This volume provides an insight into the complex artistic and educational practices that characterized the first decade of the California Institute of the Arts (CalArts). There is a special focus on the conceptual and feminist strategies developed in and from John Baldessari's post-studio class as well as Judy Chicago and Miriam Schapiro's Feminist Art Program, which was initiated in 1970 and brought to the newly founded art school in 1971.

As post-studio and feminist practices at CalArts are often characterized by the specific entanglement of cognitive and (habitual) bodily forms of knowledge, the idea of tacit knowledge, and thus learning through . . . .go to book page >>

This catalog considers the pivotal turning points in the Polish artist Alina Szapocznikow's (1926–73) life and career from the late 1950s to the early 1970s. It considers her experimental approach to materials, ranging from plaster and bronze to her groundbreaking use of polyester resin in the mid-1960s.

Szapocznikow’s work maps her engagement with her own body as it transformed from healthy to ailing. Her art amounts to a powerful meditation on what she once described as a fleeting instant, a trivial instant our terrestrial passage.” These sensual casts and sculptures of body parts are ecstatic and abject, playful and disturbing, direct . . . .go to book page >>

As feminism gained momentum in 1970s America, three photographers—Abigail Heyman, Eve Arnold and Susan Meiselas—published massively influential photobooks informed by the movement.

The first, Heyman's Growing Up Female (1974), is a kind of feminist diary: the photographer casts a lucid eye at her own life and questions the imprisonment of women in stereotype roles. The second, Eve Arnold's The Unretouched Woman (1976), shows unknown women and celebrities in spontaneous everyday moments. The photos were deliberately not retouched or staged and offer a nuanced vision of women far from the glamor of glossy magazines. The third, Susan Meiselas' Carnival Strippers (also 1976), . . . .go to book page >>

Collective projects are the lifeblood of Chicago’s art scene. Where the Future Came From expands upon previous research by refocusing the narrative around the work of women and women-identified makers from the late 19th century to the present. The book documents a 2018–19 open-source participatory exhibition, symposium and series of accompanying programs at Columbia College Chicago that explored the roles of feminism and intersectionality in approaching this history. In addition to a chronology, transcripts and essays, the book features personal and scholarly accounts of feminist cultural work. With contributions by TJ Boisseau, Estelle Carol, Daisy Yessenia Zamora Centeno, Carol Crandall, . . . .go to book page >>