Cross References
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Article Titles
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Ament, E.A. (1998). Using feminist perspectives in art education. Art Education, 51(5), 56-61. |
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Bordo, S. (2003). Never just pictures. In J. Amelia (Ed.), The feminism and visual culture reader (pp. 454-465). New York: Routledge. |
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Collins, G., & Sandell, R. (1984). Women, art and education. Reston, VA: National Art Education Association.
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Collins, G., & Sandell, R. (Eds.). (1996). Gender issues in art education: Content, contexts, and strategies. Reston, VA: National Art Education Association.
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Congdon, K.G. (1991). Feminist approaches to art criticism. In D. Blandy and K.G. Congdon (Eds.). Pluralistic Approaches to Art Criticism (pp.15-23). Bowling Green, OH: Popular Press.
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Ellsworth, E. (1992). Why doesn't this feel empowering? Working through the repressive myths of critical pedagogy. In C. Luke & J. Gore (Eds.). Feminisms and critical pedagogy. New York: Routledge, 90-119.
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Ford, D.Y., & Harris, J.J. (1999). Multicultural Gifted Education. New York: Teachers College Press.
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Garber, E. (1992). Feminism, aesthetics, and art education. Studies in Art Education, 33(4), 210-225. |
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Garber, E. (1996). Art criticism from a feminist point of view: An approach for teachers. In G. Collins & R. Sandell (Eds.), Gender issues in art education: Content, contexts, and strategies. Reston, VA: National Art Education Association, 20-29.
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Garber, E. (2003). Teaching about gender issues in the art education classroom: Myra Sadker Day. Studies in Art Education, 45(1), 56-72. |
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Gilligan, C. (1993). In a different voice: Psychological theory and women's development. Cambridge, MA: Harvard University Press.
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Grauer, K., Irwin, R.L., & Zimmerman, E. (Eds.). (2003). Women art educators v: conversations across time. Reston, VA: National Art Education Association.
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Guerrilla Girls (1998). The Guerrilla girls� bedside companion to the history of western art. New York: Penguin Books.
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Lather, P. (1991). Getting smart: Feminist research and pedagogy with/in the postmodern. New York: Routledge.
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Lather, P. (1992). Post-critical pedagogies: A feminist reading. In C. Luke & J. Gore (Eds.). Feminisms and critical pedagogy. New York: Routledge, 120-137.
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Lippard, L.R. (1995). The pink glass swan: Selected feminist essays on art. New York: The New Press.
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Madriz, E. (2000). Focus groups in feminist research. In N. K. Denzin & Y.S. Lincoln, (Eds.). Handbook of qualitative research (2nd ed.) Thousand Oaks, CA: Sage Publications, Inc. (pp. 835-850).
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Meskimmon, M. (2003). Women making art: History, subjectivity, aesthetics. New York: Routledge. |
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Nochlin, L. (2006). Why have there been no great women artists?. In A. Jones (Ed.), The feminism and visual culture reader (pp. 229-233). New York: Routledge. (Reprinted from Women, art and power and other essays (1988). |
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Sacca, E. J. (1996). Women's full participation in art teaching and research: A proposal. In. G. Collins & R. Sandell (Eds.), Gender issues in art education: Content, contexts, and strategies. Reston, VA: National Art Education Association, 52-59.
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Sacca, E.J. & Zimmerman, E. (Eds.). (1998). Women art educators IV: Herstories, ourstories, future stories. Boucherville, Quebec: Canadian Society for Education Through Art, 70-75.
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Shapiro, M. (2001). The education of women as artists: Project Womanhouse (1972). In H. Robinson (Ed.0, Feminism-art-theory: An anthology 1968-2000 (pp. 125-126). Malden, MA: Blackwell. (Reprinted from Schapiro, M. (1972). Art Journal, 31(3), 268-270.) |
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Smith-Shank, D.L. (1998b). Sugar and Spice and Everything: Reflections on a feminist aesthetic. The Journal of Social Theory in Art Education, (18), 21-28.
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Wilson, B., & Wilson, M. (1976). Visual narrative and the artistically gifted. The Gifted Child Quarterly, xx(4), 432-447.
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Feminist Theory