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atmosphere. The goal of these discussions was for each woman to reach a higher level of self-perception, to validate their experiences, as well as the "search for subject matter" to incorporate into artwork and to address their individual aesthetic needs. However, many students fostered resentments towards
Chicago and Schapiro, claiming they were suffering from their own power trips. Chicago insisted her students feelings were the result of their own internalized sexism and unconscious manifestations of their difficulties dealing with female authority figures.
561:. It is a six-room miniature house. The artist's studio room contains a miniature nude man atop a pedestal, with an erect penis and bananas at his feet. Downstairs, a miniature woman sits at her dressing table. There are many monsters present in the dollhouse, despite its familiar domestic aspects. To the left of the artist's studio is a nursery with a baby replaced by a monster. Outside the window, peering in, is a grizzly bear. Downstairs, a group of ten men stare in through the kitchen window. A rattlesnake is curled on the parlor floor.
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Chicago pushed students to become familiar using equipment such as various tools, to become comfortable in their ability to be assertive, and to view themselves as a part of the work force not defined by their domestic roles. It was thought that by teaching women to use power tools and proper building techniques, they would gain confidence and subsequently challenge the gendered expectations. Schapiro and
Chicago believed that women could achieve more if society did not limit them and expect less from women than men.
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were new and unfamiliar which resulted in a discontentment for many of the students. The women felt as though they were not presented with a program in which they could succeed. To cope with the frustration of learning new techniques while meeting stringent deadlines, the group held meetings to deal with any problems that arouse and sessions to raise group consciousness. Some former students now see this tension as a result of
Chicago's authoritarian presence, feeling that she imposed her own goals on the group.
441:, sits in a watermelon pink bedroom. The performance (performed by LeCocq) occurred continuously on a daily basis, and involved Lea applying makeup meticulously, then removing it, in an endless cycle to illustrate the pain of aging and the desperate process of trying to restore one's beauty. The performance illustrates the high standards of beauty levied by the pressure of society for women to maintain at all cost. Léa makes continual efforts to keep the attention of a man as her beauty deteriorates with age.
302:, the students gained new skills while developing a deeper understanding of human and personal experiences. The students also provided tours of the exhibition, which gave them the opportunity to articulate their artwork while maintaining their personal vision when faced with criticism. Even though the exhibition provided the students with great satisfaction and team effort some of the artists didn’t feel any personal accomplishment, and were looking forward to going back to work on their individual projects.
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295:, Paula Harper says, "the young students did not have much personal experience of traditional marriage and homemaking roles of women. Nonetheless, the ideas of all were influenced by the general aim of feminists in the late 1960s to revise women's position in society by bringing attention to their oppression, and this ideology clearly shared by the many individuals involved gave Womanhouse its impact.
688:– In the first section, a group of women stands in a line as they symbolically 'give birth' to one another. The 'babies' in this scenario lay on the ground until their 'mothers' come to hold and nurture them. In the end, all of the women gather in a circle as they chant and sing with heads bowed. The chant grows louder with time, ending in a "peak of ecstatic sound".
648:– Two performance pieces pertaining to maintenance. A woman scrubs the floor on all fours with a brush in a continuous, repetitive motion. Another woman irons identical sheets over and over. This isolated monotonous tasks for an audience to highlight their performative nature, and how these performances play a role in the construction of gender roles.
