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In 2006 and 2007 twin events, the creation of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum and the mounting of WACK! Art and the Feminist Revolution, created the sense that the 1970s feminist art movement had finally found its place in the art historical record. But significant lacunae still exist. Contemporary analyses largely focus on individual artists located in major metropolitan areas, particularly the American art centers of New York and Los Angeles or major Western European cities. Consideration of the connections among feminist artists, the movement aspect of the feminist art movement, are quite rare. Furthermore, the activist aspects of the movement are often lost in a focus on works more consistent with major trends in the art world. Submissions are sought that deal with the broad range of artists, activities and art forms that fall under the umbrella term feminist art movement.

An inter- and multidisciplinary journal, Frontiers welcomes submissions of creative works such as artwork, fiction, and poetry, as well as scholarly papers. Indeed, this issue is particularly interested in creative work influenced by the 1970s feminist art movement.

Submission Requirements

Works must be original, and not published or under consideration for publication elsewhere. We encourage those interested in contributing to the special issue to email the guest editor. Submissions should be sent to Frontiers as email attachments to frontiers@asu.edu or on disc according to submission guidelines at http://shprs.clas.asu.edu/frontiers/submissions. Author names should not appear on the manuscript; list contact information separately.

Address
Editors, Frontiers: A Journal of Women Studies, Department of History, Arizona State University, P. O. Box 874302, Tempe, AZ 85287-4302

Potential topics
• How did ideas, theories, and forms of the feminist art movement proliferate beyond NY/LA?
• What role did publications, conferences, and key individuals play in spreading the feminist art movement?
• How can the culture of the feminist art movement be characterized? What sort of differences existed among the multiple sites?
• How did important early exhibitions, such as Women Artists and Images of Women 1550-1750 or The Dinner Party play in spurring the development of the feminist art movement?
• What was the reaction to highly circulated writings of the feminist art movement (Linda Nochlin’s “Why Have There Been No Great Women Artists” or Judy Chicago’s Through the Flower for example) by women throughout the country?
• How can groups of artists who retained close ties to the women’s movement, such as the Redstocking Artists or the Chicago Women’s Liberation Union Graphics Collective, be understood in relation to the feminist art movement?
• What kinds of feminist alternative art spaces were created? Where and by whom?