Feminist Art Movement - Timeline of Feminist Art

Timeline of Feminist Art

• 1964: Yoko Ono, Cut Piece, (20 July 1964), Yamaichi Concert Hall, Kyoto, Japan. For Cut Piece Yoko Ono knelt on stage in the traditional pose of Japanese women while audience members were invited to cut off her clothes one piece at a time. Cut Piece can be seen as part of a larger trend in feminist performance art which comments on violence against women and implicates the audience in the acceptance of such acts.
• 1967: Carolee Schneemann's film Fuses showed her and her then-boyfriend James Tenney having sex as recorded by a 16 mm Bolex camera. Schneemann then altered the film by staining, burning, and directly drawing on the celluloid itself, mixing the concepts of painting and collage; the segments were edited together at varying speeds and superimposed with photographs of nature, which she juxtaposed against her and Tenney's bodies and sexual actions. Fuses was motivated by Schneemann's desire to know if a woman's depiction of her own sexual acts was different from pornography and classical art, as well as a reaction to Stan Brakhage's Window Water Baby Moving.
• 1967: Artwork: Vivienne Binns, Vag dens, 1967, synthetic polymer paint and enamel on composition board. Collection of the National Gallery of Australia, Canberra.
• 1968: In an act of street theater, the New York Radical Feminists crowned a sheep as a beauty queen at the 1968 Miss America pageant. They also threw undergarments into a “freedom trash can,” but despite rumors otherwise did not set any bras on fire.
• 1969: Black Women of Africa Today (1969) was painted by teenage girls at The Alfred E. Smith housing project on the Lower East Side of New York. Process was an important feature; to develop the schema, scenes were acted out, photographed, projected, and traced.
• 1969: Mierle Laderman Ukeles, a Bronx resident, trying to reconcile her artist self with her role as a new mother, wrote a Dadaesque “Maintenance Art Manifesto,” positing housekeeping—or “maintenance”—as an embodiment of what she proposed was an unsung component of the creative process: "maintaining," in contrast to “producing.”
• Late 1960s: Hannah Wilke first gained renown with her "vulval" terra-cotta sculptures in the late 1960s. These sculptures, first exhibited in New York, are often mentioned as some of the first explicit vaginal imagery arising from the feminist movement, and they became her signature form which she made in various media, colors and sizes, including large floor installations, throughout her life.
• 1970: Wanda Gág House placed on the National Register of Historic Places. Gág was an artist and illustrator whose work influenced Eric Rohmann, Ursula Dubosarsky, Susan Marie Swanson, Jan Brett and Maurice Sendak.
• Early 1970s: The Women's Video Festival was held yearly for a number of years in the early 1970s in New York City.
• 1970: Sculptor Eva Hesse died May 29, 1970 in New York City.
• 1970s: The Women's Interart Center in New York was founded in the 1970s in New York City, and is still in operation.
• 1970: A historic 1970 manifesto by a “small guerilla unit,” Women Students and Artists for Black Art Liberation (WSABAL), demanded equal exhibition representation for women, blacks, and students.
• 1970: A full page ad in the October 1970 Artforum announced feminist artist Judy Chicago's name change from Judy Gerowitz. The ad said she made the change to divest "herself of all names imposed upon her through male social dominance..."
• 1970: America's first feminist art education program took place at California State University, Fresno in California in 1970 when fifteen female students and instructor Judy Chicago helped pioneer key strategies of the early feminist art movement, including collaboration, the use of “female technologies” like costume, performance, and video, and early forms of media critique.
• 1970: Westbeth Playwrights Feminist Collective founded by playwrights Dolores Walker, Gwendolyn Gunn, Susan Yankowitz, Sally Ordway, Christina (Chryse) Maile, Patricia Horan, and Helen Duberstein. The plays of the Collective featured such women's issues as religious patriarchy, work place discrimination, dominance-submissive relationships, historical figures, masquerade, and sexual discrimination. One of the few feminist theater groups to be widely reviewed in the NY Times, the plays transcended the limiting context of agit-prop theatre by discarding the revenge themes current in much feminist writing at the time, and instead strove to accurately reflect the complexity of women’s lives and celebrate their accomplishments.
