行动书摘03 |“女性、艺术与艺术史：性别与女性主义分析”（牛津在线参考书目）

按：

鉴于近日中文世界引发关注的社会事件，“三辩席”特别推荐、呈现和分享一项有关女性主义艺术史的重要学术资源。针对女性的暴力不仅在社会现实层面上有漫长的历史，视觉素材也长期延续和强化对女性身体与主体性的视觉操纵、暴力和侵害。当此类社会事件与自媒体视觉传播联系在一起，在社会中越发形成一种可见性，乃至构成一种“图像事件”，视觉文化的研究者应当有介入的勇气与责任。本期行动书摘旨在引发视觉层面的批判性反思，并系统性地介绍世界各地女性主义艺术史的实践与面貌。中文世界对女性主义艺术史和性别视角的研究的译介在两千年前后出现过一波浪潮，但在此之后，相关素材却鲜有系统性更新。近年以来，其他学科（包括批判理论、文学、社会科学等）有关女性主义、女权主义的理论著作得到了出版业的广泛关注与推介，但在艺术史学科内部却没有出现相应的讨论。

本次推荐的线上资源是由上一代女性主义艺术史中的领军人物之一南非裔学者格里塞尔达∙波洛克（Griselda Pollock，出生于南非、后在加拿大、英国等地生活，在利兹大学开办社会与批判艺术史讲席和文化研究、理论与历史中心，现已荣休）编纂而成，最近一次更新是2014年，最后一次复审在2020年夏天，可以说是反映了海外学科近期现状的参考书目。本书目按照学科方法、实践、历史等不同角度组织分节，每个子项目下都有主旨介绍，对每部收录著作也有简要文字解释，是了解艺术史中的“女性主义方法论”几乎最好入手的参考资料。此外，本书目也收录了很多非西方地区的文献和展览资料，其中不乏非英语文献，也值得参考。国内有波洛克的译著一种《分疏正典》（凤凰文库，2016年），波洛克也另有许多其他重要著作出版。因为这篇书目篇幅极长且全面，本篇推荐主要以介绍各个版块和突出某些经典文献（粗体标注）为目的，书目的电子版上传至百度网盘供大家取阅（点击阅读更多获取全文电子版）。尽管本书目最终仍然存在倚重英文语言学术的问题，但作为一个入门概览，至少给出了足够丰富的材料，有助于了解女性主义方法论的一些总体发展脉络。关于其他语言和尤其中文世界中相关学科史和当下实践的挖掘，期待更多系统性梳理。希望能在社会科学以外的领域，引发更多有关性别与视觉权力机制的思考与讨论。感谢阅读。

原文链接：https://www.oxfordbibliographies.com/view/document/obo-9780199920105/obo-9780199920105-0034.xml

完整电子版获取地址：https://pan.baidu.com/s/1UKf6eTpdCyVRgdim_9Gpdw?pwd=j467&_at_=1655215750064

本公众号将持续关注和推介女性主义艺术史相关讨论，包括但不限于对女性艺术史家生平与研究的介绍。往期相关篇目参考：

*该专题纪念介绍了几位近几年去世的女性主义艺术史家及考古文博领域的女性学者。

另推荐一些零散的与中国艺术史相关的学术素材：

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牛津在线参考书目（Oxford Bibliographies）

女性、艺术与艺术史：性别与女性主义分析

Women, Art and Art History: 

Gender and Feminist Analysis

格里塞尔达∙波洛克

Griselda Pollock

目录导览

1. 导言

2. 奠基性文献：性别、历史与范式转换

3. 从古典时期至十七世纪欧洲女性艺术家的一手文献

4. 19世纪西方艺术史：通史出版

5. 作为艺术史家、考古学家与策展人的女性

6. 1971年前的女性与艺术史

7. 20世纪女性艺术家词典

8. 艺术中的女性文献书目

9. 英美艺术史中女性主义研究的历史浮现之综述

10. 艺术中的女性的女性主义通史

11. 访谈录及女性艺术家写作合集

12. 女性主义艺术史研究合集

13. 美术馆与馆藏

14. 展览

15. 国际趋势：国别倡议

16. 期刊

17. 女性主义与视觉文化

18. 方法论介入

19. 漫长的现代时期

书目导言

随着20世纪后期全球女权运动的兴起，女性再次成为艺术和艺术史的议题，引发了对艺术生产和艺术史话语的性别分析。性别被理解为一种权力系统，最初被命名为父权制，也理论分析界定为一种菲勒斯中心的象征秩序（phallocentric symbolic order）。最初，一种经更新的、理论上更为成熟且具有行动主义精神的女权主义意识要求在历史上恢复女性作为艺术家对艺术的国际史的贡献，以对抗现代艺术史学科对女性作为艺术家的历史的实质抹杀。这也让学界重新发现女性作为艺术史家对学科本身的贡献。针对创造性本身和对艺术必要的复数化历史写作，性别分析（Gender analysis）提出了有关的性别（和性经验）的诸多被压抑的问题。不同的人群基于被感知的而非决定性的差异，在社会学和象征层面上被区分开来，性别即指这些人群之间出现的不对称的等级阶序。尽管被投射为既定性别之间的自然差异，但社会和意识形态分化的主动与生产性过程，制造出的其中一项效应便是性别化差异（gendered difference），这种差异在意识形态上被称为“自然的”。作为权力关系的轴心，性别被证明形塑了男性和女性的社会存在，并决定了艺术再现。因此，性别也被理解为在文本、图像、建筑和艺术话语中形塑等级对立的象征性维度。它不断地由艺术所发挥的效应和关于艺术的写作被生产出来。女性主义分析批评了这些性别技术，但同时它本身也是这些技术中的一种，尽管它批判性地寻求社会性别和象征性别的转变。因此，对艺术史写作和艺术本身的性别意识形态的分析也延伸到所有艺术家创作的艺术，无论艺术家的性别身份如何。因长期被现代艺术史的性别化话语排除在外，女性必须从这些话语所创造的遗忘中恢复过来，而面对一种将任何女性化的事物都置于次要地位的意识形态，女性作为艺术家的观念必须重新确立其位置。然而，女性并不是一个仅由性别定义的同质类别。女性因阶级、种族、文化、宗教、地缘政治位置、性取向和残障与否被激烈地区隔开。性别分析包括几个分疏轴线及其象征再现的相互作用，而不附带任何关于每个艺术品/艺术家如何协商和改造关于性别和其他社会影响的主导话语的先验假设。对西方霸权的后殖民批判，以及对尊重多样性而不产生规范性相对主义的非西方中心的包容模式的探索，正在把性别和艺术史的研究推向一种尚未实现的、有关一般意义上的性别与差异的包容性，而不是根据艺术家的性别或其他资质特征创建单独的子类别。聚焦性别和相关权力轴线的批判性艺术史实践的目标应确保对所有艺术家进行同等深入细致且严谨的研究，无论其性别为何，为此，有必要制定一项以女性艺术家为中心的具体项目，以纠正一种有偏向的、有性别选择性的档案，并在总体上扩展艺术史研究的范式，以确保性别、性经验及其他社会和心理-象征差异的社会、经济和象征功能被系统性地视为艺术史分析常规程序的一部分。

奠基性文献：性别、历史与范式转向

Foundational Texts: Gender, History, and Paradigm Shift

本节聚焦出版于上世纪70和80年代的第一代女性主义艺术史研究，强调“性别的社会意涵与象征操作”。这些著作对历史研究展开了一系列恰逢其时的理论介入，同时运用对社会机制的社会学研究呼吁从艺术史内部实践一种范式转换。“奠基性文献”中包括在美学和哲学领域、方法论、性别理论、前现代艺术史和文学史，及现当代艺术及展览实践中的多项早期著作。

Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics. London: Women’s Press, 1989.

