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Journal articles on the topic 'Women in American art'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

Springer, Julie, and Bailey Van Hook. "Angels of Art: Women and Art in American Society, 1876-1914." Woman's Art Journal 21, no. 1 (2000): 44. http://dx.doi.org/10.2307/1358871.

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2

Hartsell-Gundy, Arianne A. "Book Review: American Colonial Women and Their Art: An Encyclopedia." Reference & User Services Quarterly 58, no. 2 (2019): 126. http://dx.doi.org/10.5860/rusq.58.2.6944.

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American Colonial Women and their Art: An Encyclopedia has a unique focus, which makes it an interesting addition for most libraries. Though there are reference works that explore women and art and reference works that cover the American colonial period, there is not a work that focuses specifically on the art of colonial women. In addition to the distinctive topic, this one volume edition not only includes recognizable names such as Abigail Adams and Phillis Wheatley, but also less well-known women, such as Mary Roberts (miniaturist), Sarah Bushnell Perkins Grosvenor (painter), and Elizabeth Foote Huntington (needle worker). This reference work should make for a great tool for any researcher wanting to discover the artistic contributions of specific women.
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3

Farrington, Lisa E. "CONCEPTUALISM, POLITICS, AND THE ART OF AFRICAN-AMERICAN WOMEN." Source: Notes in the History of Art 24, no. 4 (2005): 67–75. http://dx.doi.org/10.1086/sou.24.4.23207951.

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4

Fajardo-Hill, Cecilia, and Marcela Guerrero. "Latina Art Through the Exhibition Lens: Radical Women: Latin American Art, 1960-1985." Diálogo 20, no. 1 (2017): 133–40. http://dx.doi.org/10.1353/dlg.2017.0015.

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5

Tone-Pah-Hote, Jenny. "Women and Ledger Art: Four Contemporary Native American Artists (Pearce)." Museum Anthropology Review 9, no. 1-2 (2015): 204–5. http://dx.doi.org/10.14434/mar.v9i1-2.19518.

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Stott, Annette. "Prairie Madonnas and Pioneer Women: Images of Emigrant Women in the Art of the Old West." Prospects 21 (October 1996): 299–325. http://dx.doi.org/10.1017/s0361233300006566.

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In the art of the American West, women have traditionally occupied a minor position. Compared to a surfeit of depictions of cowboys, braves, soldiers, miners, Indian chiefs, scouts, trappers, and traders, there are relatively few images of women; and when considering women who were not native to the plains and prairies, the field narrows still farther. Although literature and popular culture have given us numerous female types of the trans-Mississippi West (saloon and dance-hall girls, frontier mothers, helpless captives, schoolteachers, renegade female outlaws, wild-west-show women), art has virtually ignored all but the emigrant woman who traveled west in a covered wagon to establish a home on the prairie.
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French, Kara M. "Evolving Images of Women Religious in Nineteenth-Century American Art." American Catholic Studies 132, no. 1 (2021): 105–19. http://dx.doi.org/10.1353/acs.2021.0013.

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8

Sheppard, Alice. "Suffrage Art and Feminism." Hypatia 5, no. 2 (1990): 122–36. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00421.x.

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Suffrage graphics constitute one of the first collective, ideological, artistic expressions by American women. Premised on the popular view of woman's nature as virtuous, responsible, and nurturant, this art nonetheless challenged traditional practices and demanded political change. Interrelationships between feminism, art, and the historical context are explored in this analysis of women's imagery.
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Mosley-Williams, Angelia, Mark A. Lumley, Mazy Gillis, James Leisen, and Deena Guice. "Barriers to treatment adherence among African American and white women with systemic lupus erythematosus." Arthritis & Rheumatism 47, no. 6 (2002): 630–38. http://dx.doi.org/10.1002/art.10790.

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10

Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress." Art Libraries Journal 20, no. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.

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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
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11

Kitahara, Megumi. "Transcending Borders in the Work of Fumie Taniguchi." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (2020): 92–109. http://dx.doi.org/10.1163/23523085-00601006.

