Betti Pettinati-LonginottiDecember 2011Thesis Outline_ Draft 1Advisor: Ben Sloat

I. Title: Re-informing the Art Canon: Inclusion of Art She-roes II. Abstract (personal statement):

Embracing the mission of the Guerilla Girls, a feminist art group fighting for the rights of women artists, past and present, this investigation of work seeks to celebrate the contributions of these ‘she-roes’. With an intention to re-inform the art canon, the faces of women artists over the centuries are re-presented. Many of who, during their lifetime received a lack of recognition, surpassed by the hegemony of their male-dominated world. With influences as diverse as Hildegard de Bingen and Lee Krasner, new synergies are crafted from both opaque and transparent structures. This work ranges an exploration of painting with oils to compositions in glass. Maternal meta-narratives further homage the neglected ‘other-half’.

III. Quote: “How important it is for us to recognize and celebrate our heroes and ‘she-roes’!” 

~Maya Angelou

IV. Thesis Outline:

A. Intro- The problem: Her-story within the Art Canon of Western Civilization; Guerilla Girls statistics and mission statement.

1. My own prior training was devoid of learning about the Feminist Art Movement and Non-inclusion of Women Artists to the art canon2. Exemplars of the Feminist Art Canon- Judy Chicago, The Dinner Party, Mary Beth Edelson, Miriam Schapiro3. Working with the homage as a meta-narrative

B. Questions and Critique that have directed and informed my work:1. Why don’t you paint more on glass?2. How are these women important to you?3. How are you entering the discourse?4. Why is glass important to you?

C. Comparative Analysis for my work 1. Initial motivation artists that have used artists in their work- Red Grooms, Chuck Close, Alice Neel2. Tradition of Uomini Famosi in portraiture and portraits of other artists/ Uccello3. James Esber and Chuck Close, analogy for working impressionistically with murrini 4. Venetian glass in contemporary exploration- Fred Wilson (Black Identity/ Myself (Female Identity- ‘Vitreous Femmage’)5. Judith Schaechter and Kiki Smith, Painting on Glass 6. Gerhard Richter and Kiki Smith, Stained Glass7. Allison VanPelt and Richard Pousette-Dart, oil painting portraits

D. Concept/ Art Her-Story1. Art History/ Sins of Omission and Otherness2. Feminist Art / Guerilla Girls3. Archive and Meta-Narratives4. Potential Interviews with A.I.R. and leaders of the Feminist Art Movement

(Linda Nochlin, Judy Chicago, Dotty Attie)

V. Primary Medium/ Body of Work- Glass used as a metaphorA. History of Stained Glass, use of iconsB. Stained Glass- Iconography to teach the illiterateC. Using the medium of (stained) glass as a canvas

1. Marc Chagall2. Henri Matisse3. Kiki Smith4. Gerhard Richter

D. Art versus Craft paradigms1. Evie Hone2. Judith Schaechter 3. Potential Interviews with (Virginia Raguin, art historian with expertise on

Stained Glass art and architecture- who wrote catalog introduction for Kiki Smith exhibition; Karen Mulder, art historian, stained glass and architecture understanding critical discourse

VI. Entering the Discourse: Personal Case Studies and ConclusionsA. Where have I taken my cues from:

1. Christian Bolatanski,2. Gerhard Richter3. Kiki Smith

B. Professional Practice

Bibliography Draft (selections from):

Bibliography 1-

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Bibliography 3-

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