《性别与天才：通往一种女性主义美学》，1989年

Broude, Norma, and Mary Garrard. “Introduction: Feminism and Art History.” In Feminism and Art History: Questioning the Litany. Edited by Norma Broude and Mary Garrad 1–18. New York: Harper & Row, 1982.

《女性主义与艺术史：质询通行话语》导言，1982年

Broude, Norma, and Mary Garrard. “Introduction: The Expanding Discourse.” In The Expanding Discourse: Feminism and Art History. Edited by Norma Broude and Mary Garrad, 1–25. New York: Harper Collins, 1992.

《扩展中的话语：女性主义与艺术史》导言，1992年

de Lauretis, Teresa. “The Technology of Gender.” In Technologies of Gender: Essays on Theory, Film, and Fiction. By Teresa de Lauretis, 1–30. London: Macmillan, 1987.

《性别的技术：论理论、电影与虚构》，1987年

Kelly-Gadol, Joan. “Did Women Have a Renaissance?” In Becoming Visible: Women in European History. Edited by Renate Bridenthal and Claudia Koonz, 19–50. Boston: Houghton Mifflin, 1977.

“女性经历了文艺复兴吗？”，1977年

Nochlin, Linda. “Why Have There Been No Great Women Artists?” In Art and Sexual Politics: Women’s Liberation, Women Artists, and Art History. Edited by Thomas B. Hess and Elizabeth C. Baker 44. New York: Collier, 1973.

“为什么没有伟大的女艺术家？”，1971年

Parker, Rozsika, and Griselda Pollock. Old Mistresses: Women, Art and Ideology. 3d ed. London: I. B. Tauris, 2013.

《“女老大师”：女性、艺术与意识形态》，1981年

Scott, Joan W. “Gender: A Useful Category for Historical Analysis.” American Historical Review 91.5 (1986): 1053–1075.

“性别：历史研究中的一项有益范畴”，1986年

从古典时期至十七世纪欧洲女性艺术家的一手文献

Sources for Women Artists from Classical Antiquity to 17th-Century Europe

大多数通史写作把女性几乎完全排除在外，而一手文献的研究却揭示出女性艺术家的长期存在，她们出现在诸多特殊领域，并在世界各地的象征-审美生产的方方面面崭露头角。本小节收录西方传统中的关键文献供学者参考查阅。

Bocaccio, Giovanni. Famous Women. Translated by Virginia Brown. Cambridge, MA: Harvard University Press, 2003.

薄伽丘，《名女》（De Claris Mulieribus），1402-1404年

*收录普林尼记录的古代女性画家如Thamyris, Marcia, Eirene，并辅有相关手绘插图，包括了女性艺术家绘制自画像的场景

Malvasia, Carlo Cesare. Felsina pittrice: Vite de’ pittori bolognesi. 2 vols. Bologna, Italy: Forni, 2004

玛尔瓦西亚，《博洛尼亚画家列传》，1678年

*收录的女画家包括Lavinia Fontana, Elisabetta Sirani, Antonia Pinelli, Ginevra Cantofoli, Teresa Coriolani，博洛尼亚有其女性思想家和艺术家的地方传统

Pliny the Elder. Natural History. Vol. 9, Books 33–35. Translated by Harris Rackham. Loeb Classical Library 394. Cambridge, MA: Harvard University Press, 2003.

老普林尼，《博物志》，第九卷第33-35章

Vasari, Giorgio. The Lives of the Artists. Translated Julia Conway Bondanella and Peter Bondanella. Oxford: Oxford University Press, 1991.

瓦萨里，《艺术家传》，1550/1568年

*在题为“Properzia de’ Rossi：来自博洛尼亚的女雕塑家”的章节中，瓦萨里罗列了各种在修道院、家族作坊或宫廷中创作的女性

19世纪西方艺术史：通史出版

19th-Century Western Art History: The Survey

19世纪的女性艺术实践与艺术史学科的生成同步进行，当时出现了一系列有关女性艺术家的专题出版，此类通史与大学制度下的正典艺术史文本形成话语竞争。这些女性艺术家通史承袭学院研究的框架，但也反映了19世纪女性整体意识的苏醒，以回应现代布尔乔亚社会中的种种矛盾。当时的女性主义运动是对性别化社会限制的政治反抗，而相关出版即是在为女性的教育及公共生活权益发声。

Clayton, Ellen C. English Female Artists. 2 vols. London: Tinsley, 1876.

Clement Waters, Clara Erskine. Women in the Fine Arts: From the Seventh Century B.C. to the Twentieth Century A.D. Cambridge, MA: Houghton Mifflin, 1904.

Ellet, Elisabeth F. Women Artists in All Countries and Ages. London: Richard Bentley, 1859.

Guhl, Ernst von. Die Frauen in die Kunstgeschichte. Berlin: Verlag von J. Guttentag, 1858.

Ragg, Laura M. The Women Artists of Bologna. London: Methuen, 1904.

Sparrow, Walter Shaw. Women Painters of the World: From the Time of Caterina Vigri, 1413–1463, to Rosa Bonheur and the Present Day. London: Hodder and Stoughton, 1905.

作为艺术史家、考古学家与策展人的女性

Women as Art Historians, Archaeologists, and Curators

十九世纪，女性也开始在艺术史研究领域崭露头角，参与图像志、艺术收藏和美术馆实践的历史研究。她们往往身处学术体制之外，以独立学者身份发表见地。本小节收录各项线上资源及口述史素材，还包括了女性艺术史家在非西方地区的工作与实践。

AAH Oral Histories: Voices in Art History.

https://forarthistory.org.uk/podcast/aah-oral-histories/

Art History Oral Documentation Project: Interviews with Art Historians. J. Paul Getty Trust.

http://archives2.getty.edu:8082/xtf/view?docId=ead/940109/940109.xml;query=;brand=default

Dictionary of Art Historians

https://arthistorians.info

Sherman, Claire Richter, and Adele M. Holcomb, eds. Women as Interpreters of the Visual Arts, 1820–1979. Westport, CT: Greenwood, 1981.