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Fumie Taniguchi was a nihonga painter whose modern portraits of women enjoyed widespread acclaim within art circles during the 1930s. Although she moved to America shortly after Japan lost the war and spent the latter half of her life there, her existence was suddenly forgotten. There are almost no extant examples of Taniguchi’s paintings from her American period, however, her autobiographical novels that appeared in Japanese American fanzines provide significant clues that help to trace her life. Through these publications and oral interviews with her family members, this article seeks to introduce readers to the painterly practice and life of Taniguchi, and make clear what exactly was distinctive and unique about her life and practice. For a woman who continued to struggle against the patriarchal gaze both in Japan and the Japanese American community, what did the notion of transcending borders mean?
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Paris, Damara Goff. "Using Art-Based Ways of Knowing to Explore Leadership and Identity With Native American Deaf Women." in education 21, no. 2 (2015): 127–49. http://dx.doi.org/10.37119/ojs2015.v21i2.261.

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During a phenomenological narrative study regarding the perspectives of leadership among women who are both Native and Deaf, a portion of the data collection focused on visual art as a means of interpreting what leadership meant to the participants. Participants produced visual imagery to impart their ways of knowing as women who negotiated their paths between two distinct cultures. Themes of identification with indigenous art forms, spirituality, and evolving self-identities were shared, with the participants leading the development of their artistic renderings. The participant-created visual arts highlight the significance of non-verbal modes of inquiry within Indigenous and Deaf populations.Keywords: Indigenous; Native American; Deaf; Women; Art Inquiry; Identity
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13

Doss, Erika. "Women Warrior Memorials and Issues of Gender in Contemporary American Public Art." Public Art Dialogue 2, no. 2 (2012): 190–214. http://dx.doi.org/10.1080/21502552.2012.717761.

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14

Harrah-Johnson, Jeanne. "Women and Ledger Art: Four Contemporary Native American Artists. By Richard Pearce." Oral History Review 43, no. 1 (2016): 232–34. http://dx.doi.org/10.1093/ohr/ohw012.

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15

MacKichan, Margaret A. "Women and Ledger Art: Four Contemporary Native American Artists by Richard Pearce." Great Plains Quarterly 35, no. 1 (2015): 114–15. http://dx.doi.org/10.1353/gpq.2015.0004.

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16

Lee, Chin, Orit Almagor, Dorothy D. Dunlop, et al. "Association between African American race/ethnicity and low bone mineral density in women with systemic lupus erythematosus." Arthritis & Rheumatism 57, no. 4 (2007): 585–92. http://dx.doi.org/10.1002/art.22668.

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17

Hahn, Bevra H. "Women in rheumatology. the event at the american college of rheumatology annual scientific meeting in october 1992." Arthritis & Rheumatism 36, no. 7 (1993): 890–92. http://dx.doi.org/10.1002/art.1780360704.

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18

Simpson, Pamela H., and Kirsten Swinth. "Painting Professionals: Women Artists and the Development of Modern American Art, 1870-1930." Woman's Art Journal 25, no. 1 (2004): 51. http://dx.doi.org/10.2307/3566502.

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Macleod, Dianne Sachko. "Power Underestimated: American Women Art Collectors by Rosella Mamoli Zorzi (review)." Henry James Review 34, no. 1 (2013): E—1—E—4. http://dx.doi.org/10.1353/hjr.2013.0006.

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Bertolet, Anna Riehl. "American Colonial Women and Their Art: A Chronological Encyclopedia by Mary Ellen Snodgrass." Early Modern Women 13, no. 2 (2019): 113–15. http://dx.doi.org/10.1353/emw.2019.0007.

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21

Dabakis, Melissa, and Kirsten Swinth. "Painting Professionals: Women Artists & the Development of Modern American Art, 1870-1930." Journal of American History 89, no. 3 (2002): 1077. http://dx.doi.org/10.2307/3092424.

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22

Walters, Jordan Biro. "“So Let Me Paint”." Pacific Historical Review 88, no. 3 (2019): 439–67. http://dx.doi.org/10.1525/phr.2019.88.3.439.

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This article explores the status of R.C. Gorman (Navajo) within the art community of San Francisco, California, in the 1960s. Using Gorman’s personal papers, the article addresses how his queer identity, Navajo heritage, and Native urbanization contributed to his production of world-renowned art. Gorman’s representation of strong Navajo women, which made him a universally recognized artist, stemmed from his own exploration of gender performativity and homoeroticism while living in an urban gay mecca. Moreover, Gorman’s use of both resources in the city and the southwestern Indian art market allowed him to forge a successful art career. A formative figure in the Native American Fine Art Movement, Gorman’s experiences in San Francisco suggest that indigenous creative practices challenged a dominant interpretation and construction of the inferiority of American Indians.
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Hill, Melanie R. "Set Thine House in Order: Black Feminism and the Sermon as Sonic Art in The Amen Corner." Religions 10, no. 4 (2019): 271. http://dx.doi.org/10.3390/rel10040271.

