Betti Pettinati-Longinotti December 2011 Thesis Outline_ Draft 1 Advisor: Ben Sloat I.

Title: Re-informing the Art Canon: Inclusion of Art She-roes II. Abstract (personal statement): Embracing the mission of the Guerilla Girls, a feminist art group fighting for the rights of women artists, past and present, this investigation of work seeks to celebrate the contributions of these she-roes. With an intention to re-inform the art canon, the faces of women artists over the centuries are re-presented. Many of who, during their lifetime received a lack of recognition, surpassed by the hegemony of their male-dominated world. With influences as diverse as Hildegard de Bingen and Lee Krasner, new synergies are crafted from both opaque and transparent structures. This work ranges an exploration of painting with oils to compositions in glass. Maternal meta-narratives further homage the neglected other-half. III. Quote: How important it is for us to recognize and celebrate our heroes and she-roes! ~Maya Angelou IV. Thesis Outline: A. Intro- The problem: Her-story within the Art Canon of Western Civilization; Guerilla Girls statistics and mission statement. 1. My own prior training was devoid of learning about the Feminist Art Movement and Non-inclusion of Women Artists to the art canon 2. Exemplars of the Feminist Art Canon- Judy Chicago, The Dinner Party, Mary Beth Edelson, Miriam Schapiro 3. Working with the homage as a meta-narrative B. Questions and Critique that have directed and informed my work: 1. Why dont you paint more on glass? 2. How are these women important to you? 3. How are you entering the discourse? 4. Why is glass important to you? C. Comparative Analysis for my work 1. Initial motivation artists that have used artists in their work- Red Grooms, Chuck Close, Alice Neel 2. Tradition of Uomini Famosi in portraiture and portraits of other artists/ Uccello 3. James Esber and Chuck Close, analogy for working impressionistically with murrini 4. Venetian glass in contemporary exploration- Fred Wilson (Black Identity/ Myself (Female Identity- Vitreous Femmage) 5. Judith Schaechter and Kiki Smith, Painting on Glass 6. Gerhard Richter and Kiki Smith, Stained Glass 7. Allison VanPelt and Richard Pousette-Dart, oil painting portraits

D.

Concept/ Art Her-Story 1. Art History/ Sins of Omission and Otherness 2. Feminist Art / Guerilla Girls 3. Archive and Meta-Narratives 4. Potential Interviews with A.I.R. and leaders of the Feminist Art Movement (Linda Nochlin, Judy Chicago, Dotty Attie)

V.

VI.

Primary Medium/ Body of Work- Glass used as a metaphor A. History of Stained Glass, use of icons B. Stained Glass- Iconography to teach the illiterate C. Using the medium of (stained) glass as a canvas 1. Marc Chagall 2. Henri Matisse 3. Kiki Smith 4. Gerhard Richter D. Art versus Craft paradigms 1. Evie Hone 2. Judith Schaechter 3. Potential Interviews with (Virginia Raguin, art historian with expertise on Stained Glass art and architecture- who wrote catalog introduction for Kiki Smith exhibition; Karen Mulder, art historian, stained glass and architecture understanding critical discourse Entering the Discourse: Personal Case Studies and Conclusions A. Where have I taken my cues from: 1. Christian Bolatanski, 2. Gerhard Richter 3. Kiki Smith B. Professional Practice

Bibliography Draft (selections from): Bibliography 1Anfam, David, and Carter Ratliff. Pousette-Dart: Predominantly White Paintings. Washington DC: The Phillips Collection, 2010. Print. Chuck Close. Corcoran Gallery of Art, 3 July 2010. Corcoran Gallery of Art: Exhibition Overview. Web. 9 July 2010. Hofmann, Hans. The Search for the Real. Cambridge, Mass: MIT Press, 1948. Print. Davis, Brendan, James Esber, Art-Interview.com, Issue 11, Feb, 2009. Brilliant, Richard. Portraiture. London: Reakiton Books Ltd, 1991. Print. Cowart, Jack, and Georgia Hamilton. Georgia O'Keeffe: Art and Letters. Washington DC: National Gallery of Art, 1987. Print. Dow, Arthur Wesley. Composition. Berkeley: University of California Press, 1997. Print. Fabozzi, Paul F. Artists, Critics, Context. Upper Saddle River, NJ: Prentice Hall, 2001. Print. For Chuck Close, an Evolving Journey Through the Faces of Others. Dir. Jim Lehrer. Perf. Chuck Close, Christopher Finch. PBS, 6 July 2010. PBS Newshour. Web. 7 July 2010. Hans Hofmann: Artist Teacher, Teacher Artist. Dir. PBS Video. Perf. Post Modern master artists that were students under Hofmann. Angott Productions, 2001. DVD. Henri, Robert. The Art Spirit. Philadelphia: JR Lippincott Company, 1923. Print. Hobbs, Robert. Drawing Is A Verb. New York: Knoedler & Company, 2008. Print.