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exhibition cannot be rebuilt, but a few of the rooms have been recreated for special exhibitions. In 1995, for example, the Bronx Museum of the Arts exhibited The
Dollhouse by Sherry Brody and Miriam Schapiro, along with Faith Wilding's Womb Room, a recreation of Judy Chicago's Menstruation Bathroom,
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After a visit to the Hall of
Records, they found the owner to be Amanda Psalter. The group described their intentions for the house in a letter to the Psalter family. In response, the house was granted through a special lease agreement for the three-month duration of the project, after which it would
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The program utilized a method of teaching that relied on group cooperation. Students would sit in a circle and share their thoughts on a selected topic of discussion. The circular teaching method was intended to provide a "nourishing environment for growth" and to promote a "circular, more womb-like"
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did so, centralizing a white, cisgender, heterosexual and middle-class experience of womanhood in the early 70s. By transforming a "woman's space" (such as a kitchen) into a radical feminist art, the artists truly made a statement. Here they spoke out about women's issues, as well as criticizing the
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The women struggled as they began renovating the mansion during the winter, as the building did not have hot water, heat, or plumbing. Renovations included replacing 25 windows and replacing banisters that had been pulled out by vandals. They worked eight-hour days. To many of the women, these tasks
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Womanhouse began in an old deserted mansion on a residential street in
Hollywood and became an environment in which: “The age-old female activity of homemaking was taken to fantasy proportions. Womanhouse became the repository of the daydreams women have as they wash, bake, cook, sew, clean and iron
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Two characters wearing costumes featuring comically large genitalia converse as "She" and "He", each acting out the roles of their designated sex. "He" argues that her lack of a penis justifies having to do the dishes. This is meant to show how exaggerated essentialist notions about the female body
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The project's goals, as professed by
Schapiro and Chicago, were to help students overcome some of the problems associated with being a woman. Many of the issues Chicago believed that the students needed to overcome were centered upon their lack of ability to perform traditionally masculine skills.
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The
Feminist Art Program, was slated to occupy a new building, but found itself without adequate space at the start of the school year in 1971. The lack of appropriate studio space paved the way for a collaborative group project set to highlight the ideological and symbolic conflation of women and
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The
Feminist Art Program began at the California Institute of the Arts in 1971 after an experimental year at Fresno State College under the name 'Women's Art Program'. The students in the program were admitted as a group when Chicago and Schapiro were hired at Cal Arts after Chicago found that the
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The group broke into teams in order to find a suitable location for their "dreams and fantasies". They found a 17-room, 75-year-old dilapidated mansion at 533 N. Mariposa Ave. in a rundown section of
Hollywood. Members of the group knocked on doors to find the owner of the house, who one neighbor
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was produced by Johanna Demetrakas. Miriam Schapiro arranged for a 47-minute documentary film to be made about the project and released in the summer of 1972. The project was produced by Johanna Demetrakas under the auspices of the American Film Society and is a part of Women Make Movies and was
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The renovation included cleaning, painting, sanding floors, replacing windows, installing lights, and sanding, scraping, and wallpapering walls. New walls were built for practical and aesthetic reasons and women learned wallpapering techniques to refurbish one of the rooms. Eventually a crew was
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is among the participants in this collaborative site featuring virtual rooms and domestic spaces. Womenhouse catapults the issues raised by the original exhibition into the 21st century, within "a cyber-politics that addresses the multivalent vicissitudes of identity formation and domesticity.”
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as a "lair of female creativity" that "reminds us that the female is our only direct link with the forces of nature". Though he remarks that "man's greatest creative acts may be but envious shadowings of her fecundity", this review may have also highlighted stereotypical patriarchal attitudes
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Mira Schor: "I left the Program after one year, because of my disagreements, and because I wanted to experience the school outside the confines of the Program. I have avoided group feminism since then. ... However it was a unique privilege to attend feminist boot camp, it was a privilege to
372:, is displayed on a wall behind the dining room table. The table itself features a bread dough sculpture, turkey, ham, pecan pie, vinyl salad bowl, vinyl wine glasses and a wine bottle. A chandelier hangs above the table. Below the table, a stenciled-rug is painted directly onto the floor.
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In the Dollhouse Room, he picked up one of the pillows and when he realized that he was holding, he was embarrassed. Schapiro recalled that everyone in the room had laughed, but upon reflection she wished that she had questioned his aversion to something delicate, intimate, and
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Hundreds of pairs of shoes were collected, painted and treated for this installation. A 'spike heel' features real spikes driven from the bottom of the shoe. A closet with a comically extravagant number of shoes conveys the desperate attempt of women to be fashionable.
346:– Forms cover the ceilings and walls, starting as eggs on the ceiling and gradually transforming into breasts as the pattern continues down. Underscores the woman's traditional role as a nurturer by combining images of the kitchen and of a woman's sagging breasts.
