Art/Women/California, 1950–2000

Parallels and Intersections

Edited by Diana Burgess Fuller and Daniela Salvioni

Nancy Buchanan currently teaches Video Production and Video Art History at the California Institute of the Arts. Her own work has encompassed performance, drawing, installation, and computer works in addition to video. Her most recent work is a CD-ROM entitled Developing: The Idea of Home (1999).

Whitney Chadwick is professor of Art at San Francisco State University. She has published widely on surrealism, feminism, and contemporary art. Her books include the widely acclaimed Women, Art and Society (1990, 1996); Women Artists and the Surrealist Movement (1985); and the novel Framed (1998).

Angela Y. Davis is professor in the History of Consciousness Department at the University of California, Santa Cruz. Her most recent book is Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith and Billie Holiday (1998).

Rosa Linda Fregoso is professor of Women and Gender Studies at the University of California, Davis. She has been a producer and critic for National Public Radio. Her many articles and books include The Bronze Screen: Chicana and Chicano Film Culture (1993).

Diana Burgess Fuller has been an activist, curator, producer, gallerist, and administrator in fine arts and film arts for over 30 years.

Jennifer Gonzalez is assistant professor in the Art History Department at the University of California, Santa Cruz. Her most recent publication is, "The Appended Subject: Race and Identity as Digital Assemblage," in the forthcoming Race and Space; Politics, Identity and Cyberspace (Routledge).

JoAnn Hanley is an independent media arts curator who has been working with artists and independent film and video makers since l978. Her writings and exhibitions include The First Generation: Women and Video, 1970-1975 (1993).

Theresa Harlan is Program Administrator at the California Arts Council and formerly the Director/Curator of the Gorman Museum, Native American Studies, University of California, Davis. Her most recent publication is "Adjusting the Focus for an Indigenous Presence," in Critical Image (1998).

Karin Higa is Senior Curator of Art and Director of the Curatorial and Exhibitions Department at the Japanese American National Museum in Los Angeles. She is the author of The View from Within: Japanese American Art from the Internment Camps, 1942-1945 (1992).

Phyllis J. Jackson is assistant professor of Art and Art History at Pomona College and the Intercollegiate Department of Black Studies of the Claremont Colleges. Her publications include "(in)FORMING the Visual (re)PRESENTING Women of African Descent," in International Review of African American Art (1997).

Amelia Jones is professor of contemporary art and theory at the University of California, Riverside. She is the author of numerous articles and books, including Body Art /Performing the Subject (1998).

Suzanne Lacy is Director of the Center for Art, Design and Social Responsibility at the California College of Arts and Crafts. She is a public artist on political themes and editor of Mapping the Terrain: New Genres Public Art (1995).

Pamela Lee is assistant professor in late twentieth-century art, theory and criticism at Stanford University. Her publications include the forthcoming book, Object to be Destroyed: The Work of Gordon Matta-Clark (MIT Press).

Amalia Mesa-Bains is Director of the Visual/Public Art Institute at California State University, Monterey. She is an internationally recognized artist, cultural critic, lecturer, and author, and her awards include the distinguished MacArthur Fellowship Award in 1992.

Laura Meyer is a doctoral candidate in the Department of Art History at the University of California, Los Angeles. She is the author of several essays on the feminist art movement, including "A Feminist Chronology, 1945-1995," in Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History (1996).

Sandra S. Phillips is Senior Curator of Photography at the San Francisco Museum of Modern Art. She is a scholar, lecturer, and critic and has organized numerous critically acclaimed exhibitions of modern and contemporary photography, including Crossing the Frontier: Photographs of the Developing West, 1849 to the Present (1997).

Jolene Rickard is assistant professor at the University of Buffalo in the departments of Art and Art History and focuses on American Studies. Rickard writes, lectures, and makes work about the issues of indigenous peoples. She was the keynote speaker at the British Museum's Northeast Native American Conference in 1999.

Terezita Romo is Senior Curator at the Mexican Museum in San Francisco, and formerly the Arts Director of the Mexican Fine Arts Center Museum in Chicago. She is an art historian, curator, and writer. She curated and edited the catalog for Patssi Valdez: A Precarious Comfort in 1999.

Moira Roth is the Trefethen Professor of Art History at Mills College in Oakland, California. She is a feminist art historian, critic, activist, and curator and has lectured extensively. In 2000, she won the Frank Jewlett Mather Award for lifetime achievement in criticism. Her most recent publication, co-authored with Jonathan D. Katz, is Difference/Indifference: Musings on Postmodernism (1998).

Daniela Salvioni has been a curator and critic for sixteen years whose writings have been included in major art publications and international exhibition catalogs.

Allucquere Rosanne Stone is the director of the Interactive Multimedia Laboratory and assistant professor in the Department of Radio, TV and Film at the University of Texas, Austin. She is also founder and director of the Group for the Study of Virtual Systems at the Center for Cultural Studies at University of California, Santa Cruz.

Gail Tsukiyama is an author, educator, and lecturer in the Creative Writing Department at San Francisco State University and a founding judge for the Pacific Rim-based Kuryama Awards. She is the author of four novels to date, Women of Silk (1991), The Samurai's Garden (1995), Night of Many Dreams (1998), and The Language of Threads (1999).

Judith Wilson is assistant professor of the History of Art and African and African-American Studies at the University of California at Irvine. Her critical writing includes "Critical Issues in American Art" (1997) and "Bearing Witness Contemporary Art by African-American Women" (1996).