Hofmann, Hans. The Search for the Real. Cambridge, Mass: MIT Press, 1948. Print. Joost-Gaugier, Chritiane L. "A Rediscovered Series of Uomini Famosi from Quatiricento Venice." The Art Bulletin 58.2 June (1976): 184-105. College Art Association. Web. 26 June 2010. Nochlin, Linda,Why Have There Been No Great Women Artists. Perry, John Barlow. "Selling Wine Without Bottles: Economy of Mind on the Global Net." Virtual School.Edu: Distributed Learning Community. Brad Cox, PhD, John Companies, 2004. Web. 8 July 2010. Pollock, Griselda, Modernity and the Space of Femininity. Staniszewski, Mary Anne. Believing Is Seeing. New York: Penguin Books, 1995. Print. Bibliography 2Brilliant, Richard. Portraiture. London: Reakiton Books Ltd, 1991. Print. Chuck Close Prints: Process and Collaboration. Dir. organized by Blaffer Gallery. Perf. Chuck Close. Corcoran Gallery of Art, 3 July 2010. Corcoran Gallery of Art: Exhibition Overview. Web. 9 July 2010. . Close, Chuck. Chuck Close. New York: Museum of Modern Art, 1998. Print. Davis, Brendan, James Esber, Art-Interview.com, Issue 11, Feb, 2009 For Chuck Close, an Evolving Journey Through the Faces of Others. Dir. Jim Lehrer. Perf. Chuck Close, Christopher Finch. PBS, 6 July 2010. PBS Newshour. Web. 7 July 2010. Goodyear, Anne Collins. "Digitization, Genetics, and the Defacement of Portraiture."Smithsonian Institution Summer 2009: 28-31. Print. Guare, John. Chuck Close: Life and Work. New York: Thames and Hudson, Inc, 1995. Print. Joost-Gaugier, Chritiane L. "A Rediscovered Series of Uomini Famosi from Quattrocentro Venice." The Art Bulletin 58.2 June (1976): 184-105. College Art Association. Web. 26 June 2010. Poetter, Jochen, and Helmut Friedel, eds. Chuck Close. New York: Distributed Art Publishers, 1004. Print. Patterson, Tom, The Fine Art of Distortion Winston-Salem Journal, January 28, 2007. Sooke, Alastair . "Chuck Close: Capturing the Clinton charisma."http://www.telegraph.co.uk/. Telegraph.co.uo, 6 Oct. 2007. Web. 23 Aug. 2010. Stones, Rebecca. "Chuck Close: Family and Others." http://fineartforum.ncl.ac.uk/. Fine Art Forum, Web. 23 Aug. 2010. Storr, Robert, Taking Liberties, James Esber (catalog essay), Pierogi Press, April 2006. Bibliography 3Fabozzi, Paul F. Artists, Critics, Context. Upper Saddle River, NJ: Prentice Hall, 2001. Print. Fernie, Eric, ed. Art History and Its Methods. London: Phaedon Press Limited, 1995. Print. Greer, Germaine. The Obstacle Race. 1979. New York: Farrar,Straus, Giroux, 1979. Print. Johnson, Deborah, and Wendy Oliver, eds. Women Making Art. New York: Peter Lang Publishing, 2001. Print. Joost-Gaugier, Chritiane L. "A Rediscovered Series of Uomini Famosi from Quattrocentro Venice." The Art Bulletin 58.2 June (1976): 184-105. College Art Association. Web. 26 June 2010. Nochlin, Linda. "Why Have There Been No Great Women Artists?" ARTnews. January 1971: 2239. Panofsky, Erwin . Abbot Suger. On the Abbey Church of St.-Denis and its Art Treasures. Princeton: Princeton University Press, 1979, 73-75. Print.