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In The Souls of Black Folk, W.E.B. DuBois discusses the historical and cultural beginnings of the black preacher as “the most unique personality developed on American soil.” He writes, “[the black preacher] found his functions as the healer of the sick, the interpreter of the Unknown, the comforter of the sorrowing, the supernatural avenger of wrong…Thus as bard, physician, judge, and priest within the narrow limits allowed by the slave system rose the Negro preacher.” Far from being a monolith, the preacher figure embodies many complexities and variances on how the preached Word can be delivered. This begs the question, in what ways can we reimagine DuBois’s black preacher figure in his words, “the most unique personality developed on American soil,” as a black woman? What remains to be seen in scholarship of the mid-twentieth century is an articulation of the black woman preacher in African American literature. By reimagining and refiguring a response to DuBois’s assertion above, how is the role of the black woman preacher and impact of her sermons portrayed in African American literature? Using the art of the sermon, the intersection of music, and James Baldwin’s The Amen Corner as a central text, this article examines the black woman preacher in character and African American women’s spirituality in twentieth century literature. I argue that the way in which Margaret Alexander, as a black woman preacher in the text, creates sermonic spaces of healing and restoration (exegetically and eschatologically) for herself and others outside of the church becomes a new mode of social and cultural resistance. This article works to re-envision the black woman and reposition her in the center of religious discourse on our way to unearthing the modes of transfiguration black women preachers evoke in and out of the pulpit.
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24

Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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25

Maxwell, December, and Sarah Robinson. "Safety for American Indian Women." Advances in Social Work 19, no. 1 (2020): 181–200. http://dx.doi.org/10.18060/22608.

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American Indian/Native American (AI/NA) women are disproportionately affected by intimate partner violence (IPV). The Violence Against Women Reauthorization Act (VAWA) of 2013 included new provisions under the Title IX Safety for Indian Women. This act created funding for the implementation of modern criminal justice structures allowing tribal governments to prosecute non-Indian perpetrators. Although this piece of legislation is meant to address the high prevalence of gender-based violence perpetrated against AI/NA women, it has not been analyzed using indigenous or feminist perspectives. A policy analysis model was developed, incorporating indigenous values, feminist perspectives, tribal critical race theory, and social construction and historical contexts to examine Title IX's goals, social values, and outcomes from an indigenous perspective. The analysis reveals the intentions of Title IX to promote indigenous values of empowerment and interdependence but fails to account for the historical marginalization of AI/NA people and the tendency of AI/NA women to distrust law enforcement. Although Title IX did create cultural change and enhance acknowledgment of IPV improvements are needed to make a more indigenous-focused, feminist-based policy. These suggestions include providing access to culturally sensitive law enforcement approaches for AI/NA women, accounting for historical factors, and creating a standardized pathway for prosecution, which incorporates feedback from tribal members.
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Todak, Natalie, and Katharine Brown. "Policewomen of color: a state-of-the-art review." Policing: An International Journal 42, no. 6 (2019): 1052–62. http://dx.doi.org/10.1108/pijpsm-07-2019-0111.

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Purpose The purpose of this paper is to offer a state-of-the-art review of the research on women of color in American policing. Directions for future research are also highlighted. Design/methodology/approach Using several online databases, a literature search was performed to collect all relevant empirical studies on the topic. The review includes only studies that examined research questions about minority women officers in their own right. Findings The review identified 12 studies focused on recruitment, hiring, retention and the on-the-job experiences of this population. Most studies focused on black policewomen. All data analyzed in these studies are at least 20 years old. Originality/value Research on minorities in policing tends to concentrate on either black men or white women. For decades, scholars have called for more research on policewomen of color, yet little progress has been made. The current study takes stock of the existing research and provides a much-needed agenda to fill this research gap.
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Cucarella-Ramon, Vicent. "The Aesthetics of Healing in the Sacredness of the African American Female’s Bible: Zora Neale Hurston’s Moses, Man of the Mountain." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 69. http://dx.doi.org/10.14198/raei.2016.29.04.