• 1971: Valie Export's groundbreaking video piece, "Facing a Family" was one of the first instances of television intervention and broadcasting video art.
• 1971: Judy Chicago, with abstract painter Miriam Schapiro, cofounded the landmark Feminist Art Program at California Institute of the Arts, north of Los Angeles, which was the only such department in a major art school.
• 1971: An early feminist art coalition, WEB (West-East Bag), was founded in 1971 by Lucy Lippard, Judy Chicago, and Miriam Schapiro, to jump-start the new movement and stimulate cadres in North America and beyond. It advocated a shifting “center,” and its newsletter was produced each month by a group in a different region. (It continued successfully through the mid-seventies.)
• 1971: Linda Nochlin’s landmark 1971 essay “Why Have There Been No Great Women Artists?” asked why women had been excluded from ideas of artistic greatness.
• 1972: First anthology by the Wimmen's Comix collective.
• 1972: The students of the feminist art program at California Institute of the Arts (CalArts) in Los Angeles created a month-long feminist installation in an empty house, entitled Womanhouse.
• 1972: The A.I.R. Gallery (named for "Artists in Residence") was founded in New York and remains active. Twenty co-op members renovated the space themselves; it was then very unusual to exhibit in an all-female environment.
• 1972: Sheila Levrant de Bretteville founded a feminist design program at CalArts.
• 1973: In Los Angeles, the Womanspace Gallery opened in a former laundromat; decision-making was arrived at through a round-robin consensus consciousness raising format.
• 1973: Ana Mendieta, Untitled (Rape Scene), 1973. After the brutal rape and murder of a student on campus at the University of Iowa, Cuban-American artist Ana Mendieta, who was also a student there, staged this performance. Viewers were invited to Mendieta's apartment where they saw Mendieta tied to a table surrounded by broken dishes and her body exposed and covered in fake blood from the waist down.
• 1973: The Woman's Building which included the Feminist Studio Workshop was founded by Sheila Levrant de Bretteville, art historian Arlene Raven, and Judy Chicago, in Los Angeles. Inspired by a Woman’s Building at the 1893 Universal Exposition in Chicago, at its core was a two-year graduate art program, the Feminist Studio Workshop (FSW). “We had a theory of feminist education,” Raven has said, “which was a transition from a situation of oppression—where women related to one another through competition, isolation, and silence—to one of support, a process evolved through criticism, and self-criticism.”
• 1973: Sheila Levrant de Bretteville created a poster/wallwork titled Pink; she handed out pieces of pink paper to friends and to women on the street, asking them to describe what this color, somewhat maligned for its associations with femininity, meant to them. She assembled the results on a poster in a quilt-like format, including blank spaces for audience response. De Bretteville, a mother and wife as well as a noted graphic designer, remarked that the visual structure also expressed "the way I felt my day was broken up into three-hour segments, as much as its form was influenced by notions of de-centering, and the revaluing of women's work, such as quilting."
• 1974: Mother Art, which consisted of Feminist Studio Workshop students, was founded in 1974, in part to show that feminists—at the time predominantly young, single women—could be wives and mothers, too.
• 1974: Exhibition: A Room of One's Own: Three Women Artists Ewing Gallery, University of Melbourne, co-curated by Kiffy Rubbo, Lynne Cooke and Janine Burke. Artists included Lesley Dumbrell, Julie Irving, and Ann Newmarch.
• 1974: Tomie Arai and the Cityarts Workshop created the mural known as the Wall of Respect for Women in New York City.
• 1975: The mural Women Hold Up Half the Sky was created under the direction of Tomie Arai.
• 1975: Exhibition: Australian Women Artists: 1840-1940, Ewing Gallery and George Paton Galleries, University of Melbourne; Art Gallery of NSW; Newcastle Region Art Gallery; Art Gallery of South Australia, curated by Janine Burke.
• 1975: Women's Art Register established in Melbourne. One of the founders was painter Erica McGilchrist.
• 1975: Carolee Schneemann performed Interior Scroll, a Fluxus-influenced piece featuring her use of text and body. In her performance, Schneemann entered wrapped in a sheet, under which she wore an apron. She disrobed and then got on a table where she outlined her body with dark paint. Several times, she would take "action poses", similar to those in figure drawing classes. Concurrently, she read from her book Cézanne, She Was a Great Painter. Following this, she dropped the book and slowly extracted from her vagina a scroll from which she read.
