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Cowan, Sarah Louise

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Sarah Louise Cowan

Howardena Pindell: Reclaiming Abstraction

Index

Author

Sarah Louise Cowan

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-23688

Index

Abstract Design in American Quilts (exhibition), 159

abstract expressionism, 3, 5, 36–37, 49, 53

allover composition inspired by, 60

collage as, in miniature, 86

vs. color field painting, 47

cut and sewn painting, 134

and Pindell, 50

abstraction: and activism, 6, 18, 30

and Africa, 63, 98, 147

Afro-American Abstraction (exhibition), 147

allover, abstract painting, 131–32, 134, 162, 166, 172–73

and anti-Black racism, 64, 161

and Black artists, 14, 26, 62–65, 67, 73, 134, 239, 242

and Black Arts movement, 28, 33, 64, 66, 73, 242

and Black feminism, 3, 18, 30, 131, 174

and Black women artists, 27, 33, 41, 61, 80

and collage, 86, 89, 97

in Contemporary Black Artists in America (exhibition), 69–71

and cut and sewn paintings, 16, 129–32, 168, 173

and decorative, 171

Ghanaian textiles as source of, 15, 29

and haptic, 9, 11–12

and institutional modernisms, 4

mending, 18–19, 30, 134, 167, 180

Pindell on, 1, 18, 71, 180–81

Pindell’s first abstract works, 29, 41

Pindell’s first exhibition of abstract works, 49–52

and politics, 2, 5, 62–64, 66–67, 70, 189

post-painterly, 5, 38, 48, 57

reclamation of, 3–6, 14–15, 18, 30, 235, 242

and representation, 221

return to, 230

and sewing, 159

shifting orientation to, 223

and spatial ambiguity, 61

Three American Painters (exhibition) as comprehensive statement of, 47

unstretched canvases mark departure from modernisms, 137

and video, 180

and Video Drawings, 207

West African textiles as source of, 98

as white male domain, 2, 33, 63–64, 80

and white supremacy, 64

and whiteness, 230

young Black artists using abstraction now, 235–36

Acconci, Vito, 216

accumulation: and collage, 104, 111

as conceptualist concern for “dematerialization,” 124

as cut and sewn painting method, 138

glitter as African aesthetic of, 169

as “healing” practice, 117

protective, 12–13

as trait of African art, 98

activism: and abstraction, 6, 18, 30

AIDS-related, 230

anti-war protests, 1–2, 205

antiracism, 184

art world, 1–2, 5, 67

civil rights movement, 2, 9, 21, 28, 59, 64, 66, 96, 116, 119, 144, 178, 183, 242

ecology movement, 46

equal pay, 109, 116

equal representation of women artists, 71–73

and feminist artists, 237–38

and figuration, 30

increase of, 16

and modernisms, 30, 37

pivot toward protest, 208–9

protests against Artists Space, 16, 119, 180, 210–14

protests against exclusion of Black artists, 136–37, 210, 212

protests against segregation, 45

racial discrimination studied at MoMA, 67–68

“Third World Women,” 183–84, 219

Third World Women’s movement, 26, 30

underrepresentation of Black artists, 237–39. See also Black Arts movement; Black feminism; Black Power movement; feminism; feminist art movement; politics; women’s movement

Ad Hoc Women’s Committee, 2, 37, 72–73

administrative labor, 3

collage practice drawn from, 83, 107

haptic practice derived from, 133

at MoMA, 107–9

and pleasure, 81, 110, 119

and sewing, 162

advanced art, 28–29

as context for cut and sewn paintings, 134

decorative as limiting condition of, 172

densely collaged paintings and, 129

historically inaccessible to women, 100

primacy of painting, 48–49

transformations of, 2, 5

affect theory, 11, 133

Africa and the African diaspora: and abstraction, 63, 98, 147

“Africa” and Black artists, 98, 135, 147

“Africa vs. Afro-American Art” (talk), 50

African diasporic approach to art-making, 119

African diasporic theory of painting, 133, 167, 175

African textiles, 120–21, 135–47, 159

African Textiles and Decorative Arts (exhibition), 68, 97–98, 136–39, 145–46, 152

afrotropes, 13

Akan batakari, 12–13, 98, 120, 145

Akan textiles, 88

and Black Arts movement, 144, 147

and Black women, 145

and bodily adornment, 97–98

canvases unstretched following African influence, 137, 144–45, 159, 168–69, 230, 233

and collage, 29, 87–89, 93–94, 97–100, 98, 104

cultural embargo on knowledge of, 68

cut and sewn paintings influenced by, 133, 137–38, 159, 161, 175

exposure to African art and culture and art-making, 97–98

glitter as African aesthetic, 169

haptic engagement with African diasporic aesthetic, 9, 13

institutional modernisms defied by African diasporic artistic lineage, 14

kente cloth, 142–43, 152, 174

modernist engagement with African diasporic terms, 6

Pan-Africanism, 3, 137

protective accumulations, 12–13

Second World Black and African Festival of Arts and Culture (FESTAC), 144

Spelman College and African diasporic aesthetics, 50

surface tension as African diasporic, 11

texture as African aesthetic, 98, 120, 144

travels in Africa, 68, 97–98, 135–37, 142, 144–45, 147

West African textiles, 13, 19, 88, 93, 98, 120, 135, 144, 152

and white people, 145–46. See also African art and culture

African American: art history, 93, 163

artists, 93, 238–39

fine arts, 163

Great Migration, 36

modernist art, 86

tradition of hiding, 145

tradition of whiteface, 182

women, 145. See also Black artists; Black Arts movement; Black feminism; Black feminist modernisms; Black women; Black women artists; names of individual artists and art forms

African American Collecting Initiative, 241

African art and culture, 68, 93, 97–98

and abstraction, 147

and accumulation, 98

and Black Power, 144

first encounter with, 136, 138, 147

and hiding, 145–47

influence of, 135–37

loss of knowledge of, 162

textural effects of, 120

African Commune of Bad Relevant Artists (AfriCOBRA), 23, 144

African textiles, 135–47. See also Akan textiles; Ghanaian textiles; textiles

African Textiles and Decorative Arts (exhibition), 68, 97–98, 136–39, 145–47, 146, 152

Afro-American Abstraction (exhibition), 147

“Afro-Carolinian ‘Gullah’ Baskets” (essay), 162, 181

Afro-futurism, 202

AIDS/HIV, 230

A.I.R. Gallery, 20, 24, 42, 88, 154, 180

Dialectics of Isolation (exhibition), 182–85, 193–94, 218–19

Free, White and 21, 182–85

name of, 101

Pindell cofounded, 100–102

Pindell’s departure, 26, 184

Pindell’s first collage show, 102, 113

and white feminism, 218

Akan batakari, 12–13, 98, 120, 145

Akan textiles, 88

Albers, Josef, 29, 54–55, 153, 187

Aldrich Contemporary Art Museum, 102, 150

Alexander, Elizabeth, 225

allover compositions, 3, 15, 162, 166, 224

and collage, 86

cut and sewn paintings as, 131, 134

and decorative, 172

and grid, 75

Pindell’s first show, 50

and spatial ambiguity, 60

and viewer, 11

Alloway, Lawrence, 26

Alpert, Jon, 190

Alston, Charles, 50

alternative art spaces: Black artists excluded from, 210, 212

exhibiting in, 26, 193

frustration with, 215

growth of, 2. See also names of individual art spaces

Amos, Emma, 22, 100, 230

Andre, Carl, 15, 74, 124, 210

Andrews, Benny, 2, 36, 50, 68, 72, 93

anger, 213–14

anti-Black racism, 7, 16, 57, 59, 64, 161–62, 216, 230, 233, 236

Antin, Eleanor, 203–4

antiracism, 184

Aranke, Sampada, 57, 59

Arlen, Michael J., 205

Armajani, Siah, 123–24

ART CROW/JIM CROW (artist’s book, 1988), 230

art history: African American, 93

and Black artists, 80

and Black feminism, 27

and Black women artists, 27–29, 50, 71, 87, 217, 235, 241

and politics, 242

and silence, 37

uneven representational expectations of, 25

and whiteness, 27

Art Strike, 2

Art Workers’ Coalition (AWC), 2, 14–15

Ad Hoc Women’s Committee, 2, 37, 72–73

and MoMA, 137

Pindell dismissed from, 67

art world: activism, 1–2, 5, 67

activist disillusionment with, 30

assumption of Blackness as representational, 29

critical engagement with, 208–9

and discrimination, 2, 6, 26, 35, 67–68

inclusivity, 239, 241

Pindell’s research on demographics of, 26

Pindell’s unique position in, 41

and racism, 16, 21, 98, 208–15

segregation, 230

video circumvents, 215

and white supremacy, 180

“Art (World) and Racism: Testimony, Documentation and Statistics” (article), 26

artistic freedom, 6, 66, 212

artistic labor, 29

changing ideas about, 109–10

and collage, 111, 128

as “healing practice,” 117–18, 121–22, 128

physicality of, 149

artists of color. See Black artists

Artists Space (alternative gallery): controversy at, 16, 119, 180, 209–14

The N—— Drawings (exhibition), 16, 210

assemblage, 85–86, 100

Atlanta University Center Coordinated Art Program, 49–50

Attie, Dotty, 100–101

authority, 41, 162

authorship: and Black artists, 111

and Black women, 89, 110–11, 123, 161

and bureaucracy, 28, 89, 110, 128

and collage, 83, 86, 107–8, 110–11, 127–28

and haptic approach, 11

in video art, 178

autobiography: artist’s face on film, 190–91, 208–9

as authorization for abstract forms, 41

autobiographic shift, 216–17

and numbering, 126

and politics, 179, 189–90

self-disclosure, 185

Autobiography: Earth (Eyes, Injuries) (cut and sewn painting with photo-transfer, 1987), 16–17, 16–17, 223

