art and Feminism. London: Phaidon, 2001.41.
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Tiggeman, M., & Kuring, J. (2004). The Role of Objectification in Disordered Eating and Depressed Mood. British Journal of Clinical Psychology, 43, 299-311.
"Title IX and Sex Discrimination." Title IX and Sex Discrimination. Accessed April 02, 2016.
http://www2.ed.gov/about/offices/list/ocr/docs/tix_dis.html.
Traister, Rebecca. All the Single Ladies: Unmarried Women and the Rise of an Independent Nation. New York: Simon & Schuster, 2016.
Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used against Women. New York:
Harper Perennial, 2002.