A Russian Reader: Feminism - Art - Theory
Edited by Katy Deepwell and Mila Bredikhina (Moscow: Rosspen, 2004)

List of Art Texts Total Signs: 1,078,874

1. Linda Nochlin 'Why have there been no Great Women Artists?' (1971) (35,700 signs inc. blanks)

2. Helen Cixous 'Sorties' (1975) (22,400)

3. Anne-Marie Sauzeau Boetti 'Negative Capability as Practice in Women's Art' (1976) (22,700)

4. Lucy Lippard 'The Pains and Pleasures of Women's Body Art' (1976) (35,000)

5. Martha Rosler 'The Private and the Public:Feminist Art in California' (1977) (54,350)

6. Valie Export ‘Uberlegungen zum Verhaltnis von Frau and Kreativitat’ From: Kunstlerinnen International, 1877-1977 exhibition catalogue (Berlin: Charlottenburg) (24,864)

7. Julia Kristeva 'Women's Time' (1979) (67,400)

8. Marlite Halbertsma ‘Feminist Art – An introduction’ (1980) (8,000)

9. Sandy Flitterman-Lewis and Judith Barry 'Textual Strategies: The Politics of Art Making' (1980) (33,000)

10. Lucy Lippard ‘Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s’ (1980) (24,630)

11. Mary Kelly 'Reviewing Modernist Criticism' (1981) (56,000)

12. Laura Mulvey ‘Afterthoughts on “Visual Pleasure and Narrative Cinema” inspired by King Vidor’s Duel in the Sun (1946)’ (1981) (24,300)

13. Monique Wittig ‘One is Not Born a Woman’ (1981) from The Straight Mind (1992) (23,200)

14. Griselda Pollock 'Vision, Voice and Power:Feminist Art History and Marxism' (1982) (88,000)

15. Michele Barratt 'Feminism and the Definition of Cultural Politics' (1982) (50,400)

16. Gisela Ecker 'introduction' to Feminist Aesthetics (1985) (18,700)

17. Craig Owens 'The Discourse of Others: Feminism and Postmodernism' (1985) (60,500)

18. Donna Haraway 'Manifesto for Cyborgs' (1985) (29,130)

19. Teresa de Lauretis 'Technologies of Gender' (1987) (89,000)

20. Luce Irigaray 'How Can We Create Our Beauty?' (1988) (8,200)

21. Judith Butler ‘Lacan, Riviere and the Strategies of Masquerade’ from Gender Trouble (1990) (29,130)

22. Dorothea Olkowski ‘Body, Knowledge and Becoming Woman: Morpho-logic in Deleuze and Irigaray’ (1992, 2000) (65,500)

23. Rita Felski ‘Why Feminism Doesn’t Need an Aesthetic (and why it can’t ignore aesthetics)’ (1994) (48,000)

24. Rosi Braidotti 'Sexual Difference as a Nomadic Political Project' (1994)

25. Laura Cottingham ‘Consuming All Impediments’ from Nowhere (1996) (48,000)

26. Katy Deepwell 'Sassy or Not?' (1996) (15,500)

27. Faith Wilding 'Where is the Feminism in Cyberfeminism' (1996) (26,300)

Institutional Affiliations of Contributors and Credits for permissions.

The editors would like to thank the authors and their publishers for permission to translate and reproduce their work in Russian.

Linda Nochlin is Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts of New York, USA.

Helene Cixous is Director, Centre de Recherches d'Etudes Feminine, Paris VIII University, France.

Anne-Marie Sauzeau Boetti is a curator, critic and art historian based in Paris.

Lucy Lippard is a critic and curator, based in Galisteo, New Mexico, USA.

Professor Martha Rosler is an artist who works at SUNY, New York, USA.

Professor Valie Export is an artist and Director of Kunsthochschule fur Medien Koln, Germany.

Julia Kristeva is Professor of Linguistics at Paris VII University, France.

Marlite Halbertsma teaches at Fakultat Geschichte und Kulturewissenschaften, Erasmus Universiteit Rotterdam, The Netherlands.

Sandy Flitterman-Lewis is Associate Professor of English at SUNJ, Rutgers, New York. and Judith Barry is an artist, based in New York, USA.

Professor Mary Kelly is an artist who works at University of California, Los.Angeles, USA.

Professor Laura Mulvey works in Film and Media Studies at Birkbeck College, University of London, UK. Permission for publication given by Palgrave/ MacMillan Publishers, Basingstoke, UK.

Monique Wittig was Professor of French and Women's Studies at the University of Arizona, USA until her death in Jan 2003. Permission to reproduce her work in Russian was granted by Idea Press-Publishers, Moscow.

Griselda Pollock is Director of the AHRB Centre for Cultural Analysis, Theory and History (CentreCATH) and Professor of Social and Critical Histories of Art, School of Fine Art, History of Art and Cultural Studies, University of Leeds, UK.

Professor Michele Barrett works at the School of English and Drama, Queen Mary's College, University of London, UK

Professor Gisela Ecker teaches at the University of Paderborn in Germany.

Craig Owens was a critic, lecturer and curator, who died in 1990. The editors are grateful to his estate for permission to reproduce his text.

Professor Donna Haraway works at the History of Consciousness Department, University of California, Santa Cruz, USA.

Professor Teresa de Lauretis works at the History of Consciousness Department, University of California, Santa Cruz, USA. Permission for publication granted by Indiana University Press.

Professor Luce Irigaray is Director of Research in Philosophy, Centre National de la Recherche Scientifique, Paris, France. Permission was given to reproduce her work in Russian by Editions Bernard Grasset, Paris.

Judith Butler is Maxine Eliot Professor of Rhetoric and Comparative Literature in the Rhetoric Department of the University of California, Berkeley, USA. Permission was given to reproduce her work by CRC press, USA.

Professor Dorothea Olkowski works at the Department of Philosophy, University of Colarado at Colarado Springs, USA.

Professor Rita Felski works in the Department of English, University of Virginia, USA.

Professor Rosi Braidotti is Director of Women's Studies at the University of Utrecht, The Netherlands. Permission for publication granted by Columbia University Press, USA.

Laura Cottingham is a curator, critic and art historian, based in New York.

Katy Deepwell is editor of n.paradoxa: international feminist art journal and based in London.

Faith Wilding is an/Other genre artist and writer who teaches performance at School of Art Institute of Chicago, USA. She is founder member of the cyberfeminist collective subRosa.