Луиза Буржуа: Kotik C. Terrie Sultan, Christian Lee, Louise Bourgeois: The Locus of Memory, Works 1982–1993 (каталог выставки, The Brooklyn Museum (in conjunction with Harry N. Abrams), Brooklyn, New York, 1994); цит. со с. 25.
Дорис Сальседо: Merewether C. Naming Violence in the Work of Doris Salcedo // Third Text. Autumn 1993. Vol. 24. P. 27–45; Anastasia R. Doris Salcedo: A Tour of the Border of Unland // Art Nexus. August-September 1998. P. 104.
Мона Хатум: Mona Hatoum: The Entire World is a Foreign Land. London. 2000; Heartney E. In the Realm of the Senses // Art in America. April 1998. Vol. 86. P. 42–47; Dimitrakaki A. Mona Hatoum: A Shock of a Different Kind // Third Text. Summer 1998. Vol. 43. P. 92–95.
Йоханнесбургская биеннале: McEvilley T. Report From Johannesburg // Art in America. September 1995. Vol. 83. P. 45–49; Scherer B. Interview with Lorna Ferguson // Third Text. Summer 1995. Vol. 31. P. 83–88; Breitz C. The First Johannesburg Biennale: Work in Progress // Third Text. Summer 1995. Vol. 31. P. 89–94; цитата Расджармреарнсук со с. 92; Budney J. Who’s It For? The 2nd Johannesburg Biennale // Third Text. Spring 1998. Vol. 42. P. 88–94.
Биеннале в Сан-Паулу: Wear E. O. Uncertainties at the São Paulo Bienal // Asian Art News. March/April 1997. Vol. 7. P. 92–93; Lagnado L. On How the 24th São Paulo Biennial Took On Cannibalism // Third Text. Spring 1999. Vol. 46. P. 83–88; Freire C. The 23rd São Paulo International Biennial: Dematerialisation and Contextualisation // Third Text. Spring 1997. Vol. 38. P. 95–98; Leffingwell E. The Bienal Adrift // Art in America. March 1992. Vol. 31. P. 83–88.
Восточная Азия (Китай, Япония, Тайвань, Южная Корея): Sun-jung K. Baubles, Bangles and Beads: Interviews with Four Korean Women Artists // ArtAsiaPacific. 1996. Vol. 3. No. 3. P. 58–67; Magnan K. F. Cyber Chic: The Artist as Model: Mariko Mori // ArtAsiaPacific. 1996. Vol. 3. No. 2. P. 66–67; Combs N. Struggle for the New // Asian Art News. May/June 1999. Vol. 9. P. 56–61; B. Lee J. Yi Bul: The Aesthetics of Cultural Complicity and Subversion // ArtAsiaPacific. 1995. Vol. 2. No. 2. P. 52–59; Dewar S. In the Eye of the Beholder: The Art of Wang Jin and Feng Jiali // ArtAsiaPacific. 1997. No. 15. P. 66–73; Dewar S. Imagining Reality: Contemporary Chinese Photography // ArtAsiaPacific. 1997. Vol. 3. No. 2. P. 55–59; Binks H. Stereotyping Under Attack // Asian Art News. March/April 1999. Vol. 9. P. 60–65; Hong X. The Awakening of Women’s Consciousness // ArtAsiaPacific. 1995. Vol. 2. No. 2. P. 44–51; Chiu M. Thread, Concrete and Ice: Women’s Installation Art in China // ArtAsiaPacific. 1998. No. 20. P. 50–57; Bloom L. Gender, Nationalism and Internationalism in Japanese Contemporary Art: Some Recent Writings and Work // n.paradoxa. July 2000. Vol. 6. P. 35–42.
Юго-Восточная Азия (Индонезия, Филиппины, Таиланд, Малайзия, Сингапур, Вьетнам):
G. Guillermo A. Art From Fiber? // Asian Art News. May/June 2000. Vol. 10. P. 63–67; Labrador A. P. Beyond the Fringe: Making it as a Filipina Contemporary Artist // ArtAsiaPacific. 1995. Vol. 2. No. 2. P. 84–97; Pai M. Challenges to Change // Asian Art News. July/August 1998. Vol. 8; Pai M. Making Visible The Invisible // Asian Art News. March/April 1998. Vol. 8. P. 60–66; Preece R. Doin’ It For Themselves // Asian Art News. November/December 1997. Vol. 7. P. 64–79; King N. Performing Bodies: Singaporean Artist Amanda Heng // ArtAsiaPacific. 1996. Vol. 3. No. 2. P. 81–85; Wright S. Bali Report: The Seniwati Gallery of Women’s Art // ArtAsiaPacific. 1995. Vol. 2. No. 2. P. 32–35; Wright A. Undermining the Order of the Javanese Universe: Kartika Affandi-Korberl’s Self-Portraits // ArtAsiaPacific. June 1994. Vol. 1. P. 62–72.