• 1975: Hecate: An Interdisciplinary Journal of Women's Liberation established, edited by Carole Ferrier (1975–present).
• 1975: The first performance of Spiderwoman Theater (named after the Hopi Spider Grandmother, Goddess of Creation, who taught her people to weave) was Woman in Violence (1975). This performance was full of bawdy satire, with the performers conceiving of themselves as “clowns,” using that metaphoric figure as a container to tell their stories of violence, battery, and shame. The style of Spiderwoman Theater, called “story weaving”, involved intertwining personal anecdotes, myths, and feminist insights chanted and repeated in poetic fragments, all with a touch of earthy humor.
• 1976: In I Make Maintenance Art One Hour Every Day (1976), for two months Mierle Laderman Ukeles mopped offices and elevators in a Lower Manhattan building.
• 1976: Launch of Melbourne-based art journal LIP A Journal of Women in the Visual Arts (1975–1983).
• 1976: Women's Art Movement established, Adelaide, South Australia
• 1977: In August, working with the national group Women Against Violence Against Women (WAVAW), Leslie Labowitz crafted a media event, Record Company Executives Drag Their Feet. Beneath a Hollywood billboard advertising Kiss’s new album Love Gun, which was full of S&M overtones, with women writhing underfoot, a gold Cadillac arrived at the head of a motorcade, and “record executives” wearing rooster heads emerged from them, holding gold records. Behind a faux press conference table, a large-scale chart demonstrated correlations between the increasingly graphic marketing of sex and an increase in arrests for rape and spousal abuse—in contrast to a drop in other crimes. Invited local TV stations and newspapers were furnished with “shot sheets” directing the focus of their visual coverage.
• 1977: In Laundryworks, the members of Mother Art displayed artworks hung like wet clothing on lines in Los Angeles laundromats, in performances timed to the wash and dry cycle. California State gave them a $700 arts grant for this multi-event action—which ended up as a political football, however, with the funding used as an example by conservatives of “budgetary fat.”
• 1977: Chrysalis: A Magazine of Women’s Culture started publishing in 1977 out of the Woman's Building and produced ten issues over the next three years. Editors were Kirsten Grimstad, Susan Rennie, Arlene Raven, Ruth Iskin, and Sheila Levrant de Bretteville.
• 1977: The first issue of the feminist art magazine Heresies was produced in 1977. The founding members of the Heresies Collective included Patsy Beckert, Joan Braderman, Mary Beth Edelson, Elizabeth Hess, Harmony Hammond, Joyce Kozloff, Arlene Ladden, Lucy Lippard, Mary Miss, Marty Pottenger, Miriam Schapiro, Joan Snyder, May Stevens, Michelle Stuart, Susana Torre, Elizabeth Weatherford, and Sally Webster.
• 1977: In Lysistrata Numbah! (1977), using Aristophanes’s play Lysistrata in which women refuse to have sex until a war was over, Spiderwoman Theater explored the issues of sex, power, and control.
• 1977: For the piece Three Weeks in May (1977), Suzanne Lacy and Leslie Labowitz posted huge maps in a downtown mall and marked them with occurrences of rapes across the city the night before, alongside locations of rape crisis centers and battered women's shelters. The event combined a performance piece on the steps of Los Angeles City Hall with self-defense classes for women in an attempt to highlight sexual violence against women.
• 1978: Suzanne Lacy's piece In Mourning and in Rage (1978) addressed the coverage given to the Hillside Strangler, a mass killer terrorizing women in the Hollywood Hills; the murders had been granted salacious attention by the media.
• 1978: Artwork: Ann Newmarch, Women hold up half the sky! 1978
• 1978: Exhibition: The Women's Show, Experimental Art Foundation, Adelaide
• 1978: Suzanne Lacy and Leslie Labowitz founded Ariadne: A Social Art Network. The group organized the ten-day event From Reverence to Rape to Respect (1978) in Las Vegas. One memorable installation there equated bejeweled sheep carcasses in headdresses with feathered Vegas showgirls.