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Zora Neale Hurston’s Moses, Man of the Mountain (1939) stands in the tradition of African American use of the biblical musings that aims to relativize and yet uphold a new version of the sacred story under the gaze of a black woman that manipulates and admonishes the characters of the gospel to offer a feminist side of the Bible. The novel discloses Hurston’s mastering of the aesthetics that black folklore infused to the African American cultural experience and her accommodation to bring to the fore the needed voice of black women. Rejecting the role of religion as a reductive mode of social protest, the novel extends its jeremiadic ethos and evolves into a black feminist manifesto in which a world without women equates disruption and instability. Hurston showcases the importance of an inclusive and ethic sacred femininity to reclaim a new type of womanhood both socially and aesthetically. Three decades before the post-colonial era, Hurston’s bold representation of the sacred femininity recasts the jeremiad tradition to pin down notions of humanitarianism, social justice and the recognition of politics of art. All in all, in an era of a manly social protest literature Hurston opts for portraying the folkloric aesthetics of spirituality as creative agency simply to acknowledge the leadership of the sacred femininity that black women could remodel into art.
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Eunyoung Cho. "Stereotyped Imagery: Representing Northeast Asian Women in American Art and Visual Culture, 1850s-1870s." Misulsahakbo(Reviews on the Art History) ll, no. 33 (2009): 147–78. http://dx.doi.org/10.15819/rah.2009..33.147.

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Winchell, M. K. "Beyond Rosie the Riveter: Women of World War II in American Popular Graphic Art." Journal of American History 100, no. 2 (2013): 579–80. http://dx.doi.org/10.1093/jahist/jat243.

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Feinberg, E. C., F. W. Larsen, W. H. Catherino, J. H. Segars, and A. Y. Armstrong. "Leiomyoma May Explain Racial Differences in ART Outcome Between African American and Caucasian Women." Fertility and Sterility 84 (September 2005): S141. http://dx.doi.org/10.1016/j.fertnstert.2005.07.344.

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Miller, Nicola. "Recasting the Role of the Intellectual: Chilean Poet Gabriela Mistral." Feminist Review 79, no. 1 (2005): 134–49. http://dx.doi.org/10.1057/palgrave.fr.9400206.

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The life and work of Gabriela Mistral, the first Latin American writer to be awarded the Nobel Prize for Literature in 1945, is examined as an example of how difficult it was for women to win recognition as intellectuals in 20th-century Latin America. Despite an international reputation for erudition and political commitment, Mistral has traditionally been represented in stereotypically gendered terms as the ‘Mother’ and ‘Schoolteacher’ of the Americas, and it has been repeatedly claimed that she was both apolitical and anti-intellectual. This article contests such claims, arguing that she was not only committed to fulfilling the role of an intellectual, but that she also elaborated a critique of the dominant male Latin American view of intellectuality, probing the boundaries of both rationality and nationality as constructed by male Euro-Americans. In so doing, she addressed many of the crucial issues that still confront intellectuals today in Latin America and elsewhere.
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Maier, Angelica J. "“Is Cleopatra Black?”: Examining Whiteness and the American New Woman." Humanities 10, no. 2 (2021): 68. http://dx.doi.org/10.3390/h10020068.

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In the 1920s and 1930s, conceptions of the “New Woman” and Egyptomania shaped American culture. Employing methods of critical race art history and material culture studies, I focus on a 1925 Callot Soeurs dress and silk pajamas (c. 1920–1929), taking into consideration both the semiotic qualities of Egyptian motifs as they circulated in early twentieth century American visual culture as well as the sensuous material aspects of the garments. Through primary sources like cosmetic advertisements, fashion magazines, and costume manuals, I contextualize the figure of Cleopatra as a symbol of white beauty and power in this period. Weighing both visual and material aspects, I argue that the repeated act of wearing these garments by white-presenting women placed them in a performative valence, where the wearer ironically became a white woman through her appropriation of Cleopatra and Egyptian motifs. Further, these motifs conferred modernity, cosmopolitanism, class status and an acceptable sexuality upon the wearer. As such, I address how material objects shape subjectivity, simultaneously reflecting and producing racialized and gendered discourses. By focusing on white womanhood, I draw upon critical studies of whiteness in order to disrupt its invisible normative status. This essay traces its operational logic and aids in dismantling the pervasive power of white supremacy that continues to circulate today.
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Jordan, Margaret S., Mark A. Lumley, and C. C. Leisen. "The relationships of cognitive coping and pain control beliefs to pain and adjustment among African-American and Caucasian women with rheumatoid arthritis." Arthritis Care & Research 11, no. 2 (1998): 80–88. http://dx.doi.org/10.1002/art.1790110203.