Autobiography: Water (Ancestors/Middle Passage/Family Ghosts) (cut and sewn painting, 1988), 224–27, 226, 233

Autobiography series, 179, 182, 224

automobile. See car accident

Avilez, GerShun, Radical Aesthetics and Modern Black Nationalism, 7

Baca, Judith, 182

Bailey, Herman “Kofi,” 50

Baker, Josephine, 9, 180

Baraka, Amina, 21

Baraka, Amiri, 33, 62

Barnette, Sadie, 30, 235–36, 240

bas-Cohain, Rachel, 102

Baur, John I. H., 72

Beal, Joshua, 236

Bearden, Romare, 85, 93–94, 97, 237

Beckwith, Naomi, 76, 235

Bell, Chris, 214

Benglis, Lynda, 5, 150

Berger, Maurice, 204

Bernstein, Judith, 102

Bhalla, Hans, 49–50, 65–66

Black American art. See Black art; Black Arts movement; Black feminist modernisms

Black American artists. See Black artists; Black women artists

Black American women. See Black women

Black Americans. See Black artists; Black Arts movement; Black feminism; Black nationalism; Black people; Black women; Black women artists

Black Art, 62, 64–66, 70–71, 144

Black artists: and abstraction, 14, 62–65, 67, 73, 134, 239, 242

aesthetic approaches, 50, 65–66

and Africa, 98, 135, 144, 147

“Africa vs. Afro-American Art” (talk), 50

and “Africa” as site of cultural Blackness, 13

and African art and culture, 147

and art history, 80

and artistic freedom, 66

and Artists Space controversy, 16, 119, 180

and Atlanta University Center, 49–50

and authorship, 111

burden of expectation, 15, 118

burden of representation, 25, 93

collage as strategy for redressing social marginalization, 87, 113

and color field painting, 47

and contemporary art, 30, 135

Contemporary Black Artists in America (exhibition), 68–72, 69

controversy over Pindell’s institutional job, 15, 118

“The Dilemma of Afro-American Artists” (article), 66

cultural resources of, 88

and embodied viewing, 57, 59

exclusion of, 119, 136–37, 210, 212, 215–16

and figuration, 2, 62–64, 230

and found materials, 117

friends among, 26

and mass media, 178

and modernisms, 27

and painting, 159

Pindell isolated from, 47

Pindell on reception of, 31

and politics, 5, 35, 62

and representation, 25, 62, 93

scholarly portrayals of, 25

underrepresentation of, 237–39

and white male artists, 115

young Black artists using abstraction now, 235–36. See also Black feminist modernisms; Black women artists

Black Arts movement, 47

and abstraction, 28, 33, 64, 66, 73, 242

and Africa, 144, 147

on art as politics, 2, 6, 23, 63, 67

and “capital-B” Black culture, 62

cultural inheritance, 98

and figuration, 2, 64, 135

and modernisms, 37

and Pan-Africanism, 137

and revolutionary Black culture, 2

various interpellations of, 71

and white supremacy, 66

and women artists, 23

Black cultures: and abstraction, 73

and collage, 88

Ghanaian textiles provide access to, 15–16

promotion of, 137

and white mainstream, 62

Black Emergency Cultural Coalition (BECC), 2, 37, 68, 70

Black feminism: and abstraction, 3, 18, 30, 131, 174

and art history, 27

and Black Power movement, 145

Black women centered by, 28–29

and collage as method of mending, 89

cut and sewn paintings as Black feminist theory of abstraction, 129–32, 168, 173

and haptic, 162, 165

and mass media, 181

on racialization of gender, 20–21

and sense of self, 128

and skins, 221

and texture, 163

Third World feminism, 185

and visual culture, 27. See also feminism; white feminism

Black feminist modernisms, 6–9, 21–22, 129, 242

and cut and sewn paintings, 16, 134, 175

and haptic, 166

and visual culture, 26–27

Black Journal (TV program), 21

Black joy, 123

Black liberation, 20–21, 62, 64, 67, 88, 129, 133

Black nationalism: and Black Art, 62

and Black feminist modernisms, 7

growth of, 2

hegemonic discourses of, 7, 61

interpellations of, 71

and mending, 19

and political art, 67

models of Blackness espoused, 21

Black people: and abstraction, 64

and grid, 79

and mass media, 179

and “modernist” term, 3, 6

“resisting spectatorship,” 203. See also Indigenous people; white people

Black Power movement, 62, 64, 144–45, 217

Black women: and Africa, 145

and anger, 213–14

and authorship, 89, 110–11, 123, 161

Black feminism centers, 28

“The Black Woman” (TV episode), 21

and contemporary art, 242

and equal pay, 116

equal representation, 72

first PhD in art history, 50

and grid, 79

and handiwork, 167

and haptic, 162–63

and identity, 217

and labor, 89, 105, 107, 111, 165

and mass media, 181, 194, 202

and modernisms, 27, 36–37, 79, 166

and office work, 109

and painting, 162

and pleasure, 19

and politics, 5

and racism, 184, 194

and subjectivity, 110–11, 119

as targets of envy, 118

and television, 203

and thread, 148

and tokenism, 215

and visual culture, 26–27, 165–67

and womanhood, 20–21, 104, 121, 165

women’s liberation and, 109, 168

Black women artists: and abstraction, 27, 33, 41, 61, 80

and art history, 27–29, 71, 87, 217, 235, 241

and Black experiences, 163–64

and Black feminist modernisms, 7, 21–22

exclusion of, 63, 119, 230

first solo exhibition at Whitney, 63

friends network, 21–22, 24, 182

and haptic, 13, 18, 165

and institutional modernisms, 36–37, 73–74, 81

and politics, 241–42

special dilemma of, 6

Where We At: Black Women Artists collective, 23

and white feminists, 184

Black women filmmakers, 191–92

blackface, 210, 219

Blackness: and Africa, 13, 135

and art world, 29

embodied viewership and, 59

and figuration, 70–71

and representation, 71, 203

Blayton, Betty, 5, 7, 21–22, 45–47, 241–42

Boas, Franz, 154

Bobo, Jacqueline, 201

Bochner, Mel, 123

body: artistic labor and, 121

bodily adornment, 97–98, 136, 151, 174

bodily covering as abstract whiteface, 208–9

choreography of viewing, 29, 52, 57, 59, 61, 169

and collage, 83

and cut and sewn paintings, 133

embodied nature of perception, 131

and erotic, 121–22

and handiwork, 61, 120, 122

and haptic, 131–33

and labor, 165

and machine, 150, 162

material and metaphysical boundary of, 180

and perfume, 169, 173

and postminimalism, 171

and skins, 221

and slavery, 225

and trauma, 225–27

Bois, Yve-Alain, 56

Bontemps, Arna, 6, 162

Boston University, 14, 48, 56, 189

Bowling, Frank, 71, 134

Bradford, Mark, 163

Bradley, Peter, 47, 51

Bradley, Rizvana, 11, 133

Braque, Georges, 89

Brazil, 147

Brontë, Charlotte, 101

Brooklyn Museum, 237

Brown, Kay, 22–23

Browne, Vivian E., 7, 144

Bryan-Wilson, Julia, 108

Buchanan, Beverly, 7, 21–23, 26, 165, 182–83, 241–42

Buchloh, Benjamin, 110

bureaucracy, 108, 174

and authorship, 28, 89, 110, 128

and conceptual art, 110

Information (exhibition), 124

bureaucratic labor, 18

artist as bureaucrat, 108, 110

and authorship, 28, 89, 110

and collage, 111, 128

and handicraft, 162

as “healing” practice, 117–18, 121–22, 128

hole punch as metaphor for, 108

office work, 105–11

and paper scraps, 117

and pleasure, 19, 29, 107

bureaucratic materials: and authorship, 128

for Carnival at Ostende, 3

and collage, 83, 86, 88–89

and conceptual art, 107

Burroughs, Margaret, 33

Byard, Carole, 24

Byers Committee, 67–68

Byers, J. Frederic, III, 67–68

Cahan, Susan E., 70

Campbell, Mary Schmidt, 88

Canaday, John, 70

Canals/Underground Railroad (mixed media, 2015–16), 233, 237

car accident (Pindell), 16, 180, 188, 214, 223, 227–28

Carnival at Ostende (cut and sewn painting, 1977), 3–5, 4–5, 18, 134, 138, 169

Carpenter, Faedra Chatard, 220

Carroll, Diahann, 201

cat hair, 88, 115–17, 139

cat’s cradle (string game), 154, 157

Cha, Theresa Hak Kyung, 230

Chandler, John, 69–70

Chang, Jeff, 210

Chase-Riboud, Barbara, 7

Cheng, Anne Anlin, 180

Christensen, Dan, 51

Christian, Barbara, Black Women Novelists, 119

circles, 39–46, 73–74, 80–81

and allover compositions, 60

and choreography of vision, 57, 59

and collage, 83

colored dots, 51

as cosmological signifier, 29, 42–43, 45, 80

ellipses and ovals, 43–44

and grid, 77

layers of, 50

and modernist painting, 45–46

Pindell’s artistic interest in, 41–43

rendered absurd, 153

and segregation, 44–45

and “women’s center,” 42. See also dots; paper rounds

civil rights movement, 2, 9, 21, 28, 59, 64, 66, 96, 116, 119, 144, 178, 183, 242

Clark, Ed, 13, 147

Clark, Mamie, 109

cloth: canvas scraps, 13, 138, 149

kente, 13, 142–43, 152, 174

and memory, 163. See also cut and sewn paintings; painting; string; textiles; thread