• 1978: While on a bus on the way to the 1978 Las Vegas From Reverence to Rape event, The Feminist Art Workers (Nancy Angelo, Candace Compton, Laurel Klick, Cheri Gaulke, and Vanalyne Green) organized a structure of performance-related exercises, called Traffic in Women, in which they guided other passengers in a metaphoric journey from victimhood to self-realization; this involved storytelling, journal-writing, and self-reflection.
• 1978: For the event Take Back the Night (1978), the group Araidne organized a nighttime parade in San Francisco’s Tenderloin district, notorious for vice and corruption. Centrally featured was a float carrying a carved Madonna in front; on its verso side was a devilish three-headed lamb carcass from whose belly pornographic texts spewed.
• 1978: In a 1978 piece by the Feminist Art Workers, “viewers” entered a city phone booth and dialed a specified number, as if to listen to an obscene phone call. Instead they heard messages of empowerment.
• 1978: The first project of a feminist group called The Waitresses, made up of people who had been in the Feminist Studio Workshop, was Ready to Order (1978), conceived as a seven-day conceptual structure, which featured satiric skits. Millie Awards were given for categories such as longest inconsequential conversation and longest smile, and the event also involved community-oriented panel discussions and workshops along the lines of Three Weeks in May, to address issues such as job discrimination and to promote skills—for example, assertiveness training. The Waitresses group was founded in 1977 by Jerri Allyn and Anne Gauldin, and joined by Leslie Belt, Patti Nicklaus, Jamie Wildman, and Denise Yarfitz.
• 1978-80: Performance: Lyndal Jones, The At Home Series, performances in the series held at La Mama Theatre, Melbourne, George Paton Gallery, University of Melbourne, RMIT, Melbourne, 110 Chambers Street, New York
• 1979: The Dinner Party, an installation artwork by feminist artist Judy Chicago depicting place settings for 39 mythical and historical famous women, which was produced from 1974 to 1979 as a collaboration, was first exhibited in 1979.
• Late 1970s: The New York Feminist Art Institute sponsored a workshop on collaboration in the late 1970s.
• 1980: Artwork: Davida Allen painted her sexual fantasy pictures of actor Sam Neill. While the paintings followed in the tradition of the Burt Reynolds nude centerfold in Cosmopolitan in 1972, in 1980s Australia the artist raised eyebrows for depicting a man as a sex object.
• 1980: Performance: Bonita Ely, Bread Line, Anzart, Christchurch, New Zealand
• 1980: Performance: Bonita Ely, Murray River Punch, George Paton and Ewing Gallery, Melbourne University. Women at Work, a festival of women's performance art.
• 1980: Performance: Jill Orr, Split- Fragile Relationships, George Paton and Ewing Gallery, Melbourne University. Women at Work, a festival of women's performance art.
• 1980: Women at Work : a week of women's performance, June 1980. George Paton and Ewing Gallery, Melbourne University. Artists included Jill Orr and Bonita Ely.
• 1981: In an iconic photograph, Heaven or Hell? (1981), the Feminist Art Workers, dressed as cherubic hunters, fed each other from the tips of long arrows. This is a reference to a fable about a sumptuous banquet whose only dining utensils were forks so long diners were only able to eat if they fed one another—a metaphor for collaboration.
• 1981: Carnival Knowledge, a New York-based collective that explored issues related to women’s sexuality, staged a carnival with a pro-choice theme, called Bazaar Conceptions, in the New School’s Graduate Center. It featured more than 20 sculptures and games, drawing an estimated 2,500 participants.
• 1984: For the satiric Second Coming (1984), Carnival Knowledge, a New York-based collective that explored issues related to women’s sexuality, created a double collaboration with a recently formed support group of female porn stars, including the later infamous performance artist Annie Sprinkle. One aim was exploring whether a kind of pornography could exist that was not degrading “to women—or men or children.” However, the event brought punitive measures launched by conservative members of Congress against the producing venue Franklin Furnace, which had received federal grants.
• 1985: The Guerilla Girls, which rose to some renown, formed anonymously in 1985 in response to a Museum of Modern Art survey that included only 13 women alongside 166 white males. The group launched a highly effective street-postering campaign, simple statistics starkly revealing the lack of representation of women and people of color in galleries and museums. The signature gorilla mask apparently was inspired by one member’s mistake spelling “guerrilla.” However, it turned into a highly effective publicity tool, even as it served to mask participants’ identities, as some feared reprisals for being linked with feminism.
