Now available again in an expanded edition and featuring a variety of work from artists both well-known and under the radar, this volume explores the pioneering achievements of the Feminist Avant-Garde. For art history, the 1970s represent the beginning of women subverting culturally and socially established constructions and traditional norms. Second-wave feminism, with its slogan "The personal is political", challenged the one-dimensional roles assigned to women--mother, housewife, and spouse. During this period, women artists radically questioned their duties and created a plurality of self-determined representations of themselves. Rejecting traditional male-dominated techniques, such as painting, these artists made use of new media, such as photography, film, video, and performance. The outcome was artwork which was radical, poetic, ironic, bitter, cynical, and heartfelt. This book features more than seventy international female artists, including works by Martha Rosler, Mary Beth Edelson, Ana Mendieta, Nil Yalter, and Ulrike Rosenbach. Editor Gabriele Schor used the term Feminist Avant-Garde in order to emphasize the role that these artists played in the last four decades. This new edition has been enriched with twenty-five new artists--Emma Amos, Dara Birnbaum, Rose English, Natalia LL, among others--as well as up-to-date research on feminist exhibitions, catalogues, and periodicals. Each artist is introduced by an essay and the book also includes fascinating texts by leading scholars.

The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.

In the first major study of twentieth-century feminism as an Anglo-American phenomenon, Lucy Delap offers a unique perspective on the politics of gender. By exploring the intellectual history and cultural politics of Anglo-American feminism Delap challenges the reader to re-think the nature of both the 'avant-garde' and 'feminism'.

With this important new book, Susan Suleiman lays the foundation for a postmodern feminist poetics and theory of the avant-garde. She shows how the figure of Woman, as fantasy, myth, or metaphor, has functioned in the work of male avant-garde writers and artists of this century. Focusing also on women's avant-garde artistic practices, Suleiman demonstrates how to read difficult modern works in a way that reveals their political as well as their aesthetic impact. Suleiman directly addresses the subversive intent of avant-garde movements from Surrealism to postmodernism. Through her detailed readings of provocatively transgressive works by André Breton, Georges Bataille, Roland Barthes, Alain Robbe-Grillet, Marcel Duchamp, Max Ernst, and others, Suleiman demonstrates the central role of the female body in the male erotic imagination and illuminates the extent to which masculinist assumptions have influenced modern art and theory. By examining the work of contemporary women avantgarde artists and theorists--including Hélène Cixous, Marguerite Duras, Monique Wittig, Luce Irigaray, Angela Carter, Jeanette Winterson, Leonora Carrington, Barbara Kruger, Jenny Holzer, and Cindy Sherman--Suleiman shows the political power of feminist critiques of patriarchal ideology, and especially emphasizes the power of feminist humor and parody. Central to Suleiman's revisionary theory of the avant-garde is the figure of the playful, laughing mother. True to the radically irreverent spirit of the historical avant-gardes and their postmodernist successors, Suleiman's laughing mother embodies the need for a link between symbolic innovation and political and social change.

In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema. At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics. Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.

"This monograph on Francesca Woodman (1958--1981), the most comprehensive to date, charts new approaches to her oeuvre. Whereas the evanescence of the female figure in the artist's photographs has often been read as an aesthetic anticipation of her suicide, the essays by publishers Gabriele Schor and Elisabeth Bronfen as well as those from Johannes Binotto, Abigail Solomon-Godeau and Beate Söntgen illustrate Woodman's passionate self-staging in the tradition of the tableau vivant. Her poetic and metaphorical use of props (mirrors, gloves, rugs etc.) and her staging in a room, where the laws of geometry seem to no longer apply, are examined in the essays. The 80 photographs in the SAMMLUNG VERBUND collection can be seen for the first time in their original size."--Publisher infomation.

Sheds light on the critical role that women artists have played in the evolution of the American avant-garde