Coleman, Floyd, 50

Colescott, Robert, 116

collage, 83–108, 110–29

and abstraction, 86, 89, 97

African influence, 97–100

and social marginalization, 87

and assemblage, 85–86, 100

and authorship, 108, 110–11, 127–28

and Black cultures, 88

and bureaucracy, 86, 88, 111, 128

chance and control in, 128

color shift, 151–53

covert feminist messages, 16

cultural enlistments of, 88–89

economic feasibility of, 111, 113

and feminism, 87–88, 102–5, 128

and figuration, 94–97

and graph paper, 90–92

and handiwork, 29, 85

and haptic, 9, 88, 129

as “healing” practice, 117–18, 121–22, 128

and institutional modernisms, 86–87

“invention” of, 89

and juxtaposition, 85, 87, 89, 100, 128

labor time required for, 111

and mending, 104–5, 123

and modernisms, 85–90

and numbering, 86, 123–28

and painting, 83–85, 88

and paper rounds, 83, 153

Pindell’s approach to, 29, 88–89, 128

Pindell’s first use of, 83

and postminimalism, 83, 85–86, 89, 102

and sewing, 173

and spray-painted compositions, 54, 83, 85, 92

and texture, 81, 128

and two-dimensional plane, 85, 92, 98

women’s work, 100–105, 156–57

College Art Association (CAA), 168

color, 47–52, 54–57, 80

and choreography of viewing, 57

chromatic shift, 151–53, 168–71

color theory, 54–55, 153, 187

and feminine, 168, 173–74

in Free, White and 21, 182, 186–87

and modernisms, 187

and painting, 47–52, 168

and pictorial depth, 54–56

as pictorial element, 37

skin tone, 201–2, 219

and spatial tension, 54

and spray gun, 51–52

and television, 153, 195

color field painting, 3, 15, 29, 47–48, 102, 161, 236

colored women artists (Piper). See Black women artists composition, 48

conceptual art, 3, 37, 49

abstract works inspired by, 41

anti-aesthetic, 124

and bureaucracy, 83, 88–89, 107, 110

and collage, 85, 152

and cut and sewn paintings, 134

and grid, 74

mainstream institutionalization of, 124

masculinized white-collar office work, 108

and numbering, 123–26

contemporary art: and Black artists, 30, 135

and Black women, 242

and Black women artists, 28

and racialized representation, 179

and “vernacular” forms, 163

Contemporary Black Artists in America (exhibition), 68–72, 69, 159

Contexturalists (exhibition), 117

Conwill, Houston, 13, 147

Cooper, Brittney, 214

Copeland, Huey, 13, 27, 162, 239

cosmetics, 3, 10, 97, 151, 167, 169, 173, 182, 218, 236. See also hiding; masking; skins

Cotter, Holland, 172

crafts, 156–63, 171–72

“Anglo-American” vs. African, 162

and collage, 90

and feminism, 167

and labor, 117, 174

materials, 10, 13

and women, 163. See also handicraft

Crawford, Romi, 191

Crimp, Douglas, 211–13

“Criticisms/or/Between the Lines” (article), 208

Cubism, 89–90, 93

Cunningham, Merce, 59–60

curatorial work, 1, 90, 107, 118, 242

cut and sewn paintings, 131–47, 158–62, 166–75

abstraction culminated in, 16

as African diasporic theory of painting, 133, 167, 175

African influence, 133, 137–38, 159, 161, 175

and Black feminist modernisms, 16, 134, 175

as Black feminist theory of abstraction, 129–32, 168, 173

canvases unstretched, 137, 144–45, 159, 168–69, 230, 233

and decorative, 172

and femininity, 168–69, 171, 173–74

and Ghanaian textiles, 29

handmade production of, 161

and haptic, 12, 131–35

and mending, 18–19, 30

painting method, 138

and perfume, 166

and quilting, 161

and sewing, 158–61

and textile logic, 131, 142

and thread, 148, 161

video work evoked, 188

weaving incorporated, 138, 142–43

dada, 89–90

Dada, Surrealism, and Their Heritage (exhibition), 90, 101

Darboven, Hanne, 124–25

Dash, Julie, 191

Davis, Walter, 69–70

De Leo, Maryann, 190

decorative, 90, 103, 171–73

Pattern and Decoration movement, 171

“dematerialization,” 110, 124

Dent, Gina, 123

detail, 103–4

Deveney, Grace, 202, 207

Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, 182–85, 193–94, 218–19

Diawara, Manthia, 203

Dillon’s, 101

disability, 214

discarded material. See materials discrimination, 41, 180

and art institutions, 36–37, 71

and art world, 2, 6, 26, 35, 67–68

by galleries and museums, 63, 71–73, 101–2, 119, 184

and modernisms, 36

MoMA study of, 67–68

protests against, 45

and white supremacy, 177. See also activism; galleries and museums; gender; racism; sexism; tokenism

disidentification, 7

dissociation, 120–21

Doane, Mary Ann, 169

dots, 3, 50–51, 56–59

bodily covering as whiteface, 208

choreography of viewing, 57

fabrication of, 138

hole punch stencil for, 123–24

and pleasure, 107

and “protest piece,” 208

quantity of, 123

and television, 153, 197

veils of dots, 83. See also circle; paper rounds

Doty, Robert, 69–70, 73

Dowell, John, 70

Downtown Community Television Center (DCTV), 190

drawings (Pindell): early abstract works, 41

first show of, 49–52

graph paper as ground, 74

notation system, 195–99, 201–3, 206–9

and numbering, 125

production of Video Drawings (photo series), 195, 197

Yes-No (photo collage), 208–9. See also handicraft; numbers/numbering

Drexler, Arthur, 137

D’Souza, Aruna, 210–13

Duncan, Carol, 212

Dyson, Torkwase, 235

ecology movement, 46

Edwards, Melvin, 5, 57, 59, 63, 70–71, 134, 242

Ehlers, Wendy, 117

Elderfield, John, 75, 77–78

English, Darby, 25, 36, 64

Ensor, James, 169–70

The Ernie Kovacs Show (TV), 201, 204

Ernst, Max, 90, 101

erotic, 121–22, 173

Euro-Americans: and abstraction, 73, 147

and Black artists, 13, 31, 119, 241

and collage, 86, 93, 97

and painting, 90

repurposed materials, 114. See also white men; white people

Fautrier, Jean, 10

Feast Day of Iemanja II, December 31, 1980 (cut and sewn painting, 1980), 138, 142, 142, 147

feminine: African diasporic femininity, 134

and collage, 90, 103

and color, 168, 173–74

cosmetics, 167

and cut and sewn paintings, 133, 168–69, 171, 173–74

detail gendered as, 103–4

feminine adornment, 151

feminine-coded engagement with modernisms, 6

“femininity” as masquerade, 133, 169, 173, 175

“femininity” in Pindell’s artwork, 168–71, 173

and feminism, 168

heterosexist notions of Black femininity, 21

materials, 157

and perfume, 169, 173

powder, 10

and racialization, 219

as racialized masquerade, 29–30

as implicitly white, 20, 134, 167

feminism, 49

and abstraction, 2

appropriated by white women, 89

artistic innovations of, 5

and authorship, 89

and Black feminism, 168

and collage, 87–88, 102–5, 117, 128

and crafts, 167

equal pay, 109, 116

and feminine, 168

handicraft as covert feminism, 16

and haptic, 163

and labor, 109

mending as reparative approach to, 19

and modernisms, 104–5, 167

in Pindell’s artwork, 168–71

and politics, 168

and postminimalism, 102

and racism, 168

and sewing, 159

textiles as effort to reclaim handiwork in, 19

and white feminism, 219

and whiteness, 26, 134. See also Black feminism; white feminism

feminist art movement, 42

and abstraction, 28

circle as emblem of, 46

competing demands of, 6

and modernisms, 37, 98

and normative notions of Black femininity, 21

feminist artists: and activism, 237–38

and collage practice, 29, 100

26 Contemporary Women Artists (exhibition), 102, 150

handiwork embraced by, 109

and haptic, 13

“non-Western” inspiration, 171

and television, 203–4

and video, 204

and women’s work, 103–4, 156

Fer, Briony, 153–54

Field Museum in Chicago, 144

figuration: and activism, 30

and Black artists, 2, 62–64, 230

and Black Arts movement, 2, 64, 135

and Blackness, 71

densely hand-worked surfaces generate presence without, 11

experimentation with, 16, 18, 94–97, 223, 227

Ghanaian textiles provide access to Black cultural identity without recourse to, 15–16

in Pindell’s artwork, 28–29, 85, 174–75, 177

Fogg Art Museum (Harvard University), 53

Three American Painters (exhibition), 47–49, 52

folk traditions, 154, 156, 158

Fontana, Lucio, 90, 92

Fonvielle-Bontemps, Jacqueline, 6, 162

Francis, Sam, 174

Frankenthaler, Helen, 52–53

Franklin Furnace, 193

Free, White and 21 (video, 1980), 30, 175, 176, 177–95, 183, 187–88, 191–92, 208–9, 214, 216–22, 220

artist’s statement, 194, 218

blond wig in, 176–78, 182–83, 190, 193

color in, 182, 186–87, 193–94

contradictions of representation, 178–80

debuted at A.I.R. Gallery, 182–85

dialogue between Artist and White Woman, 181, 185

editing of, 186, 190–91

materials collected for, 192–93

metronome ticking, 185–86, 193

responses to, 194

scholarship on, 179, 186

skins deployed in, 180

white feminists targeted, 184, 194, 214, 227

white supremacy depicted, 177–81, 193

white viewers addressed, 193, 216

whiteness scrutinized, 181, 186, 189, 216, 218–20

freedom: artistic, 6, 66, 212

and gender, 72

and hiding, 145

Fried, Michael, 47–48, 53–54, 60–61, 77

Fry, Gladys-Marie, 163

Gabriel, Teshome H., 192

Gaines, Charles, 36

galleries and museums: artist-activists intervene in, 1–2, 5, 30, 67

Black artists excluded, 119, 136–37, 212, 215

Black women artists excluded, 63, 119

gender discrimination of, 63, 71–73, 101–2, 184

statistics on Black artists’ exclusion, 67–68, 237–39

and Euro-American cultural history, 68

video circumvents, 215

Women’s Slide Registry, 101–2. See also art world; institutional modernisms; names of individual galleries and museums