Rand, Ayn. The Romantic Manifesto: Art and Sense of Life. Cleveland, Oh: The World Publishing Company, 1969. Print. Bibliography 4Bazin, Andre. Ontology of the Photographic Image. Print. Boltanski, Christian, and Danilo Eccher. Christian Boltanski. Milano: Charta, 1997. Print. Boltanski, Christian. Christian Boltanski: Lessons of Darkness: Museum of Contemporary Art, Chicago: 23.4-19.6.1988 .... Chicago, Ill, 1988. Print. Didi-Huberman, Georges. Images in Spite of All: Four Photographs from Auschwitz. Chicago: University of Chicago, 2008. Print. Elger, Dietmar. Gerhard Richter: a Life in Painting. Chicago: University of Chicago, 2009. Print. Emmanuel Levinas Web Page. Web. 12 Feb. 2011. <http://www.levinas.sdsu.edu/Primary.htm>. Francois, Corinne. Roland Barthes, Mythologies. [Paris]: Brelal, 2002. Print. Freud, Sigmund. On Murder, Mourning and Melancholia. London: Penguin, 2005. Print. Levinas, Emmanuel, The Trace of the Other, translated by A. Lingis, in Deconstruction in Context, edited by Mark Taylor, 345-359. Chicago: University of Chicago Press, 1986. Print. Marter, Joan. "Strategies for Women in Art." Women's Studies Quarterly 15.1/2 (1987): 51-53. JSTOR. Web. 02 Nov. 2011. Merewether, Charles. The Archive. London: Whitechapel, 2006. Print. Newman, Michael, and M. Catherine De. Zegher. The Stage of Drawing--gesture and Act: Selected from the Tate Collection. London: Tate Pub., 2003. Print. Nochlin, Linda. Women, Art, and Power: and Other Essays. New York: Harper & Row, 1988. Print. Pollock, Griselda. Differencing the Canon: Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999. Print. Robinson, Hilary. Feminism-art-theory : an Anthology, 1968-2000. Oxford: B. Blackwell, 2001. Print. Simpson, Pamela H. "Untited Review." Women's Art Journal Spring-Summer 22.1 (2001): 59-61. JSTOR. Web. 02 Nov. 2011. Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge, MA: MIT, 2008. Print. The Guerrilla Girls' Bedside Companion to the History of Western Art. New York: Penguin, 1998. Print. "Untited Review." Women's Art Journal Spring-Summer 4.1 (1983): 59. JSTOR. Web. 02 Nov. 2011. Verstegen, Ian. Arnheim, Gestalt, and Art: a Psychological Theory. Wien: Springer, 2005. Print. Bibliography 5Alfred Menessier Bechtler Collection. Charlotte: Bechtler Museum of Modern Art. 2009. Ashworth, Alec Hargreaves. Twentieth-Century Painting: The Approach Through Music Music & Letters 20.2 (Apr. 1939): 115-129. JSTOR.Web. 16 Mar. 2011. Boczar, Danuta A. The Polish Poster The Slavonic and East European Review 11.33 (Apr. 1933): 617-630. JSTOR.Web. 16 Mar. 2011. Borowy, Wacaw. Wyspiaski Art Journal 44.1 (Spring 1984): 16-27. JSTOR.Web. 16 Mar. 2011. Butts, Barbara. Albrecht Durer and the Modernization of Stained Glass Master Drawings 41.4 (Winter 2003): 341-358. JSTOR.Web. 11 Mar. 2010. Curran, C. P. Evie Hone: Stained Glass Worker 1894-1955 Studies: An Irish Quarterly Review 44.174 (Summer, 1955):129-142. JSTOR.Web. 16 Mar. 2011.

