Gloria De Filipps Brush, Projections (series), 1975-1981. Gelatin silver print, hand colored with photo dyes and pencils.
More information: artist website
Sonia Delaunay (French, 1885-1979), Rideau simultané, conceived 1956. Sewn fabric, 199 x 187.7 cm.
Nina Yankowitz, Draped Painting/Blue, 1968–1970, Brooklyn Museum of Art
Description: “My draped paintings were created to challenge the assumption that painting is classified as such when made and presented within a geometric, rectangular, and/or stretched canvas format.”
Maude Boltz, Untitled from the AIR Print Portfolio, ca 1975-77. Smithsonian American Art Museum.
Two Faces by Hermine Freed, 1972
Utilizing a split and reversed screen, Freed faces herself, caressing and kissing her doubled image. Without narration, the tape shows Freed suspended between two images, existing as a doubled person.
In light of feminist discourse on women’s alienation from themselves in a male-dominated culture and the co-option of women’s images by advertising and the media, this tape reads as Freed’s attempt to contact her self-image directly—to, in effect, claim her image. [ftp]
Cecelia Condit, excerpt, Possibly in Michigan (1983)
Music composed and performed by Karen Skladany
Lyrics - Animal/Cannibal by Karen Skladany
Women: Jill Sands and Karen Skladany
“Only when making the work can I determine the many languages that form the planes on which it is to exist.”
Sam Gilliam, Light Depth, 1969. Corcoran Gallery of Art.
Elise Regensteiner, Red and Blue, 1969. Smithsonian American Art Museum.
Elise Regensteiner, Hanging Entitled “The Nets are Empty”ate 1970s/1980s. Art Institute of Chicago.
AIC: Else Regensteiner (1906-2003) was an influential weaver, textile designer, and teacher who was most active in Chicago from the mid 1940s to the early 1990s. Her work was influenced by the Bauhaus style and many of her students went on to become notable weavers. The collection includes records pertaining to her 27 years as a faculty member at the School of the Art Institute of Chicago; her partnership with Julia McVicker to create the studio reg/wick Handwoven Originals; her workshops, lectures, and exhibitions; her participation in professional organizations; her organization of the Weavers Explore program; her work as a consultant for the American Farm School in Thessaloniki, Greece; her activities as an author of books and articles on weaving; and her connection to the Bauhaus movement in Chicago.
Lisa Steele, Juggling, 1972