Garth Greenan Gallery, 235

gender: and Black nationalism, 7

discrimination by galleries and museums, 63, 71–73, 101–2, 119, 184

equal pay, 109, 116

feminine-coding of collage work, 103–4

and freedom, 72

masculinized white-collar office work, 108

and modernisms, 3, 6

and racialization, 20–21, 219

and sexism, 20

and visual culture, 26–27

and women’s liberation, 168

Ghanaian art, 145

Ghanaian textiles, 3, 134, 161, 166

abstraction inspired by, 15, 29

attraction to, 145

and Black cultural identity, 15–16

and collage, 85

and color, 152

evoked by cut and sewn paintings, 173

and haptic associations with “healing,” 11

kente cloth as afrotrope, 13

labor and post-minimalist concerns inspired by, 12. See also Africa and the African diaspora; textiles

Gibson, Ann, 171

Gilliam, Sam, 19, 26, 37, 47, 50, 53–54, 67, 70–71, 90, 137, 242

Gleizes, Albert, 90

glitter, 3, 13, 20–21, 117, 139, 166, 169–70, 173–74, 223

as African aesthetic, 169

as feminine masquerade, 173

Gogh, Vincent Van, 157, 200

Goode Bryant, Linda, 25–26, 117, 169, 210, 212

graph paper, 74, 102

and collage, 90–92, 111, 123–26

and grid, 158

and office work, 105–7

Greenberg, Clement, 48, 89–90, 172

Greene, Carroll, Jr., 68

grid, 74–81

and circle, 39, 41, 77

and collage, 83

common usages, 75

as cosmological signifier, 29

formation of, 114

and graph paper, 158

and handmade, 78, 81

made of thread, 10, 98, 111, 114, 150–51

as material fact of artwork, 75, 77

and modernisms, 74–77, 134, 138, 153

Pindell on, 75–76

Pindell’s use of, 77–79

soft grids, 148, 150, 153, 157–58

traditional masculine-coded and modern, 74

and weaving, 138

Grigoriadis, Mary, 101

Guerrilla Girls, 26, 237

Haitian vodou, 98, 100

Haley, Alex, Roots (novel), 181–82

Hammond, Harmony, 19, 102

Hammons, David, 26, 116–17, 144, 242

hand, 120, 129, 157

of artist, removed by minimalism, 49, 119

of artist, removed by staining, 53

and erotic, 121–22

thread indexes movements of, 161. See also touch

handicraft, 117–29

accessible to women, 100

and spray-painted works, 52

and Black women, 167

and body, 61

and bureaucratic labor, 162

and collage, 29, 83, 85

cut and sewn paintings, 161

and feminism, 3, 13, 16, 88, 109, 159

and grid, 78, 81

hand-numbering paper rounds, 105, 123–24, 126

and haptic, 9

as “healing” practice, 117–19, 121–22, 125, 128, 166

hole punch as, 107–8

and material culture, 165

and mending, 19, 134

and postminimalism, 30, 102

as mode of communication, 158

string, 157

and thread, 148

and viewer, 119, 120

haptic, 9–13, 61

and abstraction, 9, 11–12

and Black women, 162–63, 165–66

and collage, 88, 129

and cut and sewn paintings, 131–35

defined, 9, 162

investment in, 29–30

and memory, 162

and numbering, 125–26

and painting, 166

perception, 131, 162

and Pindell, 18

and pleasure, 122–23

skins as haptic video impressions, 217–18

and video drawings, 200

vs. visual culture, 165

and women’s movement, 163

Harper, Michael S., 78–79

Harper, Phillip Brian, 64, 79

Hartman, Saidiya, 179, 225

Hassinger, Maren, 7, 22, 242

“healing”: African textiles as empowering cultural expressions, 120–21

bureaucratic labor repurposed for pleasure as, 29

craft procedures and, 174

handiwork as therapeutic practice, 117–19, 121–22, 125, 128–29, 166

and haptic, 11, 129

and memory, 223

as reparative practice, 19, 166–67

Heilmann, Mary, 19, 150, 167

Hendricks, Jon, 2

Henry, Janet, 7, 24, 26, 182, 209–12, 242

Heresies, 26, 162, 181, 208–9

Hesse, Eva, 149–50, 154, 171

Hicks, Sheila, 154

hiding, 145–47. See also cosmetics; masking; skins

High W. Tesfagioris, Freida, 27, 163, 166

Hills, Patricia, 93

hole punch, 3, 19, 51–52, 81, 86, 88, 92, 98, 103, 105, 110, 117–24, 128, 131, 138, 162, 208, 228, 230, 233

as handicraft, 107–8

handiwork indexed by, 120

as “healing” practice, 117–19, 121–22, 128

stencil, 123–24

hooks, bell, 20–21, 156, 168, 203

Hopper, Dennis, 205–6

Hunt, Richard, 70

identity: and Black women, 217

collage as self-construction, 104

and dissociation, 120–21

forged through cultural materials, 94, 96–97

Ghanaian textiles and Black identity, 15–16

and juxtaposition, 100

self-definition and Black womanhood, 121

sense of self, 128

whiteface, 220. See also subjectivity

In Honor of Dr. Martin Luther King Jr. (exhibition), 94

inclusivity, 239, 241

Indigenous people, 3, 7, 64, 79, 154, 206. See also Black people; white people

Information (exhibition), 123–24

Institute of Contemporary Art (University of Pennsylvania), 75

institutional modernisms: abstract idioms as paradigmatic expression of, 4

Black feminist modernisms and, 6–7

and Black women artists, 36–37, 73–74, 81

challenged by Black feminist abstraction, 131

and collage, 85–87

defied by African diasporic artistic lineage, 14

defined, 3

and discrimination, 36

early engagement with, 53

feminist collage advances critique of, 104–5

hegemonic discourses of, 7

movement as method for interrogating dynamics of, 29, 59

optical bias of, 133

Pindell’s access to, 41. See also art world; galleries and museums; names of individual galleries and museums

INTAR Latin American Gallery, 230

Jackson, Tomashi, 235

Japan, 223

Johns, Jasper, 46, 59, 85, 126–27

Johnson, Daniel, 70

Johnson, Poppy, 72

Jones-Hogu, Barbara, 22–24

Jones, Kellie, 36, 71, 86

Jones, Loïs Mailou, 7, 98, 100

Jones, Samuel Levi, 30, 235–36, 238–39

Joselit, David, 119, 175

Joseph, Cliff, 210

“junk art,” 86

Just Above Midtown (gallery), 26, 210, 242

Contexturalists (exhibition), 117

juxtaposition, 65, 70

aims to shock viewer, 89–90

and collage, 85, 87, 89, 100, 128

and found materials, 117

of grid and circles, 41, 74

of handicraft and bureaucratic labor, 162

and representation, 94, 96

Kaufman, Jane, 51–52

Kennedy, Adrienne, 219–20

kente cloth, 142–43, 152, 174

Kiefer, Anselm, 119

Kingsley, April, 147

Ko’s Snow Day (mixed media, 2020), 233–35, 234–35

Kozloff, Joyce, 171

Krasner, Lee, 85

Krauss, Rosalind, 53, 75–77, 153

Kusama, Yayoi, 153–54

Kuspit, Donald, 214

La Rue, Linda, 168

labor: accumulation surfaces artistic labor, 111

alienation, 133

art and work, 110

artistic labor, 29

and Black women, 89, 105, 107, 111, 165

for collage and handiwork, 29

and crafts, 174

and cut and sewn paintings, 138

and decorative, 171–73

densely textured surfaces and, 9, 11

domestic, 100, 109, 117, 154, 159

equal pay, 109, 116

feminine-coding of collage work, 103

and feminism, 109

handiwork emphasizes the body, 61

“healing” labor, 129

inspired by Ghanaian textiles, 12

office work, 105–11

sewing as handiwork, 159

technological innovation reduces role of, 150

and weaving, 143

women’s work, 100–105, 156–57. See also administrative labor; artistic labor; bureaucratic labor

Lam, Wifredo, 4–5

Lambert-Beatty, Carrie, 206

Lasch, Pat, 103–4

Lawrence, Jacob, 93, 237

Lee, James, 69

Lennon, John, 168, 210

LeWitt, Sol, 108–10, 128

Lino, Maria, 190

Lippard, Lucy, 20, 26, 67, 72–73, 87, 101–2, 124, 135, 173, 208, 210, 213

on art and work, 109–10

on collage, 128

and 26 Contemporary Women Artists (exhibition), 150

on feminism as outside of modernism, 104, 167

on grid, 75, 78

Pindell’s relationship with, 101, 118

theory of “women’s center,” 42

Littín, Miguel, 192

Lloyd, Tom, 2, 63–65, 70

Locke, Alain, 93

Lorde, Audre, 28, 104, 185

on collage, 128

on erotic, 121–22, 173

on pleasure for Black women, 19

on self-definition, 121

“Uses of Anger,” 214

Louis, Morris, 53

Loving, Al, 13, 36, 63–64, 67, 69–71, 159–60

Mack, Eric, 235

Malevich, Kazimir, 75

Man Ray, 192

Marks, Laura U., 11

Marshall, Kerry James, 57

Martin, Agnes, 75

Martin, Courtney J., 48

Martin, Knox, 88

masking, 167, 169–70

“femininity” as masquerade, 133, 169, 173, 175

as metaphor for whiteness, 218

and race, 219

and skins, 218–20. See also cosmetics; hiding; skins

mass media, 174, 178–81

as abstraction from reality, 194–95

and artistic viewership, 215

and artists, 203–4

and Black artists, 178

and Black people, 179

Black people underrepresented in, 201–3, 207

and Black women, 181, 194, 202

and human body, 180

and passive viewership, 181

and politics, 178–79

and racialization, 216, 218

as site of artistic possibility, 181

and video distribution, 193. See also representation; television; video

mat board, 9, 85, 90, 98, 102–4, 111–14, 126, 148, 150–53, 158

materials: accumulative enumeration of, 124

African textiles exhibit focused on garments, 136

cat hair, 88, 115–17, 139

craft, 10, 13

emphasized in feminist and postminimalist discourse, 102

feminine-coded, 157

feminine colors and materials mark aesthetic shift, 168

found materials, 113–17

for Free, White and 21 (video), 192–93

glitter as African aesthetic, 169

handicraft and material culture, 165

pantyhose, 164, 173, 220

MoMA dumpster, 103, 107, 113–14, 116, 192

and texture, 166

for video, 192–93. See also bureaucratic materials; circle; cloth; dots; glitter; mat board; paper rounds; perfume; powder; string; thread

Mayer, Rosemary, 102

Maynard, Valerie, 24

McCannon, Dindga, 22–23, 25, 100

McKittrick, Katherine, 36, 79

McLuhan, Marshall, 200

McMillan, Uri, 217

McShine, Kynaston, 123

medium specificity, 37

Mehretu, Julie, 235–36

Memorial—Homage to Martin Luther King (collage work on paper, 1968), 96–97, 96–97

memory: and cloth, 163

collective, 30, 104, 225

cultural amnesia regarding anti-Black racism, 162, 194

and haptic, 162

and healing, 223

and perfume, 173

and trauma, 224–26

Memory: Future (cut and sewn painting with photo-transfer, 1980–81), 223–24, 223–224

Memory: Past (cut and sewn painting with photo-transfer, 1980–81), 222–23, 222–23

#108 Memory Series: Sorry, It Was an Accident (mat board collage, 1979), 228, 228

Memory Test: Free, White and Plastic #114 (mat board collage, 1979–80), 228–29, 228–29

Mendieta, Ana, 26, 182–84, 193, 230

mending, 18–19

abstraction, 30, 134, 167, 180

and collage, 83, 89, 104–5, 123

defined, 18, 129

and handiwork, 19, 134

haptic strategies for, 9, 134

Mercer, Kobena, 25, 93–94, 116

Metropolitan Museum of Art, 2, 92, 135

Metzinger, Jean, 90

Middleton, Ruth, 163

Miller, Brenda, 26, 72

minimalism, 49, 149

in Dialectics of Isolation exhibition, 183

and grid, 74

hand of artist removed by, 49, 119

and soft sculpture, 150

Minow, Newton N., 200–201

Miyamoto, Kazuko, 182–83

modernisms, 3–6

and activism, 30, 37

artistic strategies for exceeding discourses of, 6

and Black artists, 27

and Black Arts movement, 37

Black feminist modernisms, 6–9, 21–22, 129, 175, 242

and Black women, 27, 36–37, 79, 166

and circle in modernist painting, 45–46

and collage, 85–90

and color, 187

and cross-cultural borrowing, 93

decorative suppressed by, 171–73

defined, 3

and discrimination, 36

expansion of modernist painting into West African textiles, 13

and feminism, 104–5, 167

and found materials, 116

and grid, 74–77, 79, 134, 138, 153

and hand, 129

mending as approach to, 19

“modernist” as exclusionary term, 3, 6, 18, 33, 35

moving, 29, 38

and nonrepresentational collage, 97

and numbering, 126–27

Pindell as modernist, 35–41, 80–81, 166–67, 187

Pindell’s divergence from modernist staining, 54

and politics, 35

remade by repetition, 153–54

repurposed by Pindell, 114

and surface, 3, 10, 175, 180

visual perception, 53

Yale as training ground, 37. See also color; institutional modernisms

modernist painting, 13, 37–38, 48–49, 57

MoMA PS1, Afro-American Abstraction (exhibition), 147

Mondrian, Piet, 137

Monte, James, 73

Moraga, Cherríe, 185

Morris, Robert, 149

Morrison, Toni, 109, 225

Morton, Ree, 170–72

Moses, Edwin, 202

Mount Holyoke College, 121

Moynihan, Daniel Patrick, The Negro Family: The Case for National Action (report), 20–21

multiculturalism, 178–80, 213, 215, 221

Muñoz, José Esteban, 7

Murata, Nancy, 56

Musasama, Sana, 24

Museum of Modern Art (MoMA), 49, 169, 178, 193

and activism, 2

administrative paperwork at, 107–8

African Textiles and Decorative Arts (exhibition), 68, 97–98, 136–39, 145–47, 146, 152

allusion to works in, 134

and Art Workers’ Coalition (AWC), 67

Black artists underrepresented at, 237

Black women artists befriended at, 22, 45–46

Dada, Surrealism, and Their Heritage (exhibition), 90, 101

exhibitions Pindell helped organize, 90

Gilliam exhibition, 54

as home of modernisms, 37

In Honor of Dr. Martin Luther King Jr. (exhibition), 94, 136–37

Information (exhibition), 123–24

Jasper Johns exhibition, 126–27

Lippard befriended at, 101

materials recuperated from dumpster at, 103, 107, 113–14, 116, 192

notation system learned at, 207

Pindell as first Black American curator at, 1

Pindell’s coworkers with dormant careers, 88, 117–18

Pindell’s day job at, 14–15, 37, 76, 90, 107–8, 116, 127, 133, 138

Pindell’s isolation at, 117–18, 213

Pindell’s resignation from, 16, 119, 180, 213, 227, 230

Printed, Cut, Folded, and Torn (exhibition), 90–93

purchases Pindell artwork, 114

racial discrimination studied, 67–68

and racism, 68, 72, 100

“Television Project,” 204

travels in Africa for, 135–36

Untitled #20 (Dutch Wives Circled and Squared), 9–11

white feminist groups accessed through, 20

white male modernisms at, 15

museums. See galleries and museums; names of individual galleries and museums

The N—— Drawings (exhibition), 16, 210

protests against, 210–14

Nash, Jennifer, 27, 166

National Gallery of Art, 115

National Museum of African American History and Culture, 163

National Organization for Women, 168

nature, 42–43

Neal, Larry, 35, 62

Nelson, Steven, 25

Nengudi, Senga, 7, 22, 164–65, 182, 241–42

Nevelson, Louise, 90

New York: abstract art in, white artists overrepresented, 63

advanced art in, 49

art bars, 101

Downtown Community Television Center (DCTV), 190

found materials in, 116–17

modernist milieu in, 37–38

Pindell’s arrival in, 1–2, 14–15, 28, 37, 100, 118

Pindell’s first opportunity to show artwork in, 71–72

Pindell’s painting practice in, 39

racialization in, 189

underrepresentation of Black artists in, 237–39

uptown vs. downtown, 33, 35–36, 47, 63–64, 80, 101, 190

“Women View the N.Y. Art Scene” (conference), 168

New York: Night Light (painting, 1977), 168–69, 168–71, 170–71

Newman, Donald, 210–11, 219

The N—— Drawings, 16, 210

protests against, 210–14

support for, 211

Night Flight (cut and sewn painting, 2015–16), 230, 232–33, 232–33

Noguchi, Isamu, 67

Noland, Kenneth: and circle, 46

Mach II, 48–49

and staining, 52–53

Three American Painters (exhibition), 47–49, 52

Norvell, Patsy, 102

notation system, 195–99, 201–3, 206–9

“Numbering: Counting on My Fingers and Toes” (article), 126

numbers/numbering, 43

and autobiography, 126

and collage, 86, 123–28

and conceptual art, 124–25

hand-numbering, 105, 123–25

and Information (exhibition), 123–24

and modernisms, 126–27

“Numbering: Counting on My Fingers and Toes” (article), 126

and paper rounds, 86, 111, 123. See also drawing; handicraft

office work, 105–11

O’Grady, Lorraine, 20, 28, 111

Okumura, Lydia, 182

Olitski, Jules, 51

and color combinations, 56

and staining, 52–53

Three American Painters (exhibition), 47–49, 52

Oliver, Valerie Cassel, 223, 235

O’Neal, Mary Lovelace, 7

Ono, Yoko, 168, 192, 203, 210

Sky TV, 203

opticality, 53

Overstreet, Joe, 5, 13, 47, 51, 70, 137

Owens, Craig, 212

Paik, Nam June, 203

painting: African diasporic theory of, 133, 167, 175

allover, abstract painting, 131–32, 134, 162, 166, 172–73

with authority, 41

and Black artists, 159

and Black women, 162

canvases unstretched, 137, 144–45, 159, 168–69, 230, 233

and circle, 39–46

circle as emblem of modernist painting, 45–46

and collage, 83–85, 88

and color, 47–52, 168

composition, 48

covert feminist messages, 16

densely collaged paintings stake out tensions of advanced art, 129

economically prohibitive, 113

modernist painting and West African textiles, 13

and figure-ground, 60–61

formal vocabulary of, 38

grid, 75–76

and haptic, 134, 166

historically inaccessible to women, 100

introverted method of, 25

inward turn for Pindell, 39

Jasper Johns’s influence, 126–27

new techniques of, 5

and numbering, 43, 127

paper chads and surface, 83

and pictorial depth, 54–56

Pindell did not know many Black women painters, 21

Pindell focused on at Yale, 14, 37

Pindell’s artwork situated in modernist lineage, 35

Pindell’s first show, 49–52

and quilting, 159–60

and sculpture, 150

and sewing, 159

and spray gun, 51–52

as tactile surface for handicraft operations, 19

and textiles, 143–44

Three American Painters (exhibition), 47–49, 52

and viewing, 57. See also allover compositions; color field painting; cut and sewn paintings; modernist painting; staining; surface