• 1985: Women of Sweetgrass, Cedar, and Sage is a major exhibition of female Native American artists, at the American Indian Community House in New York, curated by Harmony Hammond and Jaune Quick-to-See Smith.
• 1985-7: Suzanne Lacy worked with The Whisper Minnesota Project to create Crystal Quilt, a living tableaux performed by 430 women over the age of 60 on Mother’s Day at the IDS Center’s Crystal Court in Minneapolis. The piece aimed to change public perceptions of older women by providing a creative outlet and an open forum. The performance was staged on an 82-foot rug with tables placed on it designed by Miriam Schapiro to resemble a quilt. The women sat and discussed their lives, and every ten minutes they changed the placement of their arms on the tables thus altering the quilt’s pattern when seen from above. Snippets of their conversations were amplified on speakers and the entire event was broadcast live on public television.
• 1986: First issue of M/E/A/N/I/N/G, ed. Susan Bee and Mira Schor
• 1987: Exhibition: Feminist Narratives, George Paton Gallery, curated by Juliana Engberg. Artists: Pat Brassington, Debra Dawes, Leah MacKinnon, Andrea Paton, Ann Wulf.
• 1988: Exhibition: Judy Chicago (American) The Dinner Party (1979), Melbourne Exhibition Buildings.
• 1989: Artwork: Something More by Tracey Moffatt.
• 1991: Exhibition: Frames of Reference: Aspects of Feminism and Art, Artspace, Sydney, curated by Sally Couacaud.
  Artists: Kathy Temin, Susan Norrie, Vivienne Binns, Rebecca Cummins, Anne MacDonald
• 1991: Manifesto: VNS Matrix (Virginia Barratt, Francesca da Rimini, Juliane Pierce, Josephine Starrs), Cyberfeminist Manifesto for the 21st Century, Adelaide. The manifesto was distributed on street posters around Adelaide. VNS Matrix was an artist collective founded in Adelaide and active 1991-1997. VNS Matrix is pronounced 'Venus Matrix'.
• 1992: Exhibition: Feminisms: An Exhibition of 27 Women Artists, PICA, Perth, curated by Nikki Miller.
• 1994: Exhibition: The Women's Show, Sutton Gallery, Melbourne
• 1994: Marcia Tucker organized the exhibition, Bad Girls at the New Museum and Marcia Tanner a companion show at the Wight Art Gallery at UCLA.
• 1995: Exhibition WWWO : Wollongong Worlds Women Online, first national Australian online women's group exhibition, featuring the first or early digital works from 30 women including Francis Dyson and Mez Breeze. Curators Melinda Rackham, Louise Manner, Ali Smith, Sandy Indlekofer-O’Sullivan.
• 1995: National Women's Art Exhibition, simultaneous exhibitions in over 147 galleries, museums and libraries.
• 1995: Exhibition: VNS Matrix: ALL NEW GEN, (VNS Matrix: Virginia Barratt, Francesca da Rimini, Juliane Pierce, Josephine Starrs), ACCA, Melbourne. Part of the National Women's Art Exhibition.
• 1995: Exhibition: In the Company of Women: 100 years of Australian women's art from the Cruthers Collection, PICA, Perth, curated by Sarah Miller. Part of the National Women's Art Exhibition.
• 1995: Exhibition: Out of the Void: Mad and Bad Women, Queensland Art Gallery, Brisbane, touring Queensland. Part of the National Women's Art Exhibition.
• 1995: Exhibition: Girls Girls Girls, Annandale Galleries, Sydney, also Orange Regional Gallery. Women's show to mark the 20th Anniversary of the United Nations, Year of the Woman.
• 1995: Beyond the Picket Fence: Australian women's art in the National Library of Australia, National Library of Australia
• 1996: "Inside the Visible," organized by Belgian curator Catherine de Zegher at the Institute of Contemporary Art, Boston (ICA), exhibited works by 35 international women artists from the 1930s, 1970s, and 1990s and presented a new theoretical interpretation for the art of the twentieth century (Inside the Visible, MIT press). This exhibition subsequently traveled to the National Museum of Women in the Arts in Washington, D.C., the Whitechapel Gallery in London, and the Art Gallery of Western Australia in Perth.