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Zahedi-Spung, Leilah, Marisa Young, Lisa B. Haddad, and Martina L. Badell. "Perceived Barriers to Antepartum HIV Medication Adherence in HIV Infected Pregnant Women." Infectious Diseases in Obstetrics and Gynecology 2018 (October 16, 2018): 1–5. http://dx.doi.org/10.1155/2018/4049212.

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Introduction. Although rare, perinatal HIV transmission still occurs in the United States and most transmissions are preventable. We aim to identify patient barriers to antiretroviral therapy (ART) adherence during pregnancy and assess patient understanding of perinatal transmission. Methods. This cross-sectional survey recruited HIV positive postpartum women at a large safety net hospital in Atlanta, Georgia, between January 2016 and February 2018. Survey questions included demographic characteristics, HIV history, knowledge of perinatal transmission, and ART adherence. Perinatal and HIV outcomes were assessed using chart abstraction. Results. Of the 70 HIV infected postpartum women delivered at a large safety net hospital in Atlanta, GA, 45 women were eligible and consented to participate. Participating women were aged 18 to 40 years with an average age of 29 years old, 93% of participants were African-American, and 68% had ≥3 pregnancies. The majority of participants (75%) reported daily ART adherence. “Forgetting” was the most frequent reason for missing pills (57%). Thirteen women had a detectable viral load at the time of delivery and nine of those women had a viral load greater than 1000 copies/mL. Approximately 85% of women who correctly stated ART medications decrease perinatal transmission risk reported daily adherence compared with 50% of women without that knowledge (OR 5.6, 95% CI 1.17, 26.7). Almost half of women (40%) either did not know or believed a vaginal delivery, regardless of viral load, would increase their risk of perinatal transmission. Conclusion. Overall, women who were diagnosed with HIV during the current pregnancy, those with planned pregnancies, and those who were on medications prior to pregnancy were more likely to report daily ART adherence. Detectable viral load at delivery is the greatest risk factor for perinatal transmission; therefore strategies to increase ART adherence are needed.
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Johnson, Shelly, and Alessandra Santos. "REDressing Invisibility and Marking Violence Against Indigenous Women in the Americas Through Art, Activism and Advocacy." First Peoples Child & Family Review 7, no. 2 (2020): 97–111. http://dx.doi.org/10.7202/1068844ar.

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The incidence of crimes against Indigenous women in the Americas has a long history in the making, but in remembering this history now, in redressing the invisible violence, in rendering the invisible visible, is how we as community can put a stop to the atrocities. Two Indigenous women academics from north and south America explore the intersections between art, activism and advocacy in this article on missing, raped and murdered Indigenous women in Mexico, Guatemala and Canada. It asks questions and provides examples about how artists, activists and advocates can redress the invisibility of the violence against Indigenous women, violations of their human rights and potentially repair loss.
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Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.

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James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.
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Staikidis, Kryssi. "Revitalizing History: Recognizing the Struggles, Lives, and Achievements of African American and Women Art Educators." Studies in Art Education 59, no. 2 (2018): 159–63. http://dx.doi.org/10.1080/00393541.2018.1440152.

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Feinberg, E. C., F. W. Larsen, W. H. Catherino, and A. Y. Armstrong. "Increased Access to Care Results in Increased Utilization of ART Services by African American Women." Fertility and Sterility 84 (September 2005): S238. http://dx.doi.org/10.1016/j.fertnstert.2005.07.615.

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DIMAND, ROBERT W., and GEOFFREY BLACK. "CLARE DE GRAFFENREID AND THE ART OF CONTROVERSY: A PRIZEWINNING WOMAN ECONOMIST IN THE FIRST DECADE OF THE AMERICAN ECONOMIC ASSOCIATION." Journal of the History of Economic Thought 34, no. 3 (2012): 339–53. http://dx.doi.org/10.1017/s1053837212000363.

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The outspoken social reformer Mary Clare de Graffenreid (born 1849, died 1921) stood out among the handful of early women members of the American Economic Association (founded 1885) as the winner of two essay competitions. In 1889, Clare de Graffrenreid’s essay shared the $100 first prize in an AEA essay competition on child labor, and appeared the following year in the Publications of the American Economic Association (1st series, 5, 2, March 1890, pp. 194–271). In 1891 her essay “The Condition of Wage-Earning Women” (published in Forum 15, March 1893, pp. 68–82) won the $300 first prize in an AEA essay competition on women workers (the $200 second prize went to Helen Campbell’s “Women Wage Earners,” 1893). Her valedictory address at Wesleyan Female College in Macon, Georgia, in 1865 provided her first taste of public controversy, as the general commanding Union troops in the area responded by placing the college under guard and threatening to close it, but by far the most controversial of her twenty-seven publications was “The Georgia Cracker in the Cotton Mill” (Century Magazine, February 1891). This paper examines de Graffenreid’s career and contributions, and what her career reveals about the paths for women to participate in the AEA and the American economics profession in the late nineteenth century. After teaching Latin, literature, and mathematics for a decade at Georgetown Female Seminary, de Graffenreid had a non-academic career as an investigator with the Bureau of Labor (from 1888, Department of Labor) from 1886 until she retired in 1906. Despite her AEA prizes, her published lectures to other conferences (YWCA, National Conference of Charities and Correction), and her published testimony to the Industrial Commission on the Relations of Capital and Labor, she was never on the program of an AEA meeting. Like other women economists of her time, de Graffenreid crossed boundaries between scholarly research and social reform, and between different scholarly disciplines (e.g., publishing “Some Social Economic Problems” in American Journal of Sociology, 1896). The paper examines how essay competitions provided women such as de Graffenreid and Campbell (and Julie-Victoire Daubié and Clémence Royer in France) with a voice in the predominately male economics profession of the late nineteenth century.
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Rehman, Fasih ur, Sahar Javaid, and Quratulain Mumtaz. "Native American Woman's Phenomenological Experience of Space and Place in Erdrich's Tracks." Global Social Sciences Review VI, no. I (2021): 298–305. http://dx.doi.org/10.31703/gssr.2021(vi-i).30.

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This study discusses Native American woman's experience of existential outsideness, which is caused by the Euro-American legislative act as represented by Louise Erdrich in her novel Tracks. This research analyzes the role of the Dawes Act of 1887 in triggering the experience of existential outsideness among the Native Americans in general and Native American women in particular. Through Edward Casey Ralph's phenomenological perspective on the notion of spatiality, the study reinterprets the representation of space and place in Louise Erdrich's Tracks. The study offers a spatial reading of a Native American woman's life to explicate how she confronts the issues related to the confiscation of her ancestral lands that trigger her experience of existential outsideness to her land. The study concludes that Euro-American policies of acculturation and assimilation thwarted spatioexistential experiences of Native American women.
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Hasan, Hira, and Lauren E. Richey. "1006. Contraception, Pregnancy and ART in Women of Child-Bearing Years." Open Forum Infectious Diseases 7, Supplement_1 (2020): S532. http://dx.doi.org/10.1093/ofid/ofaa439.1192.

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Abstract Background Simpler anti-retroviral (ART) regimens with less pill burden and fewer side effects can improve adherence and clinical outcomes. Warnings about dolutegravir possibly causing neural tube defects (NTD) are alarming and have the potential to limit ART options for women of child-bearing years. A recent preliminary analysis from an observational study group in Botswana prompted a warning from the US Department of Health and Human Services (DHHS), released in May 2018, about the use of dolutegravir during conception. Methods At a large urban HIV clinic in New Orleans, a retrospective chart review was performed on adult women up to age 40 who were seen in clinic in 2018 to assess for dolutegravir use, as well as discussion of NTD and pregnancy. Results 132 woman in the age range were seen in 2018, the mean age was 33 years (range 19 to 40). Average age of HIV diagnosis was 26. Most were African-American (83%) and 81% had Medicaid or no insurance. Eleven percent were diagnosed with HIV due to testing during pregnancy and 17% during routine screening. Sexual exposure was the main reported risk factor for HIV (69%) and 48% had another STD. Only 61% had a documented discussion of contraception and pregnancy plans. Over their treatment at the clinic, 47 pregnancies occurred. Most of the women were on integrase regimens (65%), although 14% were on protease inhibitor regimens and 20% were on other regimens or combination regimens. Forty two percent of the women were ever on dolutegravir and 12 had NTD discussed, resulting in 3 regimen changes. The main reason it was not discussed was permanent sterilization, change to a different ART regimen prior to the warning, long-term contraception, or no sexual activity. Seven pregnancies occurred while on dolutegravir, three were prior to the warning, one after the first trimester, and one ended in abortion. None had an NTD reported. Conclusion Dolutegravir is very commonly used due to its tolerability and simplicity. While recent reports show the risk of NTD to be lower than previously thought, it is still elevated compared to other ART and a more open discussion of pregnancy plans, contraception, and NTD if applicable, needs to occur in women living with HIV. Disclosures All Authors: No reported disclosures
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Neal-Barnett, Angela M., and Janis H. Crowther. "To Be Female, Middle Class, Anxious, and Black." Psychology of Women Quarterly 24, no. 2 (2000): 129–36. http://dx.doi.org/10.1111/j.1471-6402.2000.tb00193.x.

