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Notes
1 Sarah Bracke and María Puig de la Bellacasa, “Building Standpoints,” in The Feminist Standpoint Theory Reader. Intellectual & Political Controversies, ed. Sandra Harding (New York: Routledge, 2004), 309.
2 Ibid.
3 Angela Dimitrakaki, “The Lessons of Sexual Politics: From the 1970s to Empire. An Interview with Amelia Jones,” in Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions, ed. Angela Dimitrakaki and Lara Perry (Liverpool: Liverpool University Press, 2013), 93. The innovations and legacies of feminist exhibition making have not yet been fully explored, and they have not been fully historiographically acknowledged in the writing of the history of curating. Also, Amelia Jones’s curatorial method developed for Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History still awaits further in-depth analysis.
4 Amelia Jones, “Sexual Politics: Feminist Strategies, Feminist Conflicts, Feminist Histories,” in Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History, ed. Amelia Jones (Los Angeles: University of California Press at the Armand Hammer Museum of Art and Cultural Center, 1996), 23.
5 Amelia Jones and Elke Krasny, e-mail messages, January 18 and 19, 2015.
6 Jane F. Gerhard, The Dinner Party: Judy Chicago and the Power of Popular Feminism 1970–2007 (Athens: University of Georgia Press, 2013), 163.
7 The information on historical events and local conditions and on the women honored in the International Dinner Party was gleaned from the telegrams and letters in the Suzanne Lacy Archive.
8 Edinburgh Feminists, telegram, March 14, 1979, in Suzanne Lacy’s International Dinner Party Archive.
9 Christchurch Women’s Group, telegram, March 14, 1979, in Suzanne Lacy’s International Dinner Party Archive
10 Group of Brazilian feminists, letter, March 14, 1979, in Suzanne Lacy’s International Dinner Party Archive.
Following the group’s first names which they used to sign their letter, and with no last names provided, my online research faced a challenge. Yet based on the information gathered I am led to believe that the group of women who together composed this letter were the Coletivo de Mulheres de Río de Janeiro.
11 Ibid.
12 Sarah Edwards, Nancy Albertson, Victoria Cesino et al., mailgram, March 14, 1979, in Suzanne Lacy’s International Dinner Party Archive.
13 Tacoma Women, mailgram, March 14, 1979, in Suzanne Lacy’s International Dinner Party Archive.
14 Bue Rübner Hansen, Julia Wieger, and Manuela Zechner, questions by Elke Krasny, “About the Radical Practices of Collective Care Project – An Interview-Text,” http://radicalcollectivecare.blogspot.co.at (accessed March 2, 2017).
15 Ibid.
16 Ibid.
17 Ibid.
18 Red Min(e)d, “No One Belongs Here More Than You,” in No One Belongs Here More Than You. The Living Archive: Curating Feminist Knowledge. 54th October Salon, ed. Red Min(e)d, Jelena Petrović, Katja Kobolt, Danijela Dugandžić Živanović, and Dunja Kukovec in collaboration with Jelena Vesić (Belgrade: Cultural Center of Belgrade, 2014), 15.
19 Ibid., 204.
20 Ibid., 28.
21 lusine talalyan, Arpi Adamyan, and Shushan Avagyan (eds.), Queered: What’s to be Done with xCentric Art? (Yerevan: QY collective, 2011), 157.
22 Despina Stratigakos, Where Are the Women Architects? (Princeton, NJ: Princeton University Press, 2016).
23 Katy Deepwell, “On the Beginnings and End of n.paradoxa: International Feminist Art Journal,” in n.paradoxa International Feminist Art Journal, 40 (2017): 12–13.
24 Chandra Talpade Mohanty, Feminism Without Borders: Decolonizing Theory Practicing Solidarity (Durham, NC: Duke University Press, 2003), 46.