1971年前的女性与艺术史

Women and Art History before 1971

二十世纪早期有关女性与艺术的著作不在少数，其中包括对现代主义时期女性艺术实践和职业发展的有益信息。这些著作认可女性在公共职业领域的在场，但承袭了十九世纪有关男女根本差异的意识形态，导致对女性艺术家的话语局限，同时现代主义的修辞本身也越发以男性特征为主导。在这样的大环境下，有两项例外是本小节的关注重点。其一是著名女性主义古典学家简·艾伦·哈里森（Jane Ellen Harrison，1850–1928) ，另一位是德国裔犹太难民学者海伦·罗瑟瑙（Helen Rosenau，1900–1984)，前者在对古希腊仪式的分析中将酒神重新定义为从母系社会组织中诞生的神祇，强调了艺术在仪式中的地位，及仪式在母系社会结构中的地位。伍尔芙和乔伊斯均受到其古典学研究的影响和启发。后者以瓦尔堡的反美学和以图像为基础的研究为出发点，制作了一张具有性别意识的欧洲与地中海文化的历史记忆图谱，其对后世的影响延续至今。

Harrison, Jane Ellen. Themis: A Study of the Social Origins of Greek Religion. 2d ed. London: Merlin, 1963.

《忒弥斯：一项有关古希腊宗教社会源头的研究》，1963年

Rosenau, Helen. Woman in Art: From Type to Personality. London: Isomorph, 1944.

《艺术中的女性：从类型到个性》，1944年

20世纪女性艺术家词典

20th-Century Dictionaries of Women Artists

本小节收录女性艺术家相关工具书，尽管这些工具书提供了研究的起点，许多著作的欧洲中心主义不容忽视，学科内尚需更多质疑此类叙事的实践与工作。

Bénézit, Emmanuel. Benezit Dictionary of Artists. Oxford: Oxford University Press. 2010.

Dunford, Penny. A Biographical Dictionary of Women Artists in Europe and America since 1850. New York: Harvester Wheatsheaf, 1990.

Gaze, Delia, ed. Dictionary of Women Artists. 2 vols. London: Fitzroy Dearborn, 1997.

Harris, Phoebe, ed. Women Artists of Color: A Bio-Critical Sourcebook to 20th Century Artists in the Americas. Westport, CT: Greenwood, 1999.

Petteys, Chris. Dictionary of Women Artists: An International Dictionary of Women Artists Born Before 1900. Boston: G. K. Hall, 1985.

Rubinstein, Charlotte Streifer. American Women Artists: From Early Indian Times to the Present. Boston: G. K. Hall, 1982.

Thieme, Ulrich, and Felix Becker. Algemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegewart. Leipzig: Seeman, 2008.

艺术中的女性文献书目

Bibliographies of Women in the Arts

African American Women Artists: A Selected Bibliography. Smithsonian Institution.

Bachmann, Donna B., and Sherry Piland. Women Artists: An Historical, Contemporary, and Feminist Bibliography. Metuchen, NJ: Scarecrow, 1978.

Harris, Elree I., and Shirley R. Scott. A Gallery of Her Own: An Annotated Bibliography of Women in Victorian Painting. New York: Garland, 1997.

Tufts, Eleanor. American Women Artists, Past and Present: A Selected Bibliographic Guide. 2 vols. New York: Garland, 1984.

英美艺术史中女性主义研究的历史浮现之综述

Reviews of the Emergence of Feminist Studies in Art History in the United States and the United Kingdom

二十世纪下半叶再度兴起的女权主义运动与艺术史内部的对女性议题探讨的范式转变同步发生。跨学科的妇女研究挑战各种学科中存在的性别排斥或对性别差异的无视，艺术史也不例外。1970年代起的一系列学科介入可以从当时出现的领域回顾中找到蛛丝马迹。这一系列来自70和80年代的文献呈现出当时针对性别议题的激烈探讨，在信息收集和编纂(informational)与理论建构(conceptual)两个方向上，均有推进。探讨的议题包括：精神分析方法、艺术与手工艺、女性形象与图像实践、差异作为性别研究重要范畴的意义等。

Broude, Norma, and Mary Garrard. “An Exchange on the Feminist Critique of Art History.” Art Bulletin 71.1 (1989): 124–127.

“有关艺术史的女性主义批判的意见交换”，1989年

Gouma-Peterson, Thalia, and Patricia Mathews. “The Feminist Critique of Art History.” Art Bulletin 69.3 (1987): 326–357.

“艺术史的女性主义批判”，1987年

Kelly, Mary. “On Sexual Politics and Art.” In Framing Feminism: Art and the Women’s Movement, 1970–85. Edited by Rozsika Parker and Griselda Pollock, 303–311. London: Pandora, 1987.

“论性政治与艺术”，1987年

Orenstein, Gloria Feman. “Review Essay: Art History.” Signs 1.2 (1975): 505–525. Russell, H. Diane. “Review Essay: Art History.” Signs 5.3 (1980): 468–481.

“评论文章：艺术史”，1975年、1980年

Pollock, Griselda. “Generations and Geographies.” Genders 17 (1993): 97–120.

“代际与地理”，1993年

Tickner, Lisa. “Feminism, Art History and Sexual Difference.” Genders 3 (1988): 92–128.

“女性主义、艺术史与性差异”，1988年

Vogel, Lise. “Fine Arts and Feminism: The Awakening Conscience.” Feminist Studies 2.1 (1974): 3–37.

“纯美术与女性主义：意识的觉醒”，1974年

艺术中的女性的女性主义通史

Feminist Surveys of Women in Art

本小节聚焦从西欧到东欧、从拉美到东亚的女性主义艺术通史撰写，强调其与英美世界的同步性及其扎根于在地语境的历史沿革历程，强调了女性主义叙事的多样性。

西方世界，1970年代至1980年代

Chadwick, Whitney. Women, Art and Society. 4th ed. London: Thames & Hudson, 2012.

Greer, Germaine. The Obstacle Race: The Fortunes of Women Painters and Their Work. London: Secker & Warburg, 1979.

西方世界，1990年代至2000年代：女性主义艺术的历史

Battista, Kathy. Renegotiating the Body: Feminist Art in 1970s London. London: I. B. Tauris, 2013.

Broude, Norma, and Mary Garrard. The Power of Feminist Art: Emergence, Impact and Triumph of the American Feminist Art Movement. New York: Abrams, 1994.

Cottingham, Laura. Seeing Through the Seventies: Essays on Feminism and Art. London: Routledge, 2003.

Dekel, Tal. Gendered: Art and Feminist Theory. Newcastle upon Tyne, UK: Cambridge Scholars, 2013.

Isaak, Jo Anna. Feminism and Contemporary Art: The Revolutionary Power of Women’s Laughter. London: Routledge, 1996.

Meskimmon, Marsha, and Dorothy C. Rowe, eds. Women, the Arts and Globalization: Eccentric Experience. Manchester, UK: Manchester University Press, 2013.

Schor, Mira. Wet: On Painting, Feminism and Art Culture. Durham, NC: Duke University Press, 1997.

国际视野（印度、墨西哥、巴基斯坦、波兰、法国与东亚）

Gonnard, Catherine, and Élisabeth Lebovici. Femmes artistes, artistes femmes: Paris, de 1880 à nos jours. Paris: Hazan, 2007.