Doctor Marc Chagall, Art Journal 24.4 (Summer, 1965): 348-350. JSTOR Web. 16 Mar. 2011. Harshav, Benjamin, and Marc Chagall, and Barbara Harshav. Marc Chagall and His Times. New York: Tudor Pub. Co., 1973. Langdon, Gabrielle. "A Spiritual Space: Matisse's Chapel of the Dominicans at Vence " Zeitschrift fr Kunstgeschichte 51.4 (1988): 542-573. JSTOR.Web. 16 Mar. 2011. Lyon, Christopher. Seeing Matisse Whole MoMA 13 (Autumn, 1992): 2-13. JSTOR.Web. 16 Mar. 2011. Museum of Modern Art. Chagall: Stained-Glass Windows MoMA 6. (Spring 1978): 3. JSTOR.Web. 16 Mar. 2011. Piper, John. Stained Glass: Art or Anti-Art. London: Studio Vista. 1968. Schjeldahl, Peter. "Many Colored Glasses." The New Yorker 12 May. 2008:1-4. <http://www.newyorker.com/arts/critics/artworld/2008/05/12/080512craw_artworld_schj eldahl>. Savile, Anthony. Historicity and the Hermeneutic Circle New Literary History 74.2 Sheehy, Ruth. Hope and Resurrection: The Late Work of Richard J. King Studies: An Irish Quarterly Review 88.252 (Autumn 1978): 430-447. JSTOR.Web. 16 Mar. 2011. Tryggvado, Nina. Painting through Colored Glass Leonardo 1.8 (Apr. 1968): 125-135. JSTOR.Web. 11Mar. 2010. Walker, Dorothy. Portrait of the Artist as a Young Woman The Crane Bag 4.1(1980):106-111. JSTOR.Web. 16 Mar. Walker, Dorothy. The Light of Noon Irish Arts Review Yearbook 10 (Winter 1999): 89-93. JSTOR.Web. 16 Mar. 2011. Bibliography 6Barnum, Jeff. Jeff Barnum: Homage to Other Artists. JeffBarnum.com. Artists Homepage. Web. 12 Apr. 2011. Drucks, Acham. Audrey Flack: Breaking the Rules. Deutsche Bank Artworks. Deutsche Guggenheim, Berlin. 2011. Web. 12 Apr. 2011. Eco, Umberto. The Limits of Interpretation . Bloomington, Ind.: Indiana University Press, 1990. Grusin, Richard. Routledge Encyclopedia of Narrative Theory. New York: Routledge, 2005. Homage: Paintings by Pietro Lista. ArtInAsia.Com. University Museum and Art Gallery of Hong Kong. 17 Sep. 2010. Web. 12 Apr. 2011. Jangelo, Joseph. "Joseph Cornell and the Artistry of Composing Persuasive Hypertexts " College Composition and Communication 49.1 (1998): 24-44. JSTOR.Web. 18 Apr. 2011. Print. Kelly, Adam. Homage 10x5: Blake's Artists. Interface. Waddington Galleries, London. Nov 2010. Web. 12 Apr. 2011. Lipman, Jean, and Richard Marshall. Art About Art. New York: E.P.Dutton in association with the Whitney Museum of Art, 1978. Print. Morgan, Robert C.. Oral History Interview with Audrey Flack. Smithsonian Archives of American Art. John Wiley & Sons, Ltd. 16 Feb 2009. Web. 12 Apr. 2011. Rollyson, Carl E. More Than A Popcorn Venus: Contemporary Women Reshape the Myth of Marilyn Monroe. Journal of American Culture. Blackwell Publishing Ltd. 1987:10.3. Web. 12 Apr. 2011. Torres, Anthony. Homage and Remembrance: The Past is Present. Museletter. Sonoma Valley Museum of Art. Summer 2010. Web. 12 Apr. 2011. Van Schepen, Randall K. Benjamins Aura, Levines Homage and Richters Effect. InterCulture. Florida State University. Oct. 2009:6.2. Web. 12 Apr. 2010.