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was a film produced by Lynne Littman and directed by Parke Perine. It aired during February 1972 on the local KCET PBS channel. The film showed the installations, had the women artists speak about their work, and featured a consciousness raising session with
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A display in Nurturant Kitchen. Aprons are fashioned with breasts and other female body parts. This allows the female to remove her bodily features when she is done with housework, implying that her physical body is inextricably linked to her societal role.
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These techniques were to result in an "exclusively female environment" that included a greater community of female artists. The goal of this community was to expose the students to credited female artists not limited to Schapiro and Chicago.
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Features a life-size doll replica of a bride, complete with veil and wedding dress, descending the stairs. She is fixed against the wall on the landing. Gauzy fabric adorns the walls and garlands of green and flowers encircle the bannister.
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Nancy Youdelman: "Looking back 25 years later, I have mixed feeling about the Feminist Art Program – We had something really incredible and unique and somehow we could not get beyond personalities and create a lasting support system."
743:"undermined aesthetic standards" in the 1970s. Others claimed that it was more therapy than art. Paula Harper challenged this critique, arguing that challenging the definition of art is a "function of the avant-garde”.
756:), and some accusations of essentialism. However, it is also argued that the piece illustrates, complicates and subverts a "false binary" of essential and constructed identity which enhances its value and relevancy.
626:– Three 'types' of women are represented; the hustler, the hippie, and the mother. They wear exaggerated makeup are initially meant to be comical. They tell the stories, all 'trapped' in some aspect of being a woman.
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A bathroom where every fixture is painted bright, 'Lipstick' red. The room features 200 plastic lipsticks, a fur-lined bathtub, and a female figure painted entirely red. Stage lights were used to light the bathroom.
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Art department was reluctant to embrace her vision of a new kind of female-centered art. It was their intention to teach without the use of authoritarian rules or a unilateral flow of power from teacher to student.
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their lives away." Before creating the art environments and pieces, the students had to do extensive reconstruction on the house, which had been empty for many years. They had to fix broken windows and furniture.
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The actress sits in a rocking chair and slowly recounts how her days were structured around 'waiting' for things to happen; her husband to give her pleasure, her kids to leave home, and waiting for some time for
421:. A room with painted leaves. The leaves represent cycles; of seasons, life and feelings. They also functioned as symbolic “shields” for the artist, allowing her to both expose herself and hide at the same time.
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Womanhouse displayed the conventions of women through artistic spaces and experiences. Rooms included a pink kitchen, a bride thrown against a wall, a closet with sheets, and a bathroom for menstruation.
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The bathroom is painted a stark white, and a layer of gauze covers the shelves. A single trashcan is overflowing with what appear to be used tampons, a woman's "hidden secret" that cannot be covered up.
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329:. Present in the kitchen are plates of food under a line of light bulbs, resembling it to a factory worker's assembly line. This highlights the dehumanizing aspects of a woman's role as nurturer.
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patriarchy. This helped women artists and architects in the pursuit of recognition and acknowledgement on the same level as men. Using a mansion as their chosen setting furthered their statement.
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Only women were allowed to view the exhibition on its first day, after which the exhibition was open to all viewers. During the exhibition's duration, it received approximately 10,000 visitors.
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Workshops led by Judy Chicago were held in the Living Room of the house. Ideas for pieces were derived from "informal working sessions", in which the women acted out aspects of their lives.
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Oversized furniture and toys simulate the feeling of being young, a small person in a big room. Special attention was made to make the space an androgynous, ideal living space for a child.
575:– created by Sherry Brody. The pillows were sewn from underwear and bras and displayed on a small tabletop. Miriam Schapiro related a story that the curator of LACMA came to have a tour of
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Magazine: "Many women artists have organized, are shedding their shackles, proudly untying the apron strings--and, in some cases, keeping the apron on, flaunting it, turning it into art."
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is attributed to its very early production in the context of feminist art, its lack of controversiality in relation to other installations of the time (most notably Chicago's own
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s dramatic works, while Chicago focused on other media. Their intention was to transform a domestic environment into one that fully expressed the experiences of women.