pantyhose, 164, 173, 220

paper rounds, 92, 105, 131

accumulation of, 111, 117

in Carnival at Ostende, 3

and collage, 83, 153

hand-numbering of, 105, 123–24, 126

handiwork indexed by, 120, 126

layering of, 139

and numbering, 86, 111, 123

and office work, 107

proliferation of, 124, 153

random placement of, 125, 151

as repurposed materials, 114

in Untitled #20, 10. See also circles; dots

paper scraps, 81, 88, 98, 103, 111, 114, 117, 124, 151, 208

paperwork, 107

Pattern and Decoration movement, 171

Patton, Sharon, 144

people of color. See Black people; Indigenous people

perception: haptic, 131, 162

narrativization of vision, 56–57

and racialization, 208–9

textural perception, 120

visual perception, 53. See also perfume; representation; touch; viewer/viewing

performance art, 5

Labanotation, 197, 207

“protest piece,” 208

Summerspace (dance), 59–61

perfume, 20–21, 131, 139, 166, 169, 173–74

Perry, Regenia, 50

PESTS, 26, 237

Phelan, Peggy, 179

Philadelphia: cultural embargo on knowledge of Africa in, 68

high school in, 14

memories of art in, 157

segregation in, 45

Philadelphia College of Art, 170

photography: and racist logics, 207

and television, 205–6

truth claims of, 204

for Video Drawings (photo series), 195–96

Video Drawings (photo series), 85, 153, 174, 181, 194–208

and war, 205–6

Yes-No (photo collage), 208–9

Picasso, Pablo, 89

Pincus-Witten, Robert, 102

Pindell, Howardena: on abstraction, 1, 18, 71

background of, 14, 25, 157, 181–82

burden of expectation, 15, 118

as bureaucrat, 109

car accident, 16, 180, 188, 223

distinctive aesthetic of, 3

first abstract works, 41

first encounter with African art and culture, 136, 138, 147

on grid, 75–76

hectic schedule, 24

interior life and institutional modernisms, 36–37, 73–74, 81

isolation of, 25–26, 47, 117–18

as modernist, 35–41, 80–81, 166–67, 187

as outsider-within, 20, 37

papers of, 241

photographs of, 51, 115, 151, 161

on racial trauma inflicted on ancestors, 181–82

repurposed materials used by, 103, 107, 113–14, 116

resurgence, 233–42

scholarly attention, 16, 18, 28

studio of, 16, 24, 51, 101, 113–15, 123, 139, 151, 160–61, 195, 233

trash exchange at MoMA, 113–14

travels in Africa, 68, 97–98, 135–37, 142, 144–45, 147

unique art world position of, 41

unprecedented notoriety, 235

vision troubles, 111, 195

—exhibitions: Afro-American Abstraction (MoMA PS1), 147

Autobiography: In Her Own Image (traveling exhibition), 230

26 Contemporary Women Artists (Aldrich Museum of Contemporary Art), 102, 150

Contexturalists (Just Above Midtown gallery), 117

curatorial work, 1, 90, 107, 118, 242

Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States (A.I.R. Gallery), 182–85, 193–94, 218–19

first show, abstract works at Spelman College, 49–52, 65, 113

first show, collage works at A.I.R. Gallery, 102, 113

first show, in New York, 71–72

first show, text accompaniment, 65–66

at MoMA, 90–93

retrospective (Museum of Contemporary Art Chicago, 2018), 235

solo exhibition (the Shed, 2020–21), 233–35

at Whitney Museum, 68–73

—works; “Afro-Carolinian ‘Gullah’ Baskets” (essay), 162, 181

“Art (World) and Racism: Testimony, Documentation and Statistics” (article), 26

“Criticisms/ or/Between the Lines” (article), 208

“Numbering: Counting on My Fingers and Toes” (article), 126

hole punch stencil, 123–24

“Women View the N.Y. Art Scene” (conference panel), 168

ART CROW/JIM CROW (artist’s book, 1988), 230

Autobiography series, 179, 182, 224

Autobiography: Earth (Eyes, Injuries) (cut and sewn painting with photo-transfer, 1987), 16–17, 223

Autobiography: Water (Ancestors/Middle Passage/Family Ghosts) (cut and sewn painting, 1988), 224–27, 226, 233

Canals/Underground Railroad (mixed media, 2015–16), 233, 237

Carnival at Ostende (cut and sewn painting, 1977), 3, 4–5, 18, 134, 138, 169

Feast Day of Iemanja II, December 31, 1980 (cut and sewn painting, 1980), 138, 142, 147

Free, White and 21 (video, 1980), 30, 175, 176, 177–95, 183, 187–88, 191–92, 208–9, 214, 216–22, 220

Ko’s Snow Day (mixed media, 2020), 233, 234–35

Memorial—Homage to Martin Luther King (collage work on paper, 1968), 96–97

Memory: Future (cut and sewn painting with photo-transfer, 1980–81), 223–24

Memory: Past (cut and sewn painting with photo-transfer, 1980–81), 222–23

#108 Memory Series: Sorry, It Was an Accident (mat board collage, 1979), 228

Memory Test: Free, White and Plastic #114 (mat board collage, 1979–80), 228–29

New York: Night Light (painting, 1977), 168–69, 170–71

Night Flight (cut and sewn painting, 2015–16), 230, 232–33

Separate but Equal Genocide: AIDS (cut and sewn painting, 1991–92), 230–31

Space Frame (drawing, 1968), 32–33, 39, 41, 46

Space Frame #3 (drawing, 1969), 34–35

Space Frame (painting, 1969), 38, 41, 46, 77–78

titling works, protocol changed, 147

Untitled used for most of Pindell’s early abstract works, 43, 134

Video Drawings (photo series, 1973–76), 85, 153, 174, 181, 194–208, 196

Video Drawings: Baseball (1973–76), 199

Video Drawings: Hockey (1975), 198

Video Drawings: Science Fiction (Flash Gordon) (1976), 201

Video Drawings: Swimming (1973–76), 198

Video Drawings: Track (1976), 199

War series (photo series, 1988), 206

Yes-No (photo collage, 1979), 208–9

Untitled (collage work on cardboard, 1967), 94–96, 95

Untitled #2 (collage work on paper, 1973), 90–91

Untitled #3 (collage work on paper, 1973), 105, 106–7

Untitled (cut and sewn painting, 1977), 138, 141, 161

Untitled (cut and sewn painting, 1978), 130, 131, 132

Untitled #19 (cut and sewn painting, 1977), 138, 140, 143

Untitled #20 (Dutch Wives Circled and Squared) (cut and sewn painting, 1978), 9–13, 10–11, 127

