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The Future is Still Female: Art and Feminism since the 1970s - HOA00066H

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  • Department: History of Art
  • Credit value: 20 credits
  • Credit level: H
  • Academic year of delivery: 2024-25
    • See module specification for other years: 2023-24

Module summary

This course examines the relationship between feminism and art since the emergence of the Women’s Movement in the 1970s.

Related modules

Students who have taken the I-level version of The Future is Still Female: Art and Feminism since the 1970s are prohibited from taking the H-version of the same module.

Module will run

Occurrence Teaching period
A Semester 2 2024-25

Module aims

The aim of this course is to consider the centrality of feminism within the development of many of the theoretical debates and artistic practices that emerged since the late 1960s, for example identity politics in art; expanded art practices, e.g. video, performance, zines; critiques of vision and representation, institutional critique; the problematic backlash against poststructuralist critique in the 1990s; sexuality and performativity; and the contemporary affective engagement with the political past. Students will be introduced to a broad range of feminist art, and to the work of a number of important critical thinkers, for example Julia Kristeva, bell hooks, alongside feminist informed art historical writing. Throughout the course students will be encouraged to interrogate the category of gender as an organizing force, constantly questioning the extent to which gender is intersected by race, class, sexuality, etc.

Module learning outcomes

By the end of the module, students should have acquired:

  • Familiarity with a range of artistic and critical feminist practices
  • The ability to prepare and present a coherent, well-structured and suitably illustrated oral presentation to a group of peers, including the ability to convey not only information but a clearly mapped argument and to lead a group discussion.
  • Knowledge of a range of theoretical and art historical texts
  • The ability to think critically and carefully about the art studied from both a theoretical and historical perspective.
  • The ability to identify and critically evaluate new source material through independent research

Indicative assessment

Task % of module mark
Essay/coursework 100

Special assessment rules

None

Indicative reassessment

Task % of module mark
Essay/coursework 100

Module feedback

You will receive feedback on assessed work within the timeframes set out by the University - please check the Guide to Assessment, Standards, Marking and Feedback for more information.

The purpose of feedback is to help you to improve your future work. If you do not understand your feedback or want to talk about your ideas further, you are warmly encouraged to meet your Supervisor during their Office Hours.

Indicative reading

  • Abraham, Ayisha, et al. "Questions of Feminism: 25 Responses." October 71, (1995): 5-48.
  • Broude, Norma and Mary D Garrard. “Introduction: Feminism and Art in the Twentieth Century.” In The Power of Feminist Art: The American Movement of the 1970s, History and Impact, 10-29. New York: Harry N. Abrams, 1994.
  • Butler, Cornelia, et al. Wack! Art and the Feminist Revolution. Los Angeles: MoCA; London: MIT Press, 2007.
  • Chicago, Judy. Institutional Time, A Critique of Art Education. New York: Monacelli Press, 2014.
  • Deutsche, Rosalyn, et al. “Feminist Time: A Conversation.” Grey Room 31, no.31 (2008): 32-67.
  • Freire, Paolo. Pedagogy of the Oppressed. New York: Continuum, 1968.
  • Grant, Catherine. “Fans of Feminism: Re-Writing Histories of Second-Wave Feminism in Contemporary Art.” Oxford Art Journal 34, no. 2 (2011): 265-286.
  • hooks, Bell. Teaching to Transgress: Education as the Practice of Freedom. London: Routledge, 1994.
  • Nochlin, Linda. “Why have there been no great women artists?” In Woman in Sexist Society: Studies in Power and Powerlessness, edited by Vivian Gornick, 1-43. New York: Basic Books, 1971.
  • Parker, Rozsika and Griselda Pollock. Old Mistresses. London: Pandora, 1981.
  • Pollock Griselda. Vision and Difference. London: Routledge, 2003.
  • Thalia, Gouma-Peterson and Patricia Mathews. “The Feminist Critique of Art History.” The Art Bulletin 69, no. 3 (1987): 326-357.
  • Tickner, Lisa. “The Body Politic: Female Sexuality and Women Artists since 1970.” In Framing Feminism: Art and the Women's Movement 1970-1985, edited by Rozsika Parker and Griselda Pollock, 263-276. London: Pandora, 1987.
  • Wagner, Anne Middleton. “Sex Differences.” In Three Artists (Three Women): Modernism and the art of Hesse, Krasner and O’Keeffe, 1-27. Berkeley: University of California Press, 1998.


The information on this page is indicative of the module that is currently on offer. The University constantly explores ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary. In some instances it may be appropriate for the University to notify and consult with affected students about module changes in accordance with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.