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exhibition served as an introduction of feminism to the general public a revolutionary act for the early 1970s, and it sparked many debates. One year after
411:. Resembling a "primitive womb shelter", the room is painted black. Crocheted thread covers the wall, and a single light bulb illuminates from the ceiling.
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What resembles the skeletal forms of dead animals is present in the garden area. This is meant to convey the weakness and vulnerability of such animals.
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released in 1974. Demetrakas was said to be "impressed" and "inspired" by the project. Its European distribution is assured by le peuple qui manque.
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A bedroom that serves as the artist's personal fantasy, a room that only she can enter. The secret room acts as both a sanctuary and a trap.
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participate in the Feminist Program. I consider it a major formative experience in my development as an artist, teacher, and writer/editor.”
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850:. The installation was in place for a 5-month period from June though October 2022. The event was led by Chicago's non-profit organisation
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Pastel colors contrast the otherwise organic colors of the garden. The ground is painted, and "fanciful clouds" create a "fantasy sky".
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A female mannequin is installed in the closet, with shelves and drawers bisecting her body parts. Folded towels sit on the shelves.
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Lescaze, Zoë; David Breslin; Martha Rosler; Kelly Taxter; Rirkrit Tiravanija; Torey Thornton; Thessaly La Force (15 July 2019).
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The mansion contained a variety feminist installations, sculptures, performances and other forms of art. The artists creating
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Some individuals strongly opposed this exhibition. Some critics claimed that radical feminist art projects such as
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attempted to critique. Paula Harper argued that such language is an attempt by critics to soften the impact of
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needed to paint the exterior of the house, install locks and advise the women on basic electrical wiring.
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juxtaposes themes of "supposed safety and comfort in the home" with "terrors existing within its walls".
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A bathtub hosts a woman's figure with most of her body obscured in water, made entirely from loose sand.
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was the first feminist art project to receive attention on a national scale following its review by
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lives on through the website Womenhouse, which was inspired by the groundbreaking 1972 exhibition.
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features a crown molding of lifelike painted fruit. A mural, based on a 19th-century still life by
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Sider, Sandra. “Womanhouse: Cradle of Feminist Art”. Art Spaces Archive Project. 2010 August 5.
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was acquired by the Smithsonian Institution in 1995 and is the only publicly available piece of
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Balducci, Temma. 2006. "Revisiting ‘Womanhouse’: Welcome to the (deconstructed) “Dollhouse”."
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Balducci, Temma. 2006. "Revisiting ‘Womanhouse’: Welcome to the (deconstructed) “Dollhouse”."
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A painting features a self-portrait of the artist and a rising red moon over rolling hills.
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Robin Mitchell: "It was simultaneously one of the best and worst experiences of my life.”
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Schapiro, Miriam (Spring 1972). "The Education of Women as Artists: Project Womanhouse".
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Balducci, Temma. "Revisiting “Womanhouse”: Welcome to the (deconstructed) “Dollhouse”."
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Harper, Paula (Summer 1985). "The First Feminist Art Program: A View from the 1980s".
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830:. It is a 13-minute film that provides close up details of various installations.
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installation, built by the students in an abandoned Victorian house in Hollywood.
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Here are some perspectives from participators when they recall the struggles of
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Harper, Paula (1985). "The First Feminist Art Program: A View from the 1980s".
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Camille Grey : “Put 30 women together and see what happens. A nightmare.”
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surrounding connections between women's bodies, the domestic, and nature that
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Schapiro, Miriam, "The Education of Women as Artists: Project Womanhouse",
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http://www.as-ap.org/content/womanhouse-cradle-feminist-art-sandra-sider-0
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http://www.as-ap.org/content/womanhouse-cradle-feminist-art-sandra-sider-0
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Lucy Lippard, "Household Images in Art," Ms. 1 (no. 9, March 1973), p. 22.
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Harper, Paula, "The First Feminist Art Program: A View from the 1980s",
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be demolished. Construction spanned from November 1971 to January 1972.