Hashmi, Salima. Unveiling the Visible: Lives and Works of Women Artists of Pakistan. Lahore, Pakistan: Sang-e-Meel, 2003.

Jacubowska, Agata, ed. Artystki polskie. Warsaw, Poland: Wydawnictwo Szkolne PWN, 2011.

Kapur, Geeta. “Body as Gesture: Women Artists at Work.” In When Was Modernism: Essays on Contemporary Cultural Practice in India. By Geeta Kapur, 3–60. Delhi: Tulika, 2000.

Sinha, Gayatri. Expressions and Evocations: Contemporary Women Artists of India. Bombay: Marga, 1996.

Sosnowska, Joanna. Poza kanonem: Sztuka polskich artystek, 1880–1938. Warsaw, Poland: Instytut Sztuki Polskiej Akademii Nauk, 2003.

Tomomichi, Nakao, Tomiyama Megumi, Reiko Kokatsu, and Hara Maiko, eds. Women In-Between: Asian Women Artists, 1984–2012. Mie, Japan: Mie Prefectural Art Museum, 2012.

访谈录及女性艺术家写作合集

Interviews and Anthologies of Writings

Nemser, Cindy. Art Talk: Conversations with 12 Women Artists. New York: Scribner’s, 1975.

Robinson, Hilary, ed. Visibly Female: Feminism and Art—An Anthology. London: Camden, 1987.

Witzling, Mara R. Voicing Our Visions: Writings by Women Artists. New York: Universe, 1991.

女性主义艺术史研究合集

Compilations of Feminist Art Historical Research

学科整体

Broude, Norma, and Mary Garrard, eds. Feminism and Art History: Questioning the Litany. New York: Harper & Row, 1982.

Broude, Norma, and Mary Garrard, eds. The Expanding Discourse: Feminism and Art History. New York: Harper Collins, 1992.

Broude, Norma, and Mary Garrard, eds. Reclaiming Feminist Agency: Feminist Art History after Postmodernism. Berkeley: University of California Press, 2005.

西方艺术史专题研究汇总

中世纪

Brubaker, Leslie, and Julia M. H. Smith, eds. Gender in the Early Medieval World: East and West, 300–900. Cambridge, UK: Cambridge University Press, 2004.

Carr, Annemarie Weyl. “Women Artists in the Middle Ages.” Feminist Art Journal 5 (1976): 5–9.

Hamburger, Jeffrey. The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany. Cambridge, MA: MIT Press, 1998.

L’Estrange, Elizabeth. Holy Motherhood: Gender, Dynasty, and Visual Culture in the Later Middle Ages. Manchester, UK: Manchester University Press, 2008.

McCash, June Hall, ed. The Cultural Patronage of Medieval Women. Athens, GA: University of Georgia Press, 1995.

Miner, Dorothy. Anastasie and Her Sisters. Baltimore: Baltimore Art Gallery, 1974.

Newman, Barbara, ed. Voice of the Living Light: Hildegard of Bingen and Her World. Berkeley: University of California Press, 1998.

Wolfthal, Diane. “Agnes van den Bossche: Early Netherlandish Painter.” Woman’s Art Journal 6.1 (1985): 8–11.

文艺复兴

Johnson, Geraldine, and Sara F. Matthews Grieco, eds. Picturing Women in Renaissance and Baroque Italy. Cambridge, UK: Cambridge University Press, 1997

Miguel, Marilyn, and Juliana Schiesari, eds. Refiguring Woman: Perspectives on Gender and the Italian Renaissance. Ithaca, NY: Cornell University Press, 1991.

Tinagli, Paola. Women in Italian Renaissance Art: Gender, Representation, Identity. Manchester, UK: Manchester University Press, 1997. 

18世纪

Hyde, Melissa and Jennifer Milam, eds. Women, Art and the Politics of Identity in Eighteenth-Century Europe. Aldershot, UK: Ashgate, 2003. 

现代时期

Duncan, Carol. The Aesthetics of Power: Essays in Critical Art History. Cambridge, UK: Cambridge University Press, 1993.

Nochlin, Linda. Women, Art and Power and Other Essays. London: Thames & Hudson, 1989.

Nochlin, Linda. Representing Women. London: Thames & Hudson, 1999.

女性主义艺术、理论与实践

Armstrong, Carol, and Catherine de Zegher, eds. Women Artists at the Millennium. Cambridge, MA: MIT Press, 2006.

Betterton, Rosemary, ed. Looking On: Images of Femininity in the Visual Arts and Media. London: Pandora, 1987.

Frederickson, Kristen, and Sarah E. Webb, eds. Singular Women: Writing the Artist. Berkeley: University of California Press, 2003.

Robinson, Hilary, ed. Feminism-Art-Theory: An Anthology, 1968–2000. Oxford: Blackwell, 2001.

美术馆与馆藏

Museums and Collections

本节关于美术馆实践中对性别议题的反思，强调对美术馆中女性艺术家的再挖掘、对策展研究及实践的女性主义分析与介入等。议题包括：理论视角、女性艺术博物馆、重审美术馆馆藏与策展实践。

理论

Bal, Mieke. Double Exposures: The Practice of Cultural Analysis. London: Routledge, 1996.

Duncan, Carol, and Alan Wallach. “MOMA: Ordeal and Triumph on 53rd Street.” Studio International 194.1 (1978): 48–57.

女性艺术博物馆

Halladay, Wilhelmina C. A Museum of Their Own: National Museum of Women in the Arts. New York: Abbeville, 2008.

Petherbridge, Deanna, and Marina Warner. Women’s Art at New Hall. Cambridge, UK: New Hall, University of Cambridge, 1992.

重审重要馆藏（柏林公共美术馆、纽约现代艺术博物馆、泰特美术馆、蓬皮杜等）

Breitling, Gisela, and Evelyn Kuwertz. Das Verborgene Museum. Bd. 1, Dokumentation der Kunst von Frauen in Berliner öffentlichen Sammlungen. Berlin: Hentrich, 1987.

Butler, Cornelia, and Alexandra Schwartz, eds. Modern Women: Women Artists at the Museum of Modern Art. New York: Museum of Modern Art, 2010.

Foster, Alicia. Tate Women Artists. London: Tate, 2003.

Morineaux, Camille. Elles centrepompidou: Women Artists in the Collection of the Musée National d’Art Moderne. Paris: Centre Pompidou, 2009.

Nittve, Lars. Det andra önskemuseet = The Second Museum of Our Wishes. Edited by John Peter Nilsson. Stockholm: Steidl Verlag, 2011.

Sulter, Maud, ed. Echo: Works by Women Artists 1850–1940. London: Tate Gallery, 1991.

策展实践

Dimitrakaki, Angela, and Lara Perry, eds. Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions. Liverpool, UK: Liverpool University Press, 2013.