Untitled (Talcum Powder) (mat board collage, 1973), 151–52

Untitled #4 (mat board collage, 1973), 68, 98–99

Untitled #7 (mat board collage, 1973), 8–9, 114

Untitled #20 (mat board collage, 1974), 111–13, 112, 115, 121, 150

Untitled #69 (mat board collage, 1974), 151, 153, 155, 195

Untitled #58 (mat board collage, 1974), 86–87

Untitled #84 (mat board collage, 1977), 153, 156–57

Untitled (painting, 1967), 125–27

Untitled (painting, 1968), 40–41, 43, 72–73

Untitled (painting, 1969), 42–43

Untitled (painting, 1971), 44, 50, 72, 57, 58–59

Untitled (painting, 1972), xii, 54–55, 15

Untitled (painting, 1972–73), 82, 83, 84

Untitled (sculpture, 1968–70), 148, 150–51

Piper, Adrian, 5, 22, 119, 150, 217–18, 221

place, 36

pleasure: and administrative labor, 81, 110, 119

Black joy, 123

and Black women, 19

and bureaucratic labor, 19, 29, 107

collage as source of, 89

erotic, 121–22

and feminine masquerade, 173

and haptic, 122–23, 129, 166

and sewing, 233

police, 95–96, 236

politics: and abstraction, 2, 5, 62–64, 66–67, 70, 189

AIDS-related, 230

anti-war protests, 1–2, 205

and art history, 242

artistic freedom, 6, 66, 212

and autobiography, 179

and Black artists, 5, 35, 62

and Black Arts movement, 2, 6, 23, 63, 67

Black liberation, 20–21, 62, 64, 67, 88, 129, 133

and Black women, 5

and Black women artists, 241–42

equal pay, 109, 116

and feminism, 168

and figuration, 2, 62–63

and grid, 79

and mass media, 178–79

and modernisms, 35

Pindell’s explicitly political art, 16, 18, 179

racial strife of 1960s, 94–96

revolutionary Black culture, 2

and viewing, 57, 59. See also discrimination; racism; segregation; sexism

Pollock, Jackson, 60, 75, 137, 173–74

Poons, Larry, 15, 66, 75–77

Posey, Willi, 159

post-painterly abstraction, 5

formal concerns inherited from, 38

and multisensorial perception, 57

in Three American Painters (exhibition), 48

postcards, 223

postminimalism, 3, 21, 49, 161

abstract works inspired by, 41

and bodily effects, 171

and collage, 83, 85–86, 89, 102, 152–54

and cut and sewn paintings, 138, 147

in Dialectics of Isolation (exhibition), 183

and feminism, 102

and Free, White and 21, 178

and grid, 78

handmade vs. industrial, 30, 78

inspired by Ghanaian textiles, 12

and soft sculpture, 148–50

and women’s movement, 102

powder, 98, 166, 169, 186

application of, 151

and collage, 85–86, 88

decorative connotations of, 173

domestic associations of, 115

feminine-coded cosmetics evoked by, 10

and texture, 151

Printed, Cut, Folded, and Torn (exhibition), 90–93

Puryear, Martin, 144

Pusey, Mavis, 7, 70

quilting, 159–61, 163

Raaberg, Gwen, 87

race: and abstraction, 80

diversity and multiculturalism, 215

and masking, 219

racial equality, 67

skin tone, 201–2, 219

and visual culture, 27

racialization: as abstracting process, 186

and gender, 20–21, 219

and mass media, 216, 218

in New York, 189

and perception, 208–9

and representation, 180, 207

racism, 1, 6–7, 16, 37, 41, 57, 59, 64, 67, 128, 136, 161–62, 165, 167–68, 202, 214, 230, 233, 236

aesthetic expectations of, 33

and anger, 213–14

antiracism, 184

and art world, 16, 21, 98, 208–15

in Artists Space controversy, 210

Black feminist modernisms and, 6–7

and Black women, 184, 194

burden of representation, 93

direct engagement with, 183–84

and early collage experimentation, 94–96

and exclusion of Black artists, 16, 63, 119, 212

and feminism, 168

and gender, 20

grid as possibility of remapping, 79

hate speech, 211

and history, 30

and isolation, 26

make racism visible, 180, 193

and MoMA, 68, 72

MoMA studied racial discrimination, 67–68

persistence of, 185

pervasiveness of, 181

scrutinized in video art, 178

and sexism, 237

and television, 207

and trauma, 181, 219

and viewership, 215–16

and visual culture, 26–27

“welfare queen” myth, 215

and white feminism, 100, 184, 214

and whiteness, 220

and women, 214. See also activism; discrimination; galleries and museums; segregation; sexism; slavery; tokenism; trauma; white supremacy

Rauschenberg, Robert, 59–60

Raymond, Lilo, 115

Reagan, Ronald, 215

Reinhardt, Ad, 15, 29, 56–57, 75

representation: abstracting procedures of, 194–95

and abstraction, 221

art world assumption of Blackness as representational, 29

Black artists agitate for, 35, 62

and Blackness, 71, 203

burden of, for Black artists, 25, 93

contradictions of, 178–80

equal representation of women artists, 71–73

identity forged through cultural materials, 94, 96

as imaginative, abstract surface, 30

and juxtaposition, 94, 96

later works pursue, 227

and African diasporic identity, 97

and racialization, 180, 207

shifting orientation to, 223, 230

slavery and representational abstraction, 64

and war, 206

Rhoden, John W., 50

Ringgold, Faith, 2, 7, 13, 22, 36, 67, 72, 93, 144, 159, 210

Rockefeller, Blanchette, 68

Rosler, Martha, 206

Ross, Doran, 137

Roth, Moira, 217

Rothko, Mark, 56

Rubin, Arnold, 144

Rubin, William, 90

Saar, Betye, 7, 13, 22, 37, 70, 85–86, 100, 104, 116, 144, 165

Sanjinés, Jorge, 192

Saunders, Raymond, 6, 69

Savage, Augusta, 9

Schapiro, Miriam, 100

Schneemann, Carolee, 101, 115–16

Schoolman, Carlota Fay, 203

Schor, Naomi, 103

sculpture, 5, 148–53, 158–59

Second World Black and African Festival of Arts and Culture (FESTAC), 144

Sedgwick, Eve Kosofsky, 11, 19, 120, 132–33, 166–67

segregation, 22, 178

art world, 230

at MoMA, 100

in Philadelphia, 45

Pindell’s roadside encounter with, 44–45. See also discrimination; galleries and museums; racism; sexism; white supremacy

Sembène, Ousmane, 192

Separate but Equal Genocide: AIDS (cut and sewn painting, 1991–92), 230–31, 230–31

Serra, Richard, 119, 203

sewing, 13, 128, 131, 148, 150, 158–62, 173, 227, 233

sexism, 1, 6, 16, 37, 67, 103, 128, 136, 165, 167, 202

aesthetic expectations of, 33

Black feminist modernisms and, 6–7

and exclusion of Black women artists, 119

and gender, 20, 26–27

grid as possibility of remapping, 79

in MFA program at Yale, 14

and racism, 237

and renunciation of artistic agency, 109

Shed (cultural center), 233–35

Sherman, Cindy, 210

Shields, Alan, 90, 159

Shine, Michael, 202

Sieber, Roy, 97, 136

Siegel, Katy, 150

silence: and art history, 37

and slavery, 214

and tokenism, 215

and white feminism, 228

Sillman, Sewell, 54

Simonds, Charles, 135

Simons, Vera, 100

Simpson, Lorna, 230

Sims, Lowery Stokes, 27, 63, 135, 142, 144–45, 193, 206–7, 211

Sischy, Ingrid, 210

skins, 30, 215–21, 236

and Black feminism, 221

and body, 221

defined, 175

as haptic video impressions, 217–18

and masking, 218

“second skins,” 180

and subjectivity, 175

and video, 221. See also cosmetics; hiding; masking

slavery, 59, 233

and hiding, 145–46

Middle Passage, 13, 143, 162, 224–27

quilting as cultural preservation for enslaved people, 163

and representational abstraction, 64

and silence, 214

transatlantic slave trade, 133, 145

and trauma, 224–25

Sleigh, Sylvia, 26

Smith, Barbara, 185

Smith, Cherise, 193

Smith, Harry, 154, 156

Smith, Patti, 210

Smith, Shinique, 236

Smith, Vincent, 50, 65–66

Smithsonian, 163, 241

Snyder, Joan, 5, 37, 75

soft grids, 148, 150, 153

Solway, Carl, 123

Sorkin, Jenni, 235

Space Frame (drawing, 1968), 32–33, 39, 41, 46

Space Frame #3 (drawing, 1969), 34–35

Space Frame (painting, 1969), 38, 41, 46, 77–78

spatial ambiguity, 47, 52, 60–61

spatial tension, 47, 54

Spelman College, Pindell’s first show, 49–52, 65–66, 113

Spero, Nancy, 102

Spigel, Lynn, 204

Spillers, Hortense, 11, 133, 225

sports, 196, 198–99, 201–2, 206–7

spray-painted compositions: and choreography of viewing, 29, 57, 59, 61

and collage, 54, 83, 85, 92

and color, 47, 51–52, 54–56

economically prohibitive, 113, 116

first show of, 49–52

and spatial ambiguity, 61

and texture, 15, 54

various sources for, 66

Whitney exhibition of, 68, 70, 72

Spriggs, Ed, 33, 63, 79–80

St. Félix, Doreen, 143

Stafford, Lawrence, 52

staining, 52–54

defined, 47

Stella, Frank, 137

Three American Painters (exhibition), 47–49, 52

stencils, 52, 54, 60, 123–24

Stevens, May, 210

Stevens, Nelson, 62

Stony Brook University, 16, 213, 230

string, 88, 154–58

in Carnival at Ostende, 18

games, 148–62. See also thread

Studio Museum in Harlem, 33, 63, 79–80

subject-object dichotomy, 11, 57, 132–33

subjectivity, 108–11, 175

artist as bureaucrat, 108, 110

and Black women, 109–11, 119

collage as self-construction, 104

and dissociation, 120–21

and form, 29, 35, 80

and modernisms, 36

and skins, 175. See also identity

Sultan, Donald, 213

Summerspace (dance), 59–61

surface, 48

accumulation of collage elements surfaces artistic labor, 111

afro-tropic engagement alters approach to, 13

art-historical narrative of, 3

and collage, 88, 92, 98

and color weight, 55

cut and sewn paintings and, 142, 145

and decorative, 173

engagement with, 52

and grid, 75–77

haptic strategies, 9

and modernisms, 3, 175, 180

and paper rounds, 83

and pictorial depth, 54–56

shift away from, 227

surface tension, 11, 13, 119–20, 122, 166

surface variation and viewing distance, 51

textile logic, 10

texture and painting, 131, 144

in video, 218

surrealism, 89

Swenson, Sally, 41–43, 74

television: aesthetic possibilities of, 205

and artists, 203–4

Black people under-represented on, 201–3, 207

“The Black Woman” (TV episode), 21

and Black women, 203

and color, 153, 195

color TV purchased, 195

contradictions of, 200

dissemination of, 200, 215

Downtown Community Television Center (DCTV), 190

The Ernie Kovacs Show, 201, 204

and feminist artists, 203–4

haptic participation in video drawing and viewers, 200

investigation of, 194

and Kennedy’s shooting, 205

and photography, 205–6

and racism, 207

“resisting spectator-ship,” 203

and textile logic, 174

Video Drawings (photo series), 85, 153, 174, 181, 194–208

and war, 205–6

Winky Dink and You, 197, 200, 204

women under-represented on, 201–3, 207. See also mass media; representation; video

textile logic: cut and sewn paintings and, 131, 142, 169

evolution of, 150–51

haptic strategies for, 9

powdered thread and, 10

spray-painted compositions and, 15

and staining, 54

and television, 174

textility, 18–19

textiles, 19

African textiles, 135–47, 159

African Textiles and Decorative Arts (exhibition), 68, 97–98, 136–39, 145–46, 152