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Wilding, Faith. (1977). By Our Own Hands. Double X. 06 October 2014.
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Lippard, Lucy. 1993. "In the Flesh: Looking Back and Talking Back."
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Wilson, William (February 21, 1972). "Lair of Female Creativity".
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by Beth Bachenheimer, Sherry Brody, Karen LeCocq, Robin Mitchell,
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Chicago, Judy and Miriam Schapiro. 1971. "Feminist Art Program."
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From Site to Vision: The Woman's Building in Contemporary Culture
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as one of the 25 works of art that defined the contemporary age.
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Couple in The Cage: Two Undiscovered Amerindians Visit the West
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Schapiro, Miriam (Spring–Summer 1987). "Recalling Womanhouse".
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Among the artists and CalArts students that collaborated were:
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Live Art in LA: Performance in Southern California, 1970–1983
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remarked would "certainly not be interested in the project."
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Meyer, Laura (2011). Sondra Hale and Terry Wolverton (ed.).
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Ulrike Muller, Re:Tracing the Feminist Art Program, 1997.
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by assimilating it according to conventions of femininity.
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Sherry Brody (Lingerie Pillows, The Dollhouse, Dining Room)
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Wilding, Faith. “Womanhouse”. Womanhouse. 2014 October 4.
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Artists, artworks, and institutions have been inspired by
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953:. Los Angeles: OTIS School of Art and Design. p. 91.
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The Education of Women as Artists: Project Womanhouse
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Heresies: A Feminist Publication on Art and Politics
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and Beth Bachenheimer's Shoe Closet, among others.”
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Susan Frazier (Nurturant Kitchen/Aprons in Kitchen)
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218:Janice Lester (Personal Space, Cock and Cunt Play)
200:Vicky Hodgetts (Nurturant Kitchen/Eggs to Breasts)
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266:Robin Weltsch (Nurturant Kitchen/Eggs to Breasts)
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35:installation and performance space organized by
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3209:Contemporary art galleries in the United States
671:and to reveal the consequences of stereotyping.
327:by Susan Frazier, Vicki Hodgetts, Robin Weltsch
269:Wanda Westcoast (Curtains in Nurturant Kitchen)
1770:Timeline for the accomplishments by Womanhouse
1650:Chicago, Judy. 1972. "Menstruation Bathroom."
236:Sandra (Sandy) Orgel ("Ironing", Linen Closet)
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278:Shawnee Wollenmann (The Nursery, Three Women)
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1885:Elizabeth A. Sackler Center for Feminist Art
176:Beth Bachenheimer (Shoe Closet, Dining Room)
2063:Why Have There Been No Great Women Artists?
1863:New York School of Applied Design for Women
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185:(Menstruation Bathroom, Cock and Cunt Play)
80:houses. The result of this project was the
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1814:Feminist art movement in the United States
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1708:http://www.encore.at/retracing/index2.html
1312:. San Francisco CA: Last Gasp Press. 1989.
1712:Lucy Lippard, "Household Images in Art,"
2446:Mattress Performance (Carry That Weight)
1851:American Association of University Women
1760:A Brief History of Women, Art and Gender
1183:Chicago, Judy. Womanhouse catalog essay.
1257:"Re:tracing - the feminist art program"
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31:(January 30 – February 28, 1972) was a
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1325:The Feminism and Visual Culture Reader
920:. Upper Saddle River : Prentice Hall.
918:Contemporary art : world currents
206:Judy Huddleston (Personal Environment)
2010:WACK! Art and the Feminist Revolution
1857:National Association of Women Artists
1466:"WOMEN MAKE MOVIES | Womanhouse"
1460:
1458:
1411:
1409:
1191:
1189:
376:is the most collaborative project in
7:
3239:1972 disestablishments in California
1951:The Women's Building (San Francisco)
1910:National Museum of Women in the Arts
1443:from the original on 1 February 2022
746:Lack of scholarly attention paid to
838:In 2022 on the 50th anniversary of
712:closed, in an article published by
1941:Women's Art Resources of Minnesota
1765:WOMANHOUSE: Cradle of Feminist Art
1716:1 (no. 9, March 1973), p. 22.