Hedlin Hayden, Malin, and Jessica Sjöholm Skrubbe. Feminisms Is Still Our Name: Seven Essays on Historiography and Curatorial Practices. Newcastle upon Tyne, UK: Cambridge Scholars, 2010.

Kivimaa, Katrin, ed. Working with Feminism: Curating and Exhibitions in Eastern Europe. Tallin, Estonia: Tallinn University Press, 2012.

展览

Exhibitions

展览是公共教育的首要场所，也是新研究和阐释的展示空间。运用美术馆、馆藏、修复和文献的多重资源，展览把散落的作品汇聚一处以形成对流派和个人整体创作的融贯研究。对女性艺术家再打捞的过程的历史和艺术史方法论层面的定位必须同时通过一系列具有影响力的展览来追索，这之中可以看到美术馆重塑文化知识的作用和艺术史学科对社会整体的贡献。本节内容包括信息整合式的女性艺术家通史写作和国别研究、对特定时期或流派史学史的策略性介入，并选择性地对女性艺术活动在国际范围内的图景进行了扫描。

最初的展览：西方传统中的女性艺术家

1972年，“女老大师/旧情人”（old mistresses）一词被发明出来，强调艺术史语言本身对女性的排斥，因为英语中不存在“old master”（老大师）一词的女性版本。1977年，Linda Nochlin和Ann Sutherland Harris在洛杉矶郡美术馆（Los Angeles County Museum of Art）举办了划时代意义的展览《女性艺术家：1550-1950》为重新发现西方艺术史中的女性角色以及公众美术馆教育提供了重要契机。德语世界的相关工作要到二十年后才得到推进。

《女性艺术家：1550-1950》画册封面，1977年

《女性艺术家：1550-1950》展厅现场照片，1977年

女性艺术家群展

Behrndt, Helle, and Jorunn Veiteberg. Women Painters in Scandinavia: 1880–1900. Copenhagen: Kunstforeningen, 2002.

Berlinischen Galerie, Museum für Moderne Kunst, Photographie under Architektur, eds. Profession ohne Tradition: 125 Jahre Verein der Berliner Künstlerinnen. Berlin: Kupfergraben, 1992.

Gabhart, Ann, and Elizabeth Broun. Old Mistresses: Women Artists of the Past. Baltimore: Walters Art Gallery, 1972.

Stighelen, Katlijne van der, and Mirjam Westen, eds. A chacun sa grâce: Femmes artistes en Belgique et aux Pays Bas 1500–1950. Ghent, Belgium: Ludion, 2000.

Sutherland Harris, Ann, and Linda Nochlin. Women Artists: 1550–1950. Los Angeles: Los Angeles County Museum of Art, 1977.

女性主义展览

Butler, Cornelia. WACK! Art and the Feminist Revolution. Edited by Lisa Gabrielle Mark. Cambridge, MA: MIT Press, 2007.

de Zegher, M. Catherine, ed. Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, MA: MIT Press, 1996.

Himid, Lubaina. The Thin Black Line. London: ICA, 1985.

Jones, Amelia, ed. Sexual Politics; Judy Chicago’s “Dinner Party” in Feminist Art History. Berkeley: University of California Press, 1996.

Mulvey, Laura, and Peter Wollen. Frida Kahlo and Tina Modotti. London: Whitechapel Art Gallery, 1982.

专题展览

Fortunati, Vera, Jordana Pomeroy, Claudio Strinati, and Elizabethe S. G. Nicholson, eds. Italian Women Artists: From Renaissance to Baroque. Milan: Skira, 2007.

Pfeiffer, Ingrid, and Max Hollein, eds. Women Impressionists. Frankfurt: Schirn Kunsthalle, 2008.

Søndergard, Sidsel Maria, ed. Women in Impressionism: From Mythical Feminine to Modern Women. Milan: Skira, 2006. 

增进国际视野（巴基斯坦、印度、日本、中国与后社会主义时期东欧）

Hashmi, Salima. An Intelligent Rebellion: Women Artists of Pakistan. Bradford, Pakistan: City of Bradford Metropolitan Council Arts, 1994.

Kokatsu, Reiko. Japanese Women Artists before and after World War II: 1930s–1950s. Utsunomiya, Japan: Tochigi Prefectural Museum of Fine Arts, 2001.

Kokatsu, Reiko. Japanese Women Artists in Avant-Garde Movements 1950–1975. Utsunomiya, Japan: Tochigi Prefectural Museum of Fine Arts, 2005.

Pejić, Bojana, ed. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Vienna: Museum moderner Kunst Stiftung Ludwig Wien, 2009.

Pejić, Bojana, ed. Gender Check: A Reader in Art and Theory in Eastern Europe. Cologne, Italy: Verlag der Buchhandlung Walther König, 2010.

Sinha, Gayatri. The Self and the World: An Exhibition of Indian Women Artists. New Delhi: National Gallery of Modern Art, 1997.

Women’s Art in China (1920–2010) Exhibition: Self-Image: Interpreting a Perspective of Chinese Women’s Art in the 20th Century. Shanghai: Central Academy of Fine Arts Museum, 2010.

国际趋势：国别倡议

International Perspectives: National Initiatives

非洲

Arnold, Marion. Women and Art in South Africa. Basingstoke, UK: Palgrave Macmillan, 1997.

Arnold, Marion, and Brenda Schahmann, eds. Between Union and Liberation: Women Artists in South Africa, 1910–1994. Aldershot, UK: Ashgate, 2005.

Hassan, Salah M., ed. Gendered Visions: The Art of Contemporary Africana Women Artists. Trenton, NJ: Africa World, 1997.

法国

Creissels, Anne. Prêter son corps au mythe: Le féminine et l’art contemporain. Paris: Editions du Félin, 2009.

Michaud, Yves, ed. Féminisme, art, et histoire de l’art. Paris: École nationale supérieure des beaux-arts, 1994.

Sofio, Sévérine, Perin Emel Yavuz, and Pascale Molinier, eds. Special Issue: Genre, féminisme et valeur de l’art. Cahiers du Genre 43 (2007). 

德国

Baumgart, Silvia, ed. Denkräume zwiwschen Kunst und Wissenschaft: 5. Kunsthistorikerinnentagung in Hamburg, 1991. Berlin: Dietrich Reimer Verlag, 1993.

Lindner, Ines, Sigrid Schade, Silke Wenk, and Gabriele Werner, eds. Blick-Wechsel: Konstruktionen von Männlichkeit und Weiblichkeit in Kunst und Kunstgeschichte: 4. Kusthistorikerinnentagung in Berlin, 1988. Berlin: Dietrich Reimer Verlag, 1989.

Söngten, Beate, ed. Rahmenwechsel: Kunstgeschichte als feministische Kulturwissenschaft. Berlin: Akademie Verlag, 1996.

印度

Dehejia, Vidya, ed. Representing the Body: Gender Issues in Indian Art. New Delhi: Kali for Women, 1997.

西班牙

Arakistain, Xavier, and Lourdès Mendes, eds. Artistic Production and the Feminist Theory of Art: New Debates I–IV. Vitoria-Gasteiz, Spain: Centro Cultural, 2008–2011.