Bibliography 7Brand, P. Feminist Art Epistemologies: Understanding Feminist Art. Hypatia, (2006), 21: 166 189. Print. Dancoff, Judith, Judy Chicago, Faith Wilding, Janice Lester, Shawnee Wollenman, Vanalyne Green, Susan Boud, Cay Lang, Cheryl Zurilgen, Nancy Youdelman, Christine Rush, Dori Atlantis, Karen Lecocq, and Suzanne Lacy. Judy Chicago & the California Girls. Los Angeles: California Girl Productions, 2008. Film. Ferguson, Russell. Discourses: Conversations in Postmodern Art and Culture. New York: New Museum of Contemporary Art, 1992. Print. Foucault , Michael. The Means of Correct Training, Discipline and Punish. Penguin (1977): 170-194. JSTOR. Web. 18 Apr. 2011. Hooks, Bell. Talking back: thinking feminist, thinking black. Boston, MA. South End Press (1989): JSTOR. Web. 18 Apr. 2011. Kennedy, Brian. Museum Acquires Stunning Fred Wilson Mirror, Toldeo Museum of Art (2010). Web. 18 Aug. 2011. Lourde, Audre. Age, Race, Class and Sex: Women Redefining Difference. Sister Outsider. Crossing Press, California. Amherst College (1984): JSTOR. Web. 18 Apr. 2011. Richards, Mary. Marina Abramovi. Hoboken: Taylor & Francis, 2009. Print. Salomon, Nanette: The Art Historical Canon: Sins of Omission. In: Preziosi, Donald: The Art of Art History, Oxford University Press (1998) 334-355): JSTOR. Web. 18 Apr. 2011. Stein, Judith E. Sins of Omission: Fred Wilsons Mining the Museum, 2003. Print. The Guerrilla Girls' Bedside Companion to the History of Western Art. New York: Penguin, 1998. Print. Wexler, Alice. Museum Culture and the Inequities of Display and Representation. Visual Arts Research. University of Illinois Press. 33.1 (2007): 25-33. JSTOR. Web. 18 Aug. 2011. Bibliography 8Avigkos , Jan. Entering the Discourse. Art Institute of Boston at Lesley University. 21 June 2011. Lecture. basicallyst... Commentary to: Video: A New East Window on Eldridge Street. The New York Times. 18 October 2010. Web. 17 September 2011. <http://artsbeat.blogs.nytimes.com/2010/10/18/video-a-new-east-window-on-eldridgestreet/>. Bendheim, S.A., Featured Project: Eldridge Street Synagogue and Museum by Kiki Smith & Deborah Gans. Bendheim Art Glass: Project Gallery. 2010. Web. 20 September 2011. <http://www.bendheimartglass.com/project.cfm?project_id=152> Kleiner, Fred S. and Christin J. Mamiya. Gardner's Art Through the Ages, The Western Perspective (12th Edition). New York: Thompson Wadsworth, 2009. Print. Masheck, Joseph - Marcel Duchamp in Perspective. Englewood Cliffs, CO:Prentice Hall, 2002. Print. Schjeldahl, Peter. "Many Colored Glass." The New Yorker. 12 May. 2008. Web.10 September 2011. <http://www.newyorker.com/arts/critics/artworld/2008/05/12/080512craw_artworld_schj eldahl> Schock-Werner, Barbara. On the Genesis of Design. Klner Dom. May 2008. Web.10 September 2011. <http://11000-sterne.koelnerdom.de/index.php?id=19152&L=1>. Spears, Dorothy. Through A Glass, Busily. The New York Times. 26 March 2010. Web.10 September 2011. <http://www.nytimes.com/2010/03/28/arts/design/28kiki.html>

Synagogues Stained Glass Celebrates Festival of Lights. CBS News. 5 December 2010. <http://www.cbsnews.com/video/watch/?id=7119795n>. Web. 20 July 2011. Bibliography 9Harshav, Benjamin, and Marc Chagall. Marc Chagall and His Times: A Documentary Narrative. Stanford, Calif: Stanford University Press, 2004. Print. Krepico, Tom. Vitreosity. 11May 2009. Web-Images for Matisse and Chagall 15 Oct. 2011. < www.krepcio.com/vitreosity/archives/001747.html> Mulder, Karen. Humanities and Social Sciences Discussion Network. Sat, 12 Aug 2006. Web. 15 Oct. 2011. <http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=h-stainedglass&month=0608&week=b&msg=wvM/WFEAZwZe3zZ6pMwDDw&user=&pw=> Prest, Terry. Idle Speculations. 05 Sept. 2007. Web- Image for Gerhard Richter. 15 Oct. 2011. <http://idlespeculations-terryprest.blogspot.com/2007_09_01_archive.html>. Raguin, Virginia Cheiffo. Pilgrimage. Catalogue Essay for Kiki Smith: Lodestar. Pace Gallery, New York. May 2010. Print. Werner, Alfred. Chagalls Jerusalem Windows. Art Journal 21. 4 (Summer 1962): 224-232. JSTOR. Web. 15 Oct. 2011.