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Women of color theorists have suggested that the double minority status of gender and ethnicity places African American women at higher risk for anxiety. However, little information is available about anxiety disorders among African American women. The existing literature subsumes Black women under the general category of African Americans and focuses on low-income samples. In this study, we examine the manifestation of panic disorder in a sample of 15 predominantly middle-class African American women. We then compare these women to a group of 35 predominantly middle-class African American women without panic disorder on several factors, including presence of isolated sleep paralysis, presence of other anxiety disorders, help-seeking behavior, and victimization. Results indicate that African American women with panic disorder experienced isolated sleep paralysis, and that both groups had high levels of sexual victimization. Help-seeking among women with panic and other anxiety disorders was limited to relationship difficulties, sexual assault, and bereavement.
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Bolin, Anne. "Bike Lust: Harleys, Women and American Society.:Bike Lust: Harleys, Women and American Society." American Anthropologist 104, no. 4 (2002): 1242–44. http://dx.doi.org/10.1525/aa.2002.104.4.1242.2.

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Lucero, Robert, Renessa Williams, Tanisia Esalomi, Paula Alexander-Delpech, Christa Cook, and Ragnhildur I. Bjarnadottir. "Using an Electronic Medication Event–Monitoring System for Antiretroviral Therapy Self-Management Among African American Women Living With HIV in Rural Florida: Cohort Study." JMIR Formative Research 4, no. 2 (2020): e14888. http://dx.doi.org/10.2196/14888.

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Background HIV remains a significant health issue in the United States and disproportionately affects African Americans. African American women living with HIV (AAWH) experience a particularly high number of barriers when attempting to manage their HIV care, including antiretroviral therapy (ART) adherence. To enable the development and assessment of effective interventions that address these barriers to support ART adherence, there is a critical need to understand more fully the use of objective measures of ART adherence among AAWH, including electronic medication dispensers for real-time surveillance. Objective This study aimed to evaluate the use of the Wisepill medication event–monitoring system (MEMS) and compare the objective and subjective measures of ART adherence. Methods We conducted a 30-day exploratory pilot study of the MEMS among a convenience sample of community-dwelling AAWH (N=14) in rural Florida. AAWH were trained on the use of the MEMS to determine the feasibility of collecting, capturing, and manipulating the MEMS data for an objective measure of ART adherence. Self-reported sociodemographic information, including a self-reported measure of ART adherence, was also collected from AAWH. Results We found that the majority of participants were successful at using the electronic MEMS. Daily use of the MEMS tended to be outside of the usual time participants took their medication. Three 30-day medication event patterns were found that characterized ART adherence, specifically uniform and nonuniform medication adherence and nonuniform medication nonadherence. There were relatively few MEMS disruptions among study participants. Overall, adjusted daily ART adherence was 81.08% and subjective ART adherence was 77.78%. Conclusions This pilot study on the use and evaluation of the Wisepill MEMS among AAWH in rural Florida is the first such study in the United States. The findings of this study are encouraging because 10 out of 12 participants consistently used the MEMS, there were relatively few failures, and objective adjusted daily and overall subjective ART adherence were very similar. On the basis of these findings, we think researchers should consider using the Wisepill MEMS in future studies of AAWH and people living with HIV in the United States after taking into account our practical suggestions. The following practical considerations are suggested when measuring objective medication adherence: (1) before using an MEMS, be familiar with the targeted populations’ characteristics; (2) choose an MEMS that aligns with the participants’ day-to-day activities; (3) ensure the MEMS’ features and resulting data support the research goals; (4) assess the match among the user’s ability, wireless features of the MEMS, and the geographic location of the participants; and (5) consider the cost of MEMS and the research budget.
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Henning, Tempest. "“I Said What I Said”—Black Women and Argumentative Politeness Norms." Informal Logic 41, no. 1 (2021): 17–39. http://dx.doi.org/10.22329/il.v41i1.6687.