期刊

Journals

Feminist Art Journal. 1972–1977.

Heresies: A Feminist Publication on Art and Politics. 1977–1992.

Journal of Visual Culture. 2003–.

N.paradoxa. 1998–.

Signs: Journal of Women in Culture and Society. 1975–.

Women’s Art Library (MAKE).

Third Text: Critical Perspectives on Contemporary Art and Culture. 1987–.

Woman’s Art Journal. 1980–.

Women: A Cultural Review. 1990–.

女性主义与视觉文化

Feminism and Visual Culture

视觉文化是质询艺术史学科和延伸艺术史研究领域的重要学科发展，女性主义对视觉再现和视觉文化分析的介入对该领域产生了特殊的影响，而视觉文化也为女性主义提供了重要的具有自我意识的有关性别与图像关系的理论资源，其中不乏对多样视觉媒介的探讨以及后殖民、种族批判性视角。

Bloom, Lisa, ed. With Other Eyes: Looking at Race and Gender in Visual Culture. Minneapolis: University of Minnesota Press, 1999.

Carson, Fiona, and Claire Pajaczkowska, eds. Feminist Visual Culture. Edinburgh, UK: Edinburgh University Press, 2000.

Härtel, Insa, and Sigrid Schade, eds. The Body and Representation: Feminist Research and Theoretical Perspectives. Schriftenrihe der Internationalen Frauenuniversität “Technik und Kultur” 6. Opladen, Germany: Leske & Budrich, 2002.

Pollock, Griselda. “The Visual.” In A Concise Companion to Feminist Theory. Edited by Mary Eagleton, 173–194. London: Blackwell, 2003.

Schade, Sigrid, and Silke Wenk. Studien zur visuellen Kultur: Eine Einführung: Einführung in ein transdisziplinäres Forschungsfeld. Bielefeld, Germany: Transcript Verlag, 2011.

方法论介入

Methodological Interventions

诺克林在1973年呼吁艺术史的范式转向，将艺术史向女性研究敞开，她由此打破了艺术独立于其社会境遇的自治性和自我定义的艺术天才的双重神话。女性主义艺术史从一开始的目标就不在于创造一个“女性艺术”的次级范畴或“女性主义艺术史”的次级学科，而是直指学科实践的核心。学者强调对学科惯习与方法的结构性批判，受到法国后现代理论的多重影响。这些研究聚焦以下议题：挑战学科正典中的性别与地域结构；强调艺术中的男性气质与男性化是跟女性气质和女性化同等重要的议题；对艺术中的种族化程序展开分析；酷儿理论；批判美术馆实践等。以下是一些重要的理论探讨分支。

正典 Canon

Pollock, Griselda. Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. London: Routledge, 1999.

Salomon, Nanette. “The Art Historical Canon: The Sins of Omission.” In The Art of Art History: A Critical Anthology. Edited by Donald Preziosi, 344–355. Oxford: Oxford University Press, 1998.

凝视 Gaze

Bal, Mieke. “Reading the Gaze: The Construction of Gender in ‘Rembrandt.’” In Vision and Textuality. Edited by Stephen Melville and Bill Readings, 147–173. Durham, NC: Duke University Press, 1995.

Simons, Patricia. “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture.” History Workshop 25.1 (1988): 4–30.

Skalska, Agnieska. Przeoczenie = Overlook. Lódź, Poland: Muzeum Sztuki, 2010.

Solomon-Godeau, Abigail. “The Legs of the Countess.” October 39 (1986): 65–108.

诸艺的等级体系 Hierarchy of the Arts

Barnett, Pennina, and Jennifer Harris. The Subversive Stitch. Manchester, UK: Whitworth Art Gallery, 1988

Callen, Anthea. Angel in the Studio: Women in the Arts and Crafts Movement 1870–1914. London: Astragal, 1979.

Parker, Rozsika. The Subversive Stitch: Embroidery and the Making of the Feminine. London: Women’s Press, 1984

Textile: The Journal of Cloth and Culture. 2003–.

职业 Professions

Garb, Tamar. Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth-Century Paris. New Haven, CT: Yale University Press, 1994.

Trasforini, Maria Antonietta. Nel Segno delle artiste: Donne, professioni d’arte et modernità. Bologna, Italy: Il mulino, 2007.

Weisberg, Gabriel, and Jane R. Becker, eds. Overcoming all Obstacles: The Women of the Académie Julien. New Brunswick, NJ: Rutgers University Press, 1999.

女性主义与社会艺术史 Feminism and Social Art History

D’Eaubonne, Françoise. Histoire de l’art et lutte des sexes. Paris: Éditions de la Différence, 1978.

Pollock, Griselda. “Feminist Interventions in Art’s Histories.” In Vision and Difference: Feminism, Femininity, and Histories of Art. By Griselda Pollock. London: Routledge, 1988.

女性主义与符号学 Feminism and Semiotics

Bal, Mieke. “Reading Art?” In Generations and Geographies in the Visual Arts: Feminist Readings. Edited by Griselda Pollock, 25–41. London: Routledge, 1996.

女性主义艺术史与阿比·瓦尔堡 Feminism and Aby Warburg

Iverson, Margaret. “Retrieving Warburg’s Tradition.” Art History 16.4 (1993): 541–553.

Pollock, Griselda. Encounters in the Virtual Feminist Museum: Time, Space and the Archive. London: Routledge, 2007.

Schade, Sigrid. “Charcot and the Spectacle of the Hysterical Body: The ‘Pathos Formula’ as an Aesthetic Staging of Psychiatric Discourse—A Blind Spot in the Reception of Warburg.” Art History 18.4 (1995): 499–517.

女性主义与精神分析 Feminism and Psychoanalysis

Kelly, Mary. Imaging Desire. Cambridge, MA: MIT Press, 1997.

Mulvey, Laura. Visual and Other Pleasures. Basingstoke, UK: Macmillan, 1988.

Pollock, Griselda, ed. Psychoanalysis and the Image: Transdisciplinary Perspectives. Oxford: Blackwell, 2006.

Rose, Jacqueline. Sexuality in the Field of Vision. London: Verso, 1986.

绝对的特例：阿尔泰米西娅·真蒂莱斯基（ Artemisia Gentileschi）

真蒂莱斯基在艺术史中因为一次丑闻性质的强奸案审判和其惊人的描绘暴力斩首场景的绘画而广为人知。本节展示的有关她的研究涵盖了虚构写作、文献研究和各类女性主义阐释。本节选录的文本提供了一个方法和书目的案例研究。Anna Banti是意大利女作家、意大利艺术史家Roberto Longhi之妻Lucia Lopresti的笔名，她在二战期间筹备有关真蒂莱斯基的研究，其手稿在纳粹轰炸佛罗伦萨桥梁的时候被摧毁了。无法重写专著的她转而将其写成了一部名为《阿尔泰米西娅》的小说。后续的女性主义艺术家相继展开对真蒂莱斯基的研究，其中既有理论批判也有鉴赏学的实践与争议，针对真蒂莱斯基的介乎虚构和学术研究之间的写作和艺术创作亦在新千年中多有浮现。

Bal, Mieke, ed. The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People. Chicago: University of Chicago Press, 2006.