203:Kathy Huberland (Bridal Staircase)
197:(suggested project, Art Historian)
14:
3244:1972 establishments in California
2273:Feminist movements and ideologies
660:, performed by Janice Lester and
429:by Karen LeCocq, Nancy Youdelman.
257:Robin Schiff (Nightmare Bathroom)
1563:Tresp, Lauren (26 August 2022).
916:Smith, Terry (Terry E.) (2011).
842:Chicago led the installation of
221:Paula Longendyke (Garden Jungle)
191:Camille Grey (Lipstick Bathroom)
1915:New York Feminist Art Institute
1615:Bielski, Annie (24 July 2022).
3249:History of women in California
3229:Performance artist collectives
3146:Survival Research Laboratories
2262:Women in the art history field
1946:Woman's Building (Los Angeles)
1701:http://womanhouse.refugia.net/
1020:10.1080/00043249.1972.10793018
667:contribute to her role in the
227:Carol Edison Mitchell (Quilts)
1:
1930:Washington Women's Art Center
1678:Raven, Arlene, "Womanhouse,"
1245:http://womanhouse.refugia.net
557:serves as the centerpiece of
3043:LaBeouf, Rönkkö & Turner
1970:Exhibitions or installations
826:was an experimental film by
723:by William Wilson described
254:(The Dollhouse, Dining Room)
2095:Women Artists in Revolution
1935:Women Artists in Revolution
638:performed by Christine Rush
298:Working collaboratively on
233:(Painted Room, Dining Room)
3265:
2350:Breathing in/breathing out
1565:"Review: Wo/Manhouse 2022"
1057:"Womanhouse catalog essay"
284:(Leah's Room, Three Women)
215:(Leah's Room, Dining Room)
3048:Los Angeles Urban Rangers
2270:
1820:
1680:The Power of Feminist Art
1488:Women's Studies Quarterly
1327:. New York NY: Routledge.
1109:. Routledge. p. 38.
679:Written by Faith Wilding.
646:performed by Sandra Orgel
16:Feminist art installation
3185:34.177262°N 118.323140°W
3141:Performance art in China
2406:Empathy and Prostitution
2257:List of feminist artists
2055:The Feminist Art Journal
1278:. Womanhouse.refugia.net
1093:Womanhouse Catalog Essay
834:50th Anniversary in 2022
813:Womanhouse is Not a Home
118:Construction and process
2534:The Death of The Artist
2430:I'm too sad to tell you
1961:Women's Studio Workshop
1956:Women's Interart Center
1873:Venues or organizations
1744:Womanhouse tribute show
1046:27, no 2. (2006): 17-23
776:The feminist spirit of
542:According to Schapiro,
314:Rooms and installations
3234:Feminism in California
3190:34.177262; -118.323140
2982:Mierle Laderman Ukeles
2374:Ceci N'est Pas Un Viol
2100:Women's Caucus for Art
2021:Films or documentaries
1895:Feminist Art Coalition
1569:Southwest Contemporary
1439:. The New York Times.
1378:Womanhouse.refugia.net
1323:Jones, Amelia (2003).
1103:Phelan, Peggy (2012).
142:after 25 years later.
106:. Schapiro supervised
23:
2574:Untitled (Rape Scene)
2526:The Artist Is Present
2336:Amen or The Pederasty
2029:!Women Art Revolution
1830:Feminist art movement
1738:by Johanna Demetrakas
1418:The Los Angeles Times
1310:Performance Anthology
890:Revisiting Womanhouse
791:was cited in 2019 by
719:A 1972 review in the
589:by Shawnee Wollenman.
507:Menstruation Bathroom
479:by Beth Bachenheimer.
405:Crocheted Environment
224:Ann Mills (Leaf Room)
160:Participating artists
22:
2717:Guillermo Gómez-Peña
1673:Women's Art Magazine
1589:Roberts, Kathaleen.