• 1996: Manifesto: VNS Matrix (Virginia Barratt, Francesca da Rimini, Juliane Pierce, Josephine Starrs) Bitch Mutant Manifesto, Adelaide.
• 1996: Exhibition: Women Hold Up Half the Sky: the Orientation of Art in the Post-War Pacific, Monash University Gallery, Melbourne, curated by Roger Butler.
  Artists: Micky Allan, Vivienne Binns, Kate Daw, eX de Medici, Diena Georgetti, Joan Grounds, Helga Groves, Indulkana Community, Emily Kame Kngwarreye, Narell Jubelin, Maningrida Arts, Banduk Marika, Ann Newmarch, Margaret Preston, Thancoupie, Kelly Thompson, Utopia Batik, Toni Warburton, Judy Watson, Robin White
• 1996: Exhibition: Inside the Visible, Boston: ICA/ MIT: Kanaal Art Foundation, and Touring to Whitechapel, London, and PICA, Perth, Australia, curated by Catherine de Zegher (USA)
• 1997: Exhibition: Difficult Territory: a postfeminist project, Artspace, Sydney, curated by Kristen Elsby
• 1999: Guerrilla Girls brought to Melbourne by RedPlanet for screenprinting workshops and lectures.
• 1999 Australian feminist art historians Joan Kerr & Jo Holder publish Past present : the national women's art anthology
• 2001, a conference called "Women Artists at the Millennium" was organized at Princeton University in honor of Linda Nochlin’s landmark 1971 essay “Why Have There Been No Great Women Artists?” which asked why women had been excluded from ideas of artistic greatness – and examined the field thirty years after. A book by that name was published in 2006, featuring major art historians such as Linda Nochlin, analysing prominent women artists such as: Louise Bourgeois, Yvonne Rainer, Bracha Ettinger, Sally Mann, Eva Hesse, Rachel Whiteread and Rosemarie Trockel.
• 2002: The exhibit Personal & Political: The Women’s Art Movement, 1969–1975 was held at the Guild Hall Museum, East Hampton, NY, from August 10 until October 20, 2002.
• 2002: The exhibit Gloria: Another Look at Feminist Art in the 1970s was held at White Columns, New York from September 13 until October 20, 2002.
• 2004: Artwork: Lydia Lunch, You Are Not Safe In Your Own Home. Installation at Fierce Festival, Birmingham UK.
• 2005: In December 2005, Serbian artist Tanja Ostojić became well known in Europe as a result of the "EU Panties" poster, a satire of Gustave Courbet's L'Origine du monde. Ostojić's version displayed her own crotch, clothed in blue underwear complete with EU stars. The image was meant as an ironic suggestion that foreign women are only welcome in Europe when they drop their underwear.
• 2006: Exhibition: Feminist Actions, Spacement, Melbourne, curated by Veronica Tello.
  Artists: Andrew Atchison, Pia de Bruyn, Sue Dodd, Sarah Lynch, Alex Martinis Roe, Ali Sanderson, Jessie Scott
• 2007: Forum: Feminism Never Happened, Gertrude Contemporary Art Spaces, Melbourne.
  Panelists included: Julie Rrap, Alex Martinus Roe, Ann Marsh, Lily Hibberd, Felicity Coleman, Lyndall Walker, Emily Cormack
• 2007: Wack! Art and the Feminist Revolution, curated by Connie Butler for Los Angeles' Geffen Center or Museum of Contemporary Art, MOCA, was the comprehensive, historical exhibition, examining the international foundations and legacy of feminist art, focusing on the period of 1965–1980, during which the majority of feminist activism and art-making occurred. The exhibition, traveled to the National Museum of Women in the Arts in Washington, D.C, at the PS1 satellite of the Museum of Modern Art in New York City, and at the Vancouver Art Gallery, focused heavily on artists from the United States but also included the work of a number of women from Central and Eastern Europe, Canada, Latin America, Asia, Australia, and New Zealand.