Южная Азия (Индия, Пакистан, Шри-Ланка): Lynn V. Dung Heap: Sensuality and Violence in the Art of Sheela Gowda // ArtAsiaPacific. 1996. Vol. 3. No. 4. P. 78–83; Kapoor K. Songspace: The Art of Nilima Sheikh // ArtAsiaPacific. 1996. Vol. 3. No. 2. P. 91–94; Sinha G. India Songs: Indian Women Artists // ArtAsiaPacific. 1995. Vol. 2. No. 2. P. 98–107; Ananth D. The Knots are Many, but the Thread is One: Mrinalini Mukherjees Hemp Sculpture // ArtAsiaPacific. 1996. Vol. 3. No. 4. P. 85–89; Kapoor K. Missives from the Streets: Nalini Malani // ArtAsiaPacific. 1995. Vol. 2. No. 1. P. 41–51; Jana R. Shahzia Sikander: Celebration of Femaleness // Flash Art. March/April 1998. Vol. 31. P. 98–101; Johnson P. Shahzia Sikander: Reinventing the Miniature // Art News. February 1998. Vol. 87. P. 86–88; Jana R. Cultural Weaving // Asian Art News. March/April 1997. Vol. 7. P. 86–87; Friis-Hansen D. Full Blown: The Expansive Vision of Miniaturist Shahzia Sikander // ArtAsiaPacific. 1997. No. 16. P. 46–49; Andrews J. Telling Tales: Five Contemporary Women Artists from India // Third Text. Summer 1998. Vol. 43. P. 81–89.
Азиатско-Тихоокеанская триеннале: Asia-Pacific Triennial of Contemporary Art (каталог выставки, Queensland Art Gallery, Brisbane, 1993); The Second Asia-Pacific Triennial of Contemporary Art (каталог выставки, Queensland Art Gallery, Brisbane, 1996); The Third Asia-Pacific Triennial of Contemporary Art (каталог выставки, Queensland Art Gallery, Brisbane, 1999); Asian Art News, special number devoted to the Second Asia-Pacific Triennial. January/February 1997. Vol. 17; Taylor R. A Dynamic of Cultures // Asian Art News. November/December 1999. Vol. 9. P. 48–53; Ewington J. Pigs Might Fly: Traditions/Tensions and the Asia-Pacific Triennial of Contemporary Art // ArtAsiaPacific. 1997. Vol. 15. P. 21–24.
Тихоокеанский регион (Австралия, Новая Зеландия, Папуа — Новая Гвинея, Новая Каледония и Ниуэ): Caruana W. Aboriginal Art. London and New York, 1993; Utopia: Ancient Cultures, New Forms (каталог выставки, Art Gallery of Western Australia, Perth, 1999); Thomas N. A Compelling Vision // Asian Art News. May/June 1998. Vol. 8. P. 48–51; Fourmile H. Copyrites: Reproducing Aboriginal Art // ArtAsiaPacific. 1996. Vol. 3. No. 4. P. 34–38.
Биеннале в Кванджу: Lee J. B. Beyond the Borders: The Inaugural Kwangju Biennale // ArtAsiaPacific. 1996. Vol. 3. No. 2. P. 22–24; Kontova H., Nagoya S., Park C. -K. Kwangju Biennale: Unmapping the World // Flash Art. January/February 1998. Vol. 31. P. 70–74.
Ширин Нишат: Camhi L. Lifting the Veil // Art News. February 2000. Vol. 99. P. 148–151; Shirin Neshat, Women of Allah; photographies, films, videos (каталог выставки, Maison Européenne de la Photographie a Paris, Paris, 1998).
Глава 15. Место взросления: личный взгляд, общие заботы
Я хочу поблагодарить Кристен Коблик, студентку отделения истории искусств Университета Сан-Франциско, которая помогла мне собрать материалы для этой главы, и Маршу Мескиммон, щедро поделившуюся результатами своей еще не опубликованной работы о глобальном распространении стратегий феминизма.
Термин «Плохие девчонки» происходит от названия нескольких выставок, прошедших в Великобритании и США в 1993 и 1994 году.