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Art/Women/California, 1950–2000

Parallels and Intersections

Diana Burgess Fuller (Editor), Daniela Salvioni (Editor), Whitney Chadwick (Contributor), Rosa Linda Fregoso (Contributor), Jennifer Gonzalez (Contributor), JoAnn Hanley (Contributor), Theresa Harlan (Contributor), Karin Higa (Contributor), Phyllis Jackson (Contributor), Amelia Jones (Contributor), Carole Ann Klonarides (Contributor), Suzanne Lacy (Contributor), Pamela M. Lee (Contributor), Amalia Mesa-Bains (Contributor), Laura Meyer (Contributor), Sandra Phillips (Contributor), Jolene Rickard (Contributor), Terezita Romo (Contributor), Rosanne Allucquere Stone (Contributor), Gail Tsukiyama (Contributor), Judith Wilson (Contributor) & 16 more

Available worldwide

Paperback, 397 pages
ISBN: 9780520230668
May 2002
$41.95, £34.95
Art/Women/California 1950-2000: Parallels and Intersections is an unprecedented examination of the impact that specific women artists, working in California in the second half of the twentieth century, have had on broadening the definition of art. Twenty preeminent scholars from diverse cultural backgrounds investigate how the vast sociopolitical changes of the post-World War II era affected these women and how the ensuing events influenced the art that they produced. This book outlines the role these pivotal artists and their work played in reshaping the California cultural profile into what it is today.

Illustrated with more than one hundred color plates and duotones, Art/Women/California 1950-2000 reveals the richness of this fifty-year period by contrasting and comparing the artists and their varied artistic practices in relation to the larger sociopolitical context. The book employs a variety of historical perspectives to reflect the distinct and parallel experiences of California's major cultural communities while revealing points of intersection by analyzing shared themes and practices.

Because California serves as a gateway for a myriad of immigrants and an epicenter for the feminist movement, and because of its history of activism, its culture of experimentation, and its reputation for innovative technology and media, the state has evolved into a crucial and inspirational environment for women artists. Their work continues to transform our perceptions and revitalize art's connections to its surrounding environment and community. Exploring the conjuncture between place and artistic activity from multiple perspectives, this book stands as a testament to the rich diversity that is contemporary California culture.

This book is a copublication with the San Jose Museum of Art
Diana Fuller

Susan Landauer


Introduction: Art in Context
Daniel Salvioni


"I Dream I'm the Death of Orpheus"
Adrienne Rich

Reflecting on Histories as Histories
Whitney Chadwick

"Kopid'taya (A Gathering of Spirits)"
Paula Gunn Allen

Other Landscapes
Angela Y. Davis

Reconsidering the Terrain: Five Historical Perspectives

Audre Lorde

Liberating Blackness and Interrogating Whiteness
Phyllis J. Jackson

"Yes, We are Not Invisible"
Janice Mirikitani

What Is an Asian American Woman Artist?
Karin Higa

Excerpt from "The Poet in the World"
Denise Levertov

Constructing a New Paradigm: European American Women Artists in California, 1950-2000
Laura Meyer

"To We Who Were Saved by the Stars"
Lorna Dee Cervantes

Califia/Califas: A Brief History of Chicana California
Amalia Mesa-Bains

"Revolutionary Letter #21"
Diane di Prima

Uncovering/Recovering: Indigenous Artists in California
Jolene Rickard


Burning Down the House: Feminist Art in California
(An Interview with Amelia Jones )
Daniela Salvioni and Diana Burgess Fuller

A Collective History: Las Mujeres Muralistas
Terezita Romo

Indigenous Visionaries: Native Women Artists in California
Theresa Harlan

How The Invisible Woman Got Herself on the Cultural Map: Black Women Artists in California
Judith Wilson

INTERSECTIONS /Themes and Practices

Landing in California
Jennifer Gonzalez

Women Artists in California and Their Engagement with Photography
Sandra S. Phillips

California Filming: Re-Imagining the Nation
Rosa Linda Fregoso

Construction Sites: Women Artists in California and the Production Space-Time
Pamela Lee

Moira Roth and Suzanne Lacy

Women, Art, and Technology: A Brief History
JoAnn Hanley

What Do We Want? The Subject Behind the Camera: Women Video Artists and Self-Articulation
Nancy Buchanan


The Baby or the Bath Water; Being an Inquiry into the Nature of Woman,Womyn, Art, Time, and Timing in Five Thousand Words or Less
Allucque Rosanne Stone

List of Contributors
List of Illustrations
Diana Burgess Fuller is an editor, curator, and arts administrator. Daniela Salvioni is an art critic and curator.
"This is the book on women’s art I’ve been waiting for—smart, deeply rooted, and up-to-date, with an overdue focus on women of color that fills in the historical cracks. Read it and run with it."—Lucy R. Lippard, author of The Pink Glass Swan: Selected Essays on Feminist Art

"More than merely beautiful and ground-breaking, Art/ Women/ California 1950-2000 is also about the enriching interventions created by diverse women artists, the effect of whose work is not only far-reaching, but has also opened up the very definition of American art. It is about intellectual interdisciplinality and the dialectical relationship between art and social context. It is about the way various California cultures—Native, Latino, Asian, feminist, immigrant, politically active, and virtual, which are so different from the trope of the Western cowboy—have intervened in that entity we imagine as ‘America.’ "—Elaine Kim, editor of Dangerous Women: Gender and Korean Nationalism

"Rich and provocative. A pleasure to read and to look at."—Linda Nochlin, author of The Body in Pieces: The Fragment as a Metaphor of Modernity

"This book should greatly help everyone understand the remarkably diversified evolution of art in California, which is largely due to the great influx of women and the transformative effect of a new feminist consciousness."—Arthur C. Danto, author of Philosophizing Art: Selected Essays
List of Contributors

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).

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