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This paper seeks to complicate two primary norms within argumentation theory: 1) engaging with one’s interlocutors in a ‘pleasant’ tone and 2) speaking directly to one’s target audience/interlocutor. Moreover, I urge argumentation theorists to explore various cultures’ argumentative norms and practices when attempting to formulate more universal theories regarding argumentation. Ultimately, I aim to show that the two previously mentioned norms within argumentation obscure and misrepresent many argumentative practices within African American Vernacular English—or Ebonics, specifically the art of signifying.
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Moore, Jeania Ree V. "African American Quilting and the Art of Being Human: Theological Aesthetics and Womanist Theological Anthropology." Anglican Theological Review 98, no. 3 (2016): 457–78. http://dx.doi.org/10.1177/000332861609800302.

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In her collection In Search of Our Mothers’ Gardens: Womanist Prose (1983), Alice Walker explores how African American women preserved and passed down a heritage of creativity and beauty in spite of brutality. I argue in this essay that African American quilting forms a revelatory subject for the womanist project taken up by theologians. As both symbol for and implementation of the creative practice Walker heralds, quilting unearths aesthetics as vital to being human. Theologically rendered, quilting unfolds theological aesthetics for and with womanist theological anthropology. Theologically engaging historical, literary, and personal narrative, I show how womanism and quilting enrich theological conceptions of aesthetics and personhood.
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Macchiavello, Carla. "Appropriating the Improper: The Problem of Influence in Latin American Art." ARTMargins 3, no. 2 (2014): 31–59. http://dx.doi.org/10.1162/artm_a_00080.

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This paper centers on the problem of influence in Latin American art analyzing some of the changes its conceptualization underwent during the 1970s and 1980s. Taking the case of Chilean conceptual practices during Augusto Pinochet's dictatorship known as “escena de avanzada,” particularly the art actions of the collective CADA, and the isolationist discourses woven around it, this article attempts to reconnect what has been regarded as original political art forms to larger networks of relations where the question of what is proper to Latin American art was disputed.
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Chester, Barbara, Robert W. Robin, Mary P. Koss, Joyce Lopez, and David Goldman. "Grandmother Dishonored: Violence Against Women by Male Partners in American Indian Communities." Violence and Victims 9, no. 3 (1994): 249–58. http://dx.doi.org/10.1891/0886-6708.9.3.249.

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Extensive and scrupulously conducted research during the past decade has established the issue of violence against women by male partners as both an international human rights issue and a public health problem of national concern. This research has rarely been extended into communities of color, and, in particular, to American Indian women. This article presents conceptual and methodological factors involved in conducting research with American Indian women, a comprehensive literature review of available data, assertions regarding abuse of women by male partners in American Indian communities, and directions for future research. “Our grandmother, the earth, is a woman, and in mistreating your wife, you will be mistreating her. Most assuredly you will be abusing our grandmother if you act thus.” (Winnebago man)
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Lubowski-Jahn, Alicia. "Picturing the Americas After Humboldt: The Art of Women Travelers." Review: Literature and Arts of the Americas 45, no. 1 (2012): 97–105. http://dx.doi.org/10.1080/08905762.2012.670474.

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Van Berkel, Laura, Ludwin E. Molina, and Sahana Mukherjee. "Gender Asymmetry in the Construction of American National Identity." Psychology of Women Quarterly 41, no. 3 (2017): 352–67. http://dx.doi.org/10.1177/0361684317707710.

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Dominant groups (e.g., White U.S. citizens) are more associated with “American” identity and they feel greater ownership over American national identity compared to ethnic minority groups. We extended this perception to gender and tested whether American national identity is constructed in masculine, versus feminine, terms. We examined whether U.S. men feel greater symbolic ownership over the nation and represent what it means to be a prototypical American, more than U.S. women. In Study 1, men and women considered male-associated traits more American than female-associated traits and listed more men as examples of “true” Americans than women. In Study 2, men reported higher levels of nationalism than women. Women’s nationalism was moderated by their conception of male-associated traits as American—women who viewed American identity as more masculine were less nationalistic. Men showed a stronger correlation between gender identity and American identity compared to women. However, correlations between gender identity and nationalism did not differ by participant gender. Results suggest men and masculinity are considered more American than are women and femininity. We provide support for the subgroup asymmetry hypothesis through the novel lens of gender. We discuss means of attenuating the gendered construction of national identity in terms of media, policy, and education. Additional online materials for this article, including study materials, a podcast interview with the author, and slides for instructors who want to use this article for teaching, are available on PWQ’ s website at http://journals.sagepub.com/doi/suppl/10.1177/0361684317707710
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