• 2007-2008: The exhibit Claiming Space: Some American Feminist Originators, at the American University Museum in Washington, D.C., was held from November 6, 2007 until January 27, 2008 curated by Norma Broude and Mary D. Garrard
• 2008: Exhibition: Lauren Berkowitz/ Starlie Geikie, Neon Parc, Melbourne, curated by Rebecca Coates.
• 2008: Exhibition: A Time Like This, VCA Margaret Lawrence Gallery, Melbourne.
  Curated by Samantha Comte, Jirra Lulla Harvey, Kate Rhodes and Meredith Turnbull.
  Artists: Louisa Bufardeci, Bindi Cole, Lorraine Connelly-Northey, Eliza Hutchison, Wietske Maas, Kate Smith, Salote Tawale, Annie Wu.
• 2008: Exhibition: Emily Floyd, Temple of the Female Eunuch, Anna Schwartz Gallery, Melbourne.
• 2008: Exhibition: Girls, Girls, Girls, Carlton Hotel, Melbourne, curated by Lyndal Walker and Nat Thomas.
• 2008: Australian feminist academic Elizabeth Grosz publishes Chaos, Territory, Art: Deleuze and the Framing of the Earth.
• 2008: Essay: On Rage by Germaine Greer, academic, social commentator and collector of Aboriginal art.
• 2008: Carey Lovelace organized "Making It Together: Women’s Collaborative Art + Community" at the Bronx Museum of the Arts which featured women artists, inspired by the 1970s Feminist Movement, who worked collectively in ways that engaged communities and addressed social issues. The essay is available online.
• 2008: CoUNTess blog launched. Blog compiles and reviews gender equality in the Australian art-world.
• 2008: Book: A Field Guide for Female Interrogators by Coco Fusco
• 2010: Exhibition: Feminism Never Happened, IMA, Brisbane.
  Artists: Del Kathryn Barton, Pat Brassington, Kirsty Bruce, Jacqueline Fraser, Anastasia Klose, Fiona Lowry, Fiona Pardington, Yvonne Todd, and Jemima Wyman
• 2010: Exhibition: The View From Here: 19 Perspectives on Feminism, West Space, Melbourne. Curated by Clare Rae and Victoria Bennett.
  Artists: Jessie Angwin, Kiera Brew Kurec, Brown Council, Madeleine Donovan, Mariam Haji, Hannah Raisin, Jessie Scott, Hayley Forward and Jessica Olivieri with the Parachutes for Ladies.
  Writers: Emilie Zoey Baker, Laura Castagnini, Tamsin Green, Anna Greer, Rachel Fuller, Jo Latham, Dunja Rmandic, Daine Singer, Nella Themelios.
• 2010: Exhibition: The Feminist Salon Group, The Envelope Residency, The West Wing, West Space Project Site, Melbourne. Coordinated by Caroline Phillips and Sarah Lynch. A week long residency by a group of artists and writers engaged with reading and discussing feminist texts, in particular the work of Luce Irigaray. The residency included performance, film, visual art, sound, reading, discussion and a lecture by Dr. Louise Burchill. Participants included Sharon Billinge, Dr. Louise Burchill, Victoria Duckett, Catherine Evans, Janice Gobey, Kate Hodgetts, Kate Just, Anastasia Klose, Angie de Latour, Sarah Lynch, Valentina Palonen, Caroline Phillips, Hannah Raisin, Caroline Thew, Inez de Vega and Jane Whitfid.
• 2010-2011 Exhibition: Pompidou Centre in Paris presented its curators' choice of contemporary women artists in a three-volume's exhibition named elles@Centrepompidou The museum showed works by major women artists, from the museum's collection.
• 2011 Exhibition: Doin' It In Public: Feminism and Art at the Woman's Building organized by Otis College of Art and Design not only includes the exhibition, but also two scholarly books, and several public events that document, contextualize and pay tribute to the groundbreaking work of feminist artists and cooperatives that were centered around the Los Angeles Woman's Building in the 1970s and 1980s. Doin' It In Public is part of Pacific Standard Time: Art in LA 1945-1980, an unprecedented collaboration, initiated by the Getty, that brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.
• 2011: !Women Art Revolution, a film by Lynn Hershman Leeson about feminist art, is released. An extensive archive of the additional footage shot for the film is available at Stanford.
• 2012: riart Grrrls founded in Hastings, UK.