Acknowledgments | p. vii |
Introduction | p. ix |
Notes | p. xix |
Notes | p. xx |
The Archaic Smile | p. 1 |
Postfeminism, Feminist Pleasures, and Embodied Theories of Art | p. 16 |
Notes | p. 37 |
Patrilineage | p. 42 |
Notes | p. 58 |
There's No Place like Home | p. 60 |
Notes | p. 76 |
The Body in Question: Rethinking Motherhood, Alternity and Desire | p. 80 |
Notes | p. 94 |
A Space of Infinite and Pleasurable Possibilities: Lesbian Self-Representation in Visual Art | p. 97 |
Acknowledgments | p. 128 |
Notes | p. 128 |
The Masculine Imperative: High Modern, Postmodern | p. 132 |
Notes | p. 149 |
Olympia's Maid Reclaiming Black Female Subjectivity | p. 152 |
Notes | p. 168 |
(re)-Orienting | p. 171 |
Notes | p. 181 |
Multicultural Strategies for Aesthetic Revolution in the Twenty-First Century | p. 182 |
Notes | p. 215 |
Passing for White, Passing for Black | p. 216 |
In the Missionary Position: Recent Feminist Ecological Art | p. 248 |
Notes | p. 261 |
Visible Difference: Women Artists and Aging | p. 264 |
Notes | p. 284 |
The Hair of the Dog That Bit Us: Theory in Recent Feminist Art | p. 289 |
Notes | p. 305 |
Notes | p. 322 |
Notes on Contributors | p. 327 |
Index | p. 331 |
Icon Editions | p. 346 |
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