Georgia OKeeffe Jackinthe Pulpit No IV 1930 Frida

Georgia O'Keeffe, Jack-in-the. Pulpit No. IV, 1930 Frida Kahlo. Self-Portrait with Cropped Hair, 1940

Catalogue Cover and Participants Catalogue cover and participants Womanhouse 1971

Kitchen

Kitchen

Kitchen breasts

Kitchen breasts

Bride

Linen closet Linen Closet

Lipstick Bathroom

Menstruation bathroom Menstruation Bathroom

Nightmare Bathroom

Dollhouse

MS Paul Gauguin and Me 75; MS Mary Cassatt and Me 76 Miriam Schapiro, Collaboration: Mary Cassatt and Me 1976

MS She Sweeps with Many Colored Brooms 76; Connections 76 Miriam Schapiro, She Weeps with Many Colored Brooms, 1976

Lynda Benglis, advertisement in Artforum, 1974

Betty Grable; Lynda Benglis

Lynda Benglis, Arforum Nov 74

JC Dinner Party Judy Chicago Dinner Party 1973 -79

Dinner Party Goddesses

Dinner Party Wolfe & O’Keefe Virginia Woolf and Georgia O’Keefe

Dinner Party Fertile Goddess

Dinner Party Fertile Goddess

Dinner Party Eleanor Aquitaine

Dinner Party Eleanor Aquitaine

Dinner Party Mary Wollstonecraft

Dinner Party Emily Dickinson study

Dinner Party Virginia Woolf

Dinner Party Virginia Woolf

Carolee Schneemann, Interior Scroll, 1975

Carolee Schneemann, Interior Scroll, 1975

Carolee Schneemann, 36 Transformative acts for camera, 1963

Carolee Schneemann, 36 Transformative acts for camera, 1963 Interior Scroll 1975 Performance. Performed in East Hampton, NY and at the Telluride Film Festival, Colorado. Schneemann ritualistically stood naked on a table, painted her body with mud until she slowly exracted a paper scroll from her vagina while reading from it. "I thought of the vagina in many ways-- physically, conceptually: as a sculptural form, an architectural referent, the sources of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by it's passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual power. This source of interior knowledge would be symbolized as the primary index unifying spirit and flesh in Goddess worship. " -CS

Carolee Schneemann, Judson Church, NYC. Group performance: raw fish, chickens, sausages, wet paint, plastic, rope, shredded scrap paper

Meat Joy has the character of an erotic rite: excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, rope brushes, paper scrap. It's propulsion is toward the ecstatic-shifting and turning between tenderness, wilderness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent. "

Hannah Wilke, SOS Starification Object Series, 1974

HW Teasal Cushion Hannah Wilke, SOS Starification Object Series, 1974

HW SOS

HW SOS performance

HW SOS installation

HW My Country Tis of Thee 76 Hannah Wilke, My Country tis of thee, 1975

HW Lincoln Memorial; Florida Keys

HW My Country Tis of Thee 76

HW Through Looking Glass Hannah Wilke, Through the Looking Glass

HW Iobject

HW Ponder-r-rose

AM Glass

AM Death of Chicken Ana Mendieta, Death of Chicken, 1972

AM Rape Performance 73; AM People Looking at Blood 73 Ana Mendieta, Rape Performance, 1973

AM Tree of Life Ana Mendieta, Tree of Life, 1973

AM Silueta 77 fire; AM Silhueta 78 pigment Ana Mendieta, Silueta, 1977

AM Silueta 78 clover; AM Silueta 79 mud