Akan textiles, 88

circle and grid become, 81

collage embraced in response to West African textiles, 88, 93, 98

early exploration of, 148

kente cloth, 142–43, 152, 174

and mending, 134

and painting, 134, 143–44

resuscitation of, 103

texture of, 145–46

and touch, 162

weaving, 138, 142–43

West African textiles, 13, 19, 88, 93, 98, 120, 135, 144, 152. See also Ghanaian textiles

texture: as African aesthetic, 144

as African diasporic, 29, 98

and Akan batakari, 98, 120, 145

and Black feminism, 163

of Carnival at Ostende, 3

and collage, 81, 128

and detail, 104

Ghanaian textiles, 12

and haptic, 9, 11

and materials, 166

and powder, 10, 151

and spray-painted compositions, 15, 54

and string, 157

and surface tension, 119–20, 166

of textiles, 145–46

textural perception, 120

textured surfaces and painting, 131

and thread, 151, 169

and touch, 120, 157

Third Cinema, 192

“Third World,” 183–84

Third World feminism, 185

“Third World Women,” 183–84, 219

“Third World Women: The Politics of Being Other” (special journal issue), 208

Third World Women’s movement, 26, 30

Thomas, Alma, 7, 22, 63, 67

Thompson, Krista, 13

Thompson, Mildred, 7

Thompson, Robert Farris, 152

thread: and cut and sewn paintings, 148, 161

domestic associations of, 115

as feminine presentation, 21

grid made of, 10, 98, 111, 114, 150–51

introduction of, 150

in Carnival at Ostende, 18

textiles explored through thread, 148

and texture, 151, 169. See also string

Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella (exhibition), 47–49, 52

Tobey, Mark, 50

Toche, Jean, 2

tokenism, 22, 26, 70, 118, 184, 215

touch, 131–33

erotic, 121–22

paradox of, 133, 165

and textiles, 162

and texture, 120, 157. See also hand

trauma, 16, 30, 45, 117–19, 121, 129, 163, 179–81, 185, 224–27

and body, 225–27

and memory, 224–26

and racism, 181, 219

and slavery, 224–25

Truth, Sojourner, 20

Tsuno, Keiko, 190

Tucker, Marcia, 73

Untitled used for most of Pindell’s early abstract works, 43. See also Pindell, Howardena, works

Van Gogh, Vincent, 157, 200

VanDerBeek, Stan, 204

VanDiver, Rebecca, 100

vernacular, 19, 100, 110, 116, 122, 128, 163

video, 5

and abstraction, 180

and viewer, 216

art world and gallery system circumvented by, 215

audience and authorship, 178

Black women filmmakers, 191–92

and blond wig, 177

and color, 182, 186–87

cut and sewn paintings evoked, 188

and feminist artists, 204

and skins, 221

Third Cinema, 192

truth claims of, 204

and war, 205–6

and wide viewership, 193. See also mass media; representation; television

Video Drawings (photo series, 1973–76), 85, 153, 174, 181, 194–208, 196

and abstraction, 207

notation system, 195–99, 201–3, 206–7

photographic subjects of, 196

production of drawings for, 195, 197

sports themes, 196, 198–99, 201–2, 206–7

underrepresentation of people of color and women on TV, 201–3, 207

Video Drawings: Baseball, 199

Video Drawings: Hockey, 198

Video Drawings: Science Fiction (Flash Gordon), 201

Video Drawings: Swimming, 198

Video Drawings: Track, 199

visual distortion in, 206–7

Vietnam War, 1–2, 35, 64, 205–6

viewer/viewing: addressed directly, 216

allover pattern and, 11

anti-racist viewership, 216

awareness of, 127

Black artists and embodied viewing, 57, 59

choreography of, 29, 52, 57, 59, 61, 169

and color, 56

cut and sewn paintings and, 175

Free, White and 21, 193

and grid, 76

and haptic, 131–33, 200

juxtaposition, 89–90

and mass media, 181

and metronome ticking, 185–86, 193

narrativization and spatialization of, 57

opticality, 53

and painting, 57

and perfume, 139, 166, 173

and racism, 215–16

and repudiation of artist’s hand, 119

and texture, 120, 173–74

Untitled and, 50–51

video and racial dynamics of, 178

visual distortion and, 207

visual perception and modernisms, 53

visual culture: and Black women, 26–27, 165–66, 165–67

vs. haptic, 165

visual perception, 53

Wagner, Anne, 215

Walker, Alice, 163

WalkingStick, Kay, 26, 230

Wallace, Michele, 27–28, 67, 110, 165, 214–15

Wallis, Brian, 211

War series (photo series, 1988), 206

Warhol, Andy, 192

Watkins, Rag, 212

Watson, Barrington, 50

weaving, 142–43

and grid, 138

Weber, Max, 108

Westbeth Artists Housing, 26, 51, 113, 149

Where We At: Black Women Artists collective, 23, 37

white art, 63

white feminism: and A.I.R. Gallery, 218

and Black women artists, 184

on collage, 104

and femininity as implicitly white, 20

and feminism, 219

Free, White and 21 as retort to, 184, 194, 214, 227

friends and isolation among, 20, 26

hegemonic discourses of, 7

and office work, 109

and Pindell, 180, 193

and racism, 100, 184, 214, 215

and silence, 228

and textile aesthetics, 19

and white supremacy, 185. See also Black feminism; feminism

white gaze, 219

white institutions, 26

white men/male artists: abstract art as domain of, 2, 33, 63–64, 80

and agency of Black artists, 115

in art-historical discourse, 28

career ambitions of, 1

and collage; and grid, 78–79

and modernisms, 15, 47, 134, 167, 173

museums and galleries dominated by, 63

and norms of visual culture, 27

Pindell compared to, 50

white women pursue white male model of success, 109. See also Euro-Americans

white people: and abstraction, 73

and Africa, 145–46

Black Americans in white-dominated society, 66

and Black cultures, 62

modernism constructed by, 3

white women pursue white male model of success, 109. See also Black people; Euro-Americans; Indigenous people

white supremacy, 19, 66, 236, 241

and abstraction, 64

art world complicity, 180

and Artists Space, 210

and autobiographic shift, 216

and circle form, 45

depicted in Free, White and 21, 177–81, 193

and discrimination, 177

and white feminism, 185

whiteface as critique of, 219–20

and whiteness, 179

whiteface, 182, 188, 208–9, 216, 218–20

Whitefeather, Selena, 182

whiteness: and abstraction, 230

and art history, 27

and femininity, 20, 134, 167

and feminism, 26

privileged by mass media, 178–79

and racism, 220

scrutinized in video work, 181, 186, 189, 218–19

and white supremacy, 179

and whiteface, 220

Whitney Museum of American Art: Abstract Design in American Quilts (exhibition), 159

and activism, 2

1972 Annual Exhibition: Contemporary American Painting, 72–73

Contemporary Black Artists in America (exhibition), 68–72, 69, 159

controversy over Black art and politics, 64

first solo exhibition of a Black artist, 63

Pindell’s spray-painted compositions exhibited at, 68

purchases Pindell painting, 113

Whitten, Jack, 5, 13, 57, 59, 71

Williams College, 238

Williams, Susan, 101

Williams, William T., 68, 70–71, 144

Wilson, Anne, 159

Wilson, Judith, 26–27, 125

Winer, Helene, 211, 213

Winky Dink and You (TV program), 197, 200, 204

Winsor, Jacqueline, 150

women: accessibility of handicraft, 100

and A.I.R. Gallery, 20

Black womanhood, 104, 121, 165, 203

Black women’s exclusion, 168

and collage, 85, 100

and crafts, 163

and equal pay, 109, 116

“modernist” term excludes, 3

and office work, 108–9

and racism, 214

and sewing, 159

“Third World Women,” 183–84

under-represented on TV, 201–3, 207

“Woman is the n—— of the world” (slogan), 168

womanhood, 20–21, 169, 172

“women’s center,” 42

women’s work, 100–105, 156–57. See also Black feminism; Black women; feminism; white feminism

women artists: 26 Contemporary Women Artists (exhibition), 102, 150

agency of vs. white male artists, 115

burden of expectation, 118

collage, 87, 113

Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States (A.I.R. Gallery), 182–84, 193–94, 219

discrimination, 71–73, 101, 216

equal representation, 71–73

and feminine, 174

and labor, 105

and representation, 63, 238

“Women View the N.Y. Art Scene” (conference), 168

women artists of color. See Black women artists

women of color. See Black women

Women Students and Artists for Black Art Liberation (WSABAL), 67

“Women View the N.Y. Art Scene” (conference panel), 168

women’s movement, 2

and abstraction, 2

and Black women, 184

and Black women excluded from museums and galleries, 63

fear of Black women’s anger, 214

and haptic, 163

National Organization for Women, 168

and postminimalism, 102

redefined outside of whiteness, 26

Third World Women’s movement, 26, 30

white women’s liberation at expense of Black women, 109, 168

“Woman is the n—— of the world” (slogan), 168

Women’s Slide Registry, 101–2

Yale University, 1, 178, 118

Frankenthaler visit, 52–53

MFA program, 14, 15, 37, 54, 56, 115

Pindell’s attendance, 39, 48, 88, 118

Yes-No (photo collage, 1979), 208–9

Young, Kevin, 145

Young, Linda Martina, 191

Zarina, 182–83

Zimmerman, Elyn, 69

Zucker, Barbara, 101

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