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  • Contributors

Tal Dekel teaches in the Gender Studies Program and the Art History Department at Tel-Aviv University, Israel. She focuses on art and gender, using multicultural and transnational discourses, specifically in the Israeli locus. Some of her latest work deals with the effect of immigration on two minority groups in the Israeli society: Ethiopian women artist immigrants and illegal foreign workers who are refugees from Africa.

Jill Fields is a professor of history at California State University, Fresno. Most recently, she edited a collection of essays, Entering the Picture: Judy Chicago, the Fresno Feminist Art Program, and the Collective Visions of Women Artists (Routledge, 2012). Her previous book, An Intimate Affair: Women, Lingerie, and Sexuality (University of California Press, 2007), received the 2008 Keller-Sierra Prize from the Western Association of Women Historians. The idea for that book's epilogue, "Bra vs. Bra: Feminist Intimate Apparel Art," stemmed from viewing the exhibition Sexual Politics: "The Dinner Party" in Feminist Art History at the Hammer Museum. Her current project is a supplemental textbook for undergraduates, Fashion in World History.

Joanna Gardner-Huggett is an associate professor of art history at DePaul University, where she teaches courses on twentieth-century art and feminist theory. Her research focuses on the intersection between feminism and arts activism. She has published in British Art Journal, Social Justice, Woman's Art Journal, and Women's History Review. Currently, she is writing a book on the history of the women artists' cooperatives ARC (1973-present) and Artemisia (1973-2003) in Chicago.

Jennie Klein is an associate professor of art history at Ohio University. Her research interests include contemporary feminist art, performance, and gender [End Page 137] theory and representation. She has published in a number of journals, including PAJ, Genders, Journal of Lesbian Studies, Feminist Studies, and n.paradoxa. She is the editor of Letters from Linda M. Montano (Routledge, 2005) and, along with Myrel Chernick, the coeditor of The M Word: Real Mother in Contemporary Art (Demeter Press, 2011). She is currently working on a book length-project on performance art, site specificity, and identity.

Michelle Moravec is an associate professor of history at Rosemont College. A historian with a focus on the intersections of feminism, culture, and activism, she received a doctorate in women's history from the University of California, Los Angeles. She is the recipient of fellowships from the Getty Research Institute, the Archives of American Art, the Sallie Bingham Center for Women's History and Culture, and the Southern California Historical Society. Her work in progress, The Politics of Women's Culture, investigates the emergence of women's culture as a concept relevant to feminist activist and academic communities during the 1970s and 1980s.

Kathleen Wentrack is an assistant professor of art history in the Department of Art and Design at the City University of New York, Queensborough C.C. She holds a master's degree from the University of Amsterdam and a PhD from the Graduate Center of The City University of New York. Her recent publications include "Double Trouble: Carolee Schneemann and Sands Murray-Wassink," in Profeminist White Flowers (Städtische Kunsthalle München, 2007). She presented "Celebrating Women's Art Collectives: The Posters and Wall Collages of Mary Beth Edelson" at the College Art Association Conference in February 2011. Her research focuses on feminist performance art, and she is currently editing an anthology on women's art collectives. Kathleen served on the Committee on Women in Art of the College Art Association and is codirector of the Feminist Art Project in New York. [End Page 138]

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