1518:Museum of Modern Art
906:Recalling Womanhouse
599:by Paula Longendyke.
395:Personal Environment
73:Fresno State College
49:Feminist Art Program
3181: /
2772:Natalie Jeremijenko
2414:Food for the Spirit
2161:Helen Frankenthaler
1905:Lesbian Art Project
1645:Woman's Art Journal
1595:Albuquerque Journal
1297:Woman's Art Journal
1043:Woman's Art Journal
388:by Kathy Huberland.
3151:Viennese Actionism
3028:COUM Transmissions
2947:Carolee Schneemann
2792:Ragnar Kjartansson
2566:Three Weeks in May
2226:Carolee Schneemann
1986:Three Weeks in May
852:Through The Flower
794:The New York Times
652:Cock and Cunt play
609:by Christine Rush.
559:The Dollhouse Room
544:The Dollhouse Room
532:The Dollhouse Room
522:Nightmare Bathroom
399:by Judy Huddleston
24:
3164:
3163:
3136:Participatory art
2977:Melati Suryodarmo
2862:Charlotte Moorman
2510:Seven Easy Pieces
2279:
2278:
2151:Mary Beth Edelson
2146:Elaine de Kooning
1994:The Sister Chapel
1647:27, no. 2: 17–23.
1299:27, no. 2: 17–23.
848:Belen, New Mexico
721:Los Angeles Times
686:The Birth Trilogy
536:by Sherry Brody,
526:by Robbin Schiff.
496:Lipstick Bathroom
459:by Robin Mitchell
449:by Janice Lester.
333:Aprons in Kitchen
323:Nurturant Kitchen
3256:
3224:Installation art
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3083:Kusama: Infinity
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2937:Rachel Rosenthal
2882:Pauline Oliveros
2602:Marina Abramović
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2196:Georgia O'Keeffe
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2002:The Dinner Party
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753:The Dinner Party
573:Lingerie Pillows
500:by Camille Grey.
409:by Faith Wilding
384:Bridal Staircase
337:by Susan Frazier
248:Marsha Salisbury
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2454:One & Other
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538:Miriam Schapiro
490:by Sandy Orgel.
356:Miriam Schapiro
344:Eggs to Breasts
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289:In the journal
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282:Nancy Youdelman
263:(Red Moon Room)
252:Miriam Schapiro
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1069:on 2014-06-11
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3033:Fallen Fruit
3002:Hannah Wilke
2992:Wolf Vostell
2912:Mark Pauline
2867:Bruce Nauman
2847:Kent Monkman
2817:Suzanne Lacy
2812:Yayoi Kusama
2787:Andy Kaufman
2782:Allan Kaprow
2757:Rebecca Horn
2747:Sharon Hayes
2727:Ann Hamilton
2702:Bob Flanagan
2697:Valie Export
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1900:Hera Gallery
1825:Feminist art
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1775:Readings on
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1675:no. 54: 4–9.
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1638:Bibliography
1624:. Retrieved
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1280:. Retrieved
1276:"Womanhouse"
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1071:. Retrieved
1064:the original
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37:Judy Chicago
33:feminist art
27:
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3188: /
3176:118°19′23″W
3156:Process art
3086:(2018 film)
3078:(1988 film)
3058:The Yes Men
2952:Tino Sehgal
2927:Jim Pomeroy
2877:Pat Oleszko
2857:Frank Moore
2802:Terence Koh
2667:Günter Brus
2627:Abel Azcona
2542:The Fathers
2462:Rest Energy
2449:(2014–2015)
2236:Alma Thomas
2191:Lee Krasner
2181:Lila Katzen
2156:Suzi Ferrer
2105:Where We At
2058:(1972–1977)
2050:(1977–1992)
1997:(1974–1978)
1748:Momenta Art
1687:Art Journal
1523:February 3,
1008:Art Journal
656:Written by
630:Maintenance
624:Three Women
585:The Nursery
577:Womanhouse.