Banti, Anna. Artemisia. Translated by Shirley D’Arda Caracciolo. Lincoln: University of Nebraska Press, 2004.

Christiansen, Keith, and Judith W. Mann. Orazio and Artemisia Gentileschi. New York: Metropolitan Museum of Art, 2001.

Ffolliott, Sheila. “Learning to be Looked At: A Portrait of (the Artist as) a Young Woman in Agnès Merlet’s Artemisia.” In Reclaiming Female Agency: Feminist Art History after Postmodernism. Edited by Norma Broude and Mary D. Garrard, 49–62. Berkeley: University of California Press, 2005.

Garrard, Mary D. Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton, NJ: Princeton University Press, 1989.

Garrard, Mary D. Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity. Berkeley: University of California Press, 2001.

Garrard, Mary D. “Artemisia’s Hand.” In Reclaiming Female Agency: Feminist Art History after Postmodernism. Edited by Norma Broude and Mary D. Garrard, 63–80. Berkeley: University of California Press, 2005.

Lapierre, Alexandra. Artemisia: The Story of a Battle for Greatness. Translated by Liz Heron. New York: Grove, 2001.

性经验 Sexuality

Berger, John. Ways of Seeing. London: Penguin, 1973.

Hess, Thomas B., and Linda Nochlin. Woman as Sex Object: Studies in Erotic Art, 1730–1970. ARTnews Annual 38. New York: Newsweek, 1972.

Nead, Lynda. The Female Nude: Art, Obscenity and Sexuality. London: Routledge, 1992.

Tickner, Lisa. “The Body Politic: Female Sexuality and Women Artists since 1970.” Art History 1.2 (1978): 236–247.

裸像 The Nude

Arscott, Caroline, and Katie Scott, eds. Manifestations of Venus: Art and Sexuality. Manchester, UK: Manchester University Press, 2000.

Bahrani, Zainab. Women of Babylon: Gender and Representation in Mesopotamia. London: Routledge, 2001.

Koloski-Ostrow, Ann Olga, and Claire L. Lyons. Naked Truths: Women, Sexuality, and Gender in Classical Art and Archaeology. New York: Routledge, 1997.

Salomon, Nanette. “The Venus Pudica: Uncovering Art History’s ‘Hidden Agendas’ and Pernicious Pedigrees.” In Generations and Geographies in the Visual Arts: Feminist Readings. Edited by Griselda Pollock, 69–87. London: Routledge, 1996.

具身经验 Embodiment

Battista, Kathy. Renegotiating the Body: Feminist Art in 1970s London. London: I. B. Tauris, 2013.

Betterton, Rosemary. An Intimate Distance: Women, Artists, and the Body. London: Routledge, 1996.

Garb, Tamar. Bodies of Modernity: Figure and Flesh in Fin-de-Siècle France. London: Thames & Hudson, 1998.

Kokatsu, Reiko, ed. Floating Images of Women in Art History: From the Birth of Feminism Toward the Dissolution of the Gender. Utsunomiya, Japan: Tochigi Prefectural Museum of Fine Arts, 1997.

Zabunyan, Elvan. Keep This Sex Out of My Sight. Paris: Editions Dis Voir, 2003.

差异、权力与主体性

Differences, Power, and Subjectivities

本节探讨女性主义研究与针对其他权力结构的批判性分析的互动与交叉，其中涉及东方主义、种族主义、犹太身份和多元性别身份。

东方主义 Orientalism

Boer, Inge. Disorienting Vision: Rereading Stereotypes in French Orientalist Texts and Images. Edited by Mieke Bal. Amsterdam: Rodopi, 2004.

DelPlato, Joan. Multiple Wives, Multiple Pleasures: Representing the Harem, 1800–1875. Madison, NJ: Farleigh Dickinson University Press, 2002.

Lewis, Reina. Gendering Orientalism: Race, Femininity, and Representation. London: Routledge, 1995.

Nochlin, Linda. “The Imaginary Orient.” Art in America 71.5 (1983): 118–131.

Roberts, Mary. Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature. Durham, NC: Duke University Press, 2007.

对男性气质与艺术的女性主义分析 Feminist analysis of masculinity and art

Broude, Norma. “Degas’s ‘Misogyny.’” Art Bulletin 59.1 (1977): 95–107.

Chadwick, Whitney, and Isabelle de Courtivron, eds. Significant Others: Creativity and Intimate Partnership. London: Thames & Hudson, 1993.

Chave, Anna C. “Minimalism and Biography.” Art Bulletin 82.1 (2000): 149–163.

Dawkins, Heather. “Grief and Fascination.” differences 4.3 (1992): 66–90.

Goffen, Rona. Titian’s Women. New Haven, CT: Yale University Press, 1997.

Kendall, Richard, and Griselda Pollock. Dealing with Degas: Representations of Women and the Politics of Vision. London: Pandora, 1992.

Nochlin, Linda. “The De-Politicization of Gustave Courbet: Transformation and Rehabilitation under the Third Republic.” October 22 (1982): 64–78.

Pollock, Griselda. “Artists, Mythologies and Media—Genius, Madness and Art History.” Screen 21.3 (1980): 57–96.

Simons, Patricia. The Sex of Men in Premodern Europe: A Cultural History. Cambridge, UK: Cambridge University Press, 2011.

Tickner, Lisa. “Men’s Work? Masculinity and Modernism.” In Visual Culture: Images and Interpretations. Edited by Norman Bryson, Michael Ann Holly, and Keith Moxey, 42–82. Hanover, NH: University Press of New England, 1994.

种族、族裔、黑人主体性与视觉表征

Nelson, Charmaine A. Representing the Black Female Subject in Western Art. New York: Routledge, 2010.

Pai Buick, Kirsten. Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject. Durham, NC: Duke University Press, 2010.

Pinder, Kymberly N., ed. Race-ing Art History: Critical Readings in Race and Art History. New York: Routledge, 2002.

Pollock, Griselda. Avant-Garde Gambits, 1888–1893: Gender and the Colour of Art History. London: Thames & Hudson, 1993.

Sulter, Maud, ed. Passion: Discourses on Blackwomen’s Creativity. Hebden Bridge, UK: Urban Fox Press, 1990.

Tesfagiorgis, Freida High W. “Chiasmus: Art in Politics/Politics in Art: Chicano/a and African American Image, Text, and Activism of the 1960s and 1970s.” In Voices of Color: Art and Society in the Americas. Edited by Phoebe Farris-Dufrene, 119–165. Atlantic Highlands, NJ: Humanities Press, 1997.

Tesfagiorgis, Freida High W. “Interweaving Black Feminism and Art History: Framing Nigeria.” In Contemporary Textures: Multidimensionality in Nigerian Art. Edited by Nkiru Nzegwu. Binghampton, NY: International Society for the Study of Africa, Binghampton University, 1999.

