Those Boots Aren’t Made For Walking: Wonder Woman Reimagined

By AJ Wood

Lynda Carter as Wonder Woman

I remember little of my childhood, especially anything before age eight or nine, but one memory I do have from age four or five was Wonder Woman. Stripped down to my red and blue briefs and a red T-shirt tucked into them, with a lasso of kite string at my side, I felt wise as Athena, fast as Hermes, and stronger than Hercules. I had to imagine the boots, bracelets, and tiara, but the costume was close enough.
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The Women Behind The Whedonverse

By Lisa Anderson

Even casual fans of Joss Whedon know that strong female characters are important to him. Buffy the Vampire Slayer, Echo from Dollhouse, and Zoe from Firefly are only a few examples. What casual fans may not realize is that women behind the scenes—Whedon’s fellow writers and producers—have also helped make his storylines beloved to so many fans. They include Jane Espenson, Marti Noxon, Maurissa Tancheroen, and Felicia Day.
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We Can Do It (Better): The Women Of The Mercury Program, The “Mercury 13”

By Emily Carney

Jerrie Cobb, test pilot, stands next to a Mercury capsule.

I was born in 1978, and it is difficult for me to believe that in the late 1950s and early 1960s, the world was still rife with prejudices based on race, ethnicity, and gender. I joined the US Navy in 1997, and was sometimes exposed to painful instances of discrimