Victoria Horne is Lecturer in Art and Design History at NorthumbriaUniversity in Newcastle. She has published articles in Feminist Review ,Radical Philosophy and Journal of Visual Culture . In 2012 she establishedthe Writing Feminist Art Histories research initiative.Lara Perry is Principal Lecturer in the History of Art and Designprogramme at the University of Brighton. She is the author of History'sBeauties: Women and the National Portrait Gallery, 1856-1900 (2006) andco-editor (with Angela Dimitrakaki) of Politics in a Glass Case: Feminism,Exhibition Cultures and Curatorial Transgressions (2013).

As an innovative selection that engenders new approaches to writing feminist art histories today, [this collection] unquestionably adds to the scholarship and the growing number of edited collections on feminist art and art histories.

• ContentsList of Illustrations viiNotes on Contributors xiAcknowledgements xviiIntroduction: Feminism and Art History Now 1Victoria Horne and Lara PerryPART I. WRITING | SPEAKING | STORYTELLING 251 . An Unfinished Revolution in Art Historiography, orHow to Write a Feminist Art History 31Victoria Horne and Amy Tobin2 . I Want a Dyke for President: Sounding out ZoeLeonard’s Manifesto for Art History’s Feminist Futures 41Laura Guy3 . ‘Our Stories Are Our Life Blood’: IndigenousFeminist Memory and Storytelling as Strategy forSocial Change 63Cherry SmileyPART II. VISIBILITY | INTERVENTION | REFUSAL 834 . Making Visible Lee Krasner’s Occupation: FeministArt Historiography and the Pollock-Krasner Studio 87Andrew Hardman5 . Challenging Feminist Art History: Carla Lonzi’sDivergent Paths 104Giovanna Zapperi9781784533250_pi-282.indd v 6/8/2017 3:16:39 PMContentsvivi6. Th is Moment: A Dialogue on Participation, Refusaland History Making 124Angela Dimitrakaki and Lara PerryPART III. SPATIALITY | OCCUPATION | HOME 1437. Th e Salon Model: Th e Conversational Complex 147Elke Krasny8. Los Angeles, 1972/Glasgow, 1990: A Report onCastlemilk Womanhouse 164Hannah Hamblin9. I f You Lived Here… : A Case Study on SocialReproduction in Feminist Art History 183Kirsten LloydPART IV. TEMPORALITY | GHOSTS | RETURNS 2031 0. Temporalities of the ‘Feminaissance’ 207Francesco Ventrella1 1. Gestures of Inclusion, Bodily Damage and theHauntings of Exploitation in GlobalFeminisms (2007) 230Kimberly Lamm1 2. Learning and Playing: Re- enacting FeministHistories 260Catherine GrantIndex 283

Victoria Horne is Lecturer in Art and Design History at NorthumbriaUniversity in Newcastle. She has published articles in Feminist Review ,Radical Philosophy and Journal of Visual Culture . In 2012 she establishedthe Writing Feminist Art Histories research initiative.Lara Perry is Principal Lecturer in the History of Art and Designprogramme at the University of Brighton. She is the author of History'sBeauties: Women and the National Portrait Gallery, 1856-1900 (2006) andco-editor (with Angela Dimitrakaki) of Politics in a Glass Case: Feminism,Exhibition Cultures and Curatorial Transgressions (2013).

As an innovative selection that engenders new approaches to writing feminist art histories today, [this collection] unquestionably adds to the scholarship and the growing number of edited collections on feminist art and art histories.

• ContentsList of Illustrations viiNotes on Contributors xiAcknowledgements xviiIntroduction: Feminism and Art History Now 1Victoria Horne and Lara PerryPART I. WRITING | SPEAKING | STORYTELLING 251 . An Unfinished Revolution in Art Historiography, orHow to Write a Feminist Art History 31Victoria Horne and Amy Tobin2 . I Want a Dyke for President: Sounding out ZoeLeonard’s Manifesto for Art History’s Feminist Futures 41Laura Guy3 . ‘Our Stories Are Our Life Blood’: IndigenousFeminist Memory and Storytelling as Strategy forSocial Change 63Cherry SmileyPART II. VISIBILITY | INTERVENTION | REFUSAL 834 . Making Visible Lee Krasner’s Occupation: FeministArt Historiography and the Pollock-Krasner Studio 87Andrew Hardman5 . Challenging Feminist Art History: Carla Lonzi’sDivergent Paths 104Giovanna Zapperi9781784533250_pi-282.indd v 6/8/2017 3:16:39 PMContentsvivi6. Th is Moment: A Dialogue on Participation, Refusaland History Making 124Angela Dimitrakaki and Lara PerryPART III. SPATIALITY | OCCUPATION | HOME 1437. Th e Salon Model: Th e Conversational Complex 147Elke Krasny8. Los Angeles, 1972/Glasgow, 1990: A Report onCastlemilk Womanhouse 164Hannah Hamblin9. I f You Lived Here… : A Case Study on SocialReproduction in Feminist Art History 183Kirsten LloydPART IV. TEMPORALITY | GHOSTS | RETURNS 2031 0. Temporalities of the ‘Feminaissance’ 207Francesco Ventrella1 1. Gestures of Inclusion, Bodily Damage and theHauntings of Exploitation in GlobalFeminisms (2007) 230Kimberly Lamm1 2. Learning and Playing: Re- enacting FeministHistories 260Catherine GrantIndex 283

Victoria Horne is Lecturer in Art and Design History at NorthumbriaUniversity in Newcastle. She has published articles in Feminist Review ,Radical Philosophy and Journal of Visual Culture . In 2012 she establishedthe Writing Feminist Art Histories research initiative.Lara Perry is Principal Lecturer in the History of Art and Designprogramme at the University of Brighton. She is the author of History'sBeauties: Women and the National Portrait Gallery, 1856-1900 (2006) andco-editor (with Angela Dimitrakaki) of Politics in a Glass Case: Feminism,Exhibition Cultures and Curatorial Transgressions (2013).

As an innovative selection that engenders new approaches to writing feminist art histories today, [this collection] unquestionably adds to the scholarship and the growing number of edited collections on feminist art and art histories.

• ContentsList of Illustrations viiNotes on Contributors xiAcknowledgements xviiIntroduction: Feminism and Art History Now 1Victoria Horne and Lara PerryPART I. WRITING | SPEAKING | STORYTELLING 251 . An Unfinished Revolution in Art Historiography, orHow to Write a Feminist Art History 31Victoria Horne and Amy Tobin2 . I Want a Dyke for President: Sounding out ZoeLeonard’s Manifesto for Art History’s Feminist Futures 41Laura Guy3 . ‘Our Stories Are Our Life Blood’: IndigenousFeminist Memory and Storytelling as Strategy forSocial Change 63Cherry SmileyPART II. VISIBILITY | INTERVENTION | REFUSAL 834 . Making Visible Lee Krasner’s Occupation: FeministArt Historiography and the Pollock-Krasner Studio 87Andrew Hardman5 . Challenging Feminist Art History: Carla Lonzi’sDivergent Paths 104Giovanna Zapperi9781784533250_pi-282.indd v 6/8/2017 3:16:39 PMContentsvivi6. Th is Moment: A Dialogue on Participation, Refusaland History Making 124Angela Dimitrakaki and Lara PerryPART III. SPATIALITY | OCCUPATION | HOME 1437. Th e Salon Model: Th e Conversational Complex 147Elke Krasny8. Los Angeles, 1972/Glasgow, 1990: A Report onCastlemilk Womanhouse 164Hannah Hamblin9. I f You Lived Here… : A Case Study on SocialReproduction in Feminist Art History 183Kirsten LloydPART IV. TEMPORALITY | GHOSTS | RETURNS 2031 0. Temporalities of the ‘Feminaissance’ 207Francesco Ventrella1 1. Gestures of Inclusion, Bodily Damage and theHauntings of Exploitation in GlobalFeminisms (2007) 230Kimberly Lamm1 2. Learning and Playing: Re- enacting FeministHistories 260Catherine GrantIndex 283