Zabunyan, Elvan. Black Is a Color: A History of African American Art. Translated by Paul Buck and Catherine Petit. Paris: Editions Dis Voir, 2005.

女同性恋主体性与视觉文化

Bryan-Wilson, Julia. “Queerly Made: Harmony Hammond’s Floorpieces.” Journal of Modern Craft 2.1 (2009): 59–79.

Castle, Terry. The Apparitional Lesbian: Female Homosexuality and Modern Culture. New York: Columbia University Press, 1993.

Chadwick, Whitney. Amazons in the Drawing Room: The Art of Romaine Brooks. Berkeley: University of California Press, 2000.

Gibson, Ann E. “Lesbian Identity and the Politics of Representation in Betty Parson’s Gallery.” Journal of Homosexuality 27.1–2 (1994): 245–270.

Hammond, Harmony. Lesbian Art in America: A Contemporary History. New York: Rizzoli, 2000.

Latimer, Tirza True. “Acting Out: Claude Cahun and Marcel Moore.” 2005a.

Latimer, Tirza True. Women Together/Women Apart: Portraits of Lesbian Paris. New Brunswick, NJ: Rutgers University Press, 2005b.

Lesbians and the Arts: A Bibliography and Research Guide.

Rando, Flavia. “Reflections on a Name: We’re Here: Gay and Lesbian Presence in Art and Art History.” Special Issue: We’re Here: Gay and Lesbian Presence in Art and Art History. Art History 55.4 (1996): 8–10.

Simons, Patricia. “Lesbian (in)Visibility in Italian Renaissance Culture: Diana and Other Cases of donna con donna.” Journal of Homosexuality 27.1–2 (1994): 81–122.

犹太主体性、艺术与历史

Bloom, Lisa. Jewish Identities in American Feminist Art: Ghosts of Ethnicity. London: Routledge, 2006.

Bohm-Duchen, Monica, and Vera Grodzinski, eds. Rubies and Rebels: Jewish Female Identity in Contemporary British Art. London: Lund Humphries, 1996a.

Bohm-Duchen, Monica, and Vera Grodzinski, eds. Special Issue: Gender, Religion, Ethnicity: Jewish Women in Visual Culture. Issues in Architecture, Art and Design 5.1 (1996b).

Corby, Vanessa. Eva Hesse: Longing, Belonging and Displacement. London: I. B. Tauris, 2010.

Soussloff, Catherine M., ed. Jewish Identity in Modern Art History. Berkeley: University of California Press, 1999.

漫长的现代时期

The Long Modern

得益于女性主义艺术史、社会艺术史及其他批判艺术史在二十世纪末的交叉，漫长的现代时期（从十九世纪中叶起）成为了性别研究成果极为丰富的一个领域。始于维多利亚时期，相关研究不仅关注当时参与艺术的女性群体，还探讨现代性别意识形态在早期工业化资本主义社会的成型。女性主义分析也介入了对法国现代主义时期“闲庭信步者”（flâneur）的特殊形象的探讨。现当代艺术领域的女性主义理论与实践开创了一个全新的领域，相关文献可以在“女性主义展览”、“重新重要馆藏”等版块找到。

维多利亚时期

Cherry, Deborah. Painting Women: Victorian Women Artists. London: Routledge, 1993.

Cherry, Deborah, and Griselda Pollock. “Woman as Sign in Pre-Raphaelite Literature: A Study of the Representation of Elizabeth Siddall.” Art History 7.2 (1984): 206–227.

Nunn, Pamela Gerrish. Victorian Women Artists. London: Women’s Press, 1987.

Yeldham, Charlotte. Women Artists in Nineteenth-Century France and England; Their Art Education, Exhibition Opportunities and Membership of Exhibiting Societies and Academies with an Assessment of the Subject Matter of Their Work and Summary Biographies. 2 vols. New York: Garland, 1984.

现代性、风景、都市空间与女性游荡者(Flâneuse)

Broude, Norma. Impressionism: A Feminist Reading: The Gendering of Art, Science, and Nature in the Nineteenth Century. New York: Rizzoli, 1991.

D’Souza, Aruna, and Tom McDonough, eds. The Invisible Flâneuse? Gender, Public Space, and Visual Culture in Nineteenth-Century Paris. Manchester, UK: Manchester University Press, 2006.

Pollock, Griselda. “Modernity and the Spaces of Femininity.” In Vision and Difference: Feminism, Femininity, and the Histories of Art. By Griselda Pollock, 70–127. London: Routledge, 2003.

Wolff, Janet. “The Invisible Flâneuse: Women and the Literature of Modernity.” Theory, Culture & Society 2.3 (1985): 37–46.

思考现代性

Bal, Mieke. Louise Bourgeois’ Spider: The Architecture of Art-Writing. Chicago: University of Chicago, 2001.

Kelly, Mary. “Re-Viewing Modernist Criticism.” Screen 22.3 (1981): 41–52.

Rowley, Alison. Helen Frankenthaler: Painting History, Writing Painting. London: I. B. Tauris, 2008.

Tickner, Lisa. The Spectacle of Women: Imagery of the Suffrage Campaign, 1907–14. Chicago: University of Chicago, 1988.

Wagner, Anne Middleton. Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O’Keeffe. Berkeley: University of California Press, 1996.

先锋派

Chadwick, Whitney, and Tirza True Latimer, eds. The Modern Woman Revisited: Paris Between the Wars. New Brunswick, NJ: Rutgers University Press, 2003.

Duncan, Carol. “Virility and Domination in Early Twentieth-Century Vanguard Painting.” Artforum (1973): 30–39.

Perry, Gill. Women Artists and the Parisian Avant-Garde. Manchester, UK: Manchester University Press, 1995.

Schor, Gabriele. Donna: Avanguardia femminista negli anni ’70: Dalla Sammlung Verbund di Vienna. Milan, Italy: Electa, 2010.

Vergine, Lea. L’altra metà dell’avanguardia, 1910–1940: Pittrici e scultrici nei movimenti delle avanguardie storiche. Milan, Italy: Edizioni Gabriele Mazzotta, 1980.

超现实主义

Allmer, Patricia, ed. Angels of Anarchy: Women Artists and Surrealism. Munich: Prestel, 2009.

Caws, Mary Ann, Rudolf E. Kuenzli, and Gwen Raaberg, eds. Surrealism and Women. Cambridge, MA: MIT Press, 1991.

Chadwick, Whitney. Women Artists and the Surrealist Movement. London: Thames & Hudson, 1985.

Fort, Ilene Susan, and Tere Arcq. In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. New York: Prestel, 2012.

Gauthier, Xavière. Surréalisme et sexualité. Paris: Gallimard, 1971.

Nixon, Mignon. Fantastic Reality: Louise Bourgeois and a Story of Modern Art. October Book. Cambridge, MA: MIT Press, 2008.

Orenstein, Gloria Feman. “Art History and the Case for the Women of Surrealism.” Journal of General Education 27.1 (1975): 31–54.

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