475:Shoe Closet
425:Leah's Room
374:Dining Room
366:Dining Room
350:Dining Room
108:Womanhouse'
3203:Categories
3173:34°10′38″N
3023:Concept 21
2932:Duke Riley
2897:Eiko Otaki
2887:Mihai Olos
2832:Miki Malör
2827:James Luna
2797:Yves Klein
2777:Joan Jonas
2767:Zhang Huan
2712:Coco Fusco
2657:Mark Bloch
2550:The Shadow
2438:Luminosity
2241:June Wayne
1978:Womanhouse
1844:Precursors
1777:Womanhouse
1754:Womanhouse
1736:Womanhouse
1728:Womanhouse
1543:STIR world
1472:2014-01-12
1282:2014-01-12
1149:(4): 772.
1073:2014-04-10
992:2019-09-23
983:"Timeline"
858:References
840:Womanhouse
806:Womanhouse
789:Womanhouse
778:Womanhouse
770:Womanhouse
766:Womanhouse
748:Womanhouse
741:Womanhouse
734:Womanhouse
730:Womanhouse
725:Womanhouse
710:Womanhouse
706:Womanhouse
698:Womanhouse
567:Womanhouse
378:Womanhouse
370:Anna Peale
307:Womanhouse
300:Womanhouse
261:Mira Schor
140:Womanhouse
104:Womanhouse
82:Womanhouse
28:Womanhouse
3131:monochrom
3121:Happening
2907:Gina Pane
2737:Jo Hanson
2707:Terry Fox
2692:Papo Colo
2622:Ron Athey
2558:The Shame
2470:Rhythm 10
2433:(1970–71)
2390:Cut Piece
2385:(1992–93)
2328:7000 Oaks
2176:Eva Hesse
1468:. Wmm.com
1226:145242132
1171:145242132
936:696321779
760:Influence
693:Reception
634:Scrubbing
580:feminine.
435:'s novel
415:Leaf Room
3101:Body art
3018:Ant Farm
2892:Yoko Ono
2807:Paul Kos
2632:Franko B
2494:Rhythm 0
2486:Rhythm 2
2478:Rhythm 5
2211:Yoko Ono
2065:" (1971)
1626:18 March
1600:17 March
1574:17 March
1548:18 March
1500:40004836
1447:24 March
1441:Archived
682:herself.
632:Pieces:
53:Schapiro
2972:Stelarc
2594:Artists
2502:Seedbed
2080:subRosa
1730:website
1218:3174313
1163:3174313
987:CalArts
675:Waiting
642:Ironing
433:Colette
66:Origins
45:CalArts
3116:Fluxus
3011:Groups
2585:(2008)
2577:(1973)
2569:(1977)
2561:(2018)
2553:(2014)
2545:(2016)
2537:(2018)
2529:(2010)
2521:(1964)
2513:(2005)
2505:(1972)
2497:(1974)
2489:(1974)
2481:(1974)
2473:(1973)
2465:(1980)
2457:(2009)
2441:(1997)
2425:(1965)
2417:(1971)
2409:(2013)
2401:(2012)
2398:Eating
2393:(1964)
2377:(2015)
2369:(2015)
2366:Buried
2361:(1974)
2353:(1977)
2345:(1969)
2343:Bed-in
2339:(2015)
2331:(1982)
2073:Groups
2013:(2007)
2005:(1979)
1989:(1977)
1981:(1972)
1865:(1892)
1859:(1889)
1853:(1881)
1498:
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1028:775513
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768:. The
640:, and
3094:Other
3067:Media
2250:Lists
1937:(WAR)
1666:Signs
1496:JSTOR
1399:<
1222:S2CID
1214:JSTOR
1198:Signs
1167:S2CID
1159:JSTOR
1143:Signs
1067:(PDF)
1060:(PDF)
1024:JSTOR
801:Films
438:Chéri
292:Signs
3053:Mavo
2987:Ulay
2320:Work
1628:2023
1602:2023
1576:2023
1550:2023
1525:2018
1449:2022
1403:>
1111:ISBN
932:OCLC
922:ISBN
364:The
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1746:at
1714:Ms.
1206:doi
1151:doi
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714:Ms.
511:by
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