Alice Neel (American, 1900--1984)
Andy Warhol, 1970 Oil on canvas 60" x 40"
Whitney Museum of American Art, New York, Gift of Timothy Collins

Alice Neel (American, 1900--1984)
Linda Nochlin and Daisy, 1973 Oil on canvas
55-7/8" x 44"
Museum of Fine Arts, Boston, Seth K. Sweetser Fund

Barbara Kruger. Untitled. 1987

Barbara Kruger. Untitled. 1980


Post-Partum Document I, Prototype, 1974
ten parts
Analysis of fecal stains and feeding charts
Perspex units, liners, faeces, white card,  ink
36,3 x 28,7 x 3,5 cm each 

"Post-Partum Document" is a seminal work of the seventies in which the mother-child motif is addressed in a radically new way. The work itself consists of a total of 139 individual parts and was exhibited by the Generali Foundation in its entirety for the first time in 1998. This was also the first showing of the work in the German speaking world. In "Post-Partum-Document" Kelly uses the conceptualist procedure of documentation to introduce an interrogation of the subject. The "Introduction" and the six following sections deal with the relationship of the working mother with her (male) child. The artist observes the emergence of gender difference and broaches the controversial topic of female fetishism. Psychoanalysis, in particular its linguistic reformulation by Jacques Lacan, represents an important reference for this work. "Post-Partum Document" has been widely exhibited and intensely debated since the shock of its first appearance in the 1970s.

Miriam Shapiro, "Coeur Des Fleurs", 1980, acrylic, fabric and o/c.

Womanhouse 1971. Excerpted from the essay "From Finish Fetish to Feminism: Judy Chicago's Dinner Party in California Art History" by Laura Meyer.

From the catalogue "Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History" published by UCLA Armand Hammer Museum of Art and Cultural Center in association with University of California Press, 1996.

Women's labor formed the subject matter of Womanhouse, a large scale cooperative project executed [as part of] the Feminist Art Program at CalArts where Judy Chicago, in collaboration with CalArts instructor Miriam Schapiro (Chicago had moved the program which she founded in 1970 at Fresno State College to CalArts in the fall of 1971), [took] an abandoned Hollywood house [and] transformed [it] into a series of fantasy environments. Womanhouse explored and challenged - with a complex mixture of longing, nostalgia, horror, and rage - the domestic role historically assigned to women in middle-class American society. Manual labor of the sort typically performed by men was an integral part of the project, however, since the dilapidated house needed to be repaired and renovated before the artists could begin their work on the environments. Students installed window casings, rebuilt broken furniture and banisters, refinished floors, plastered walls, and painted.

Judy Chicago's  "Menstruation Bathroom," was first created in "Womanhouse" in the 70's and was re-created in 1995 at the Museum of Contemporary Art in Los Angeles.

Judy Chicago. The Dinner Party. 1973-79
White tile floor inscribed in gold with 999 women's names; triangular table with painted porcelain, sculpted porcelain plates and needlework, each side 48'

Judy Chicago, "Dinner Party-Place Setting, Ceramic Plate of Georgia O'Keefe", 1974-1979.


Cindy Sherman|
Untitled (for Mark Morrisroe), 2000
C print
24 x 20 inches
Ed: 75


untitled 1978

Audrey Flack, "Marilyn", 1977

HUNG LIU American, b. China, 1948
Three Fujins, 1995
oil on canvas, three bird cages 96 x 126 x 12 inches (triptych)
Collection of Ellen and Gerry Sigal, Washington, D.C.

HUNG LIU. Five Eunuchs, 1995 oil on canvas, mixed media
70 x 96 x 4 inches Collection of Bernice and Harold Steinbaum, New York


Hung Liu I'm Forever Blowing Bubbles 2001
Oil on canvas 80 x 80 inches
Hung Liu Unofficial Portraits (The Bride) 2001
Lithograph with collage, ed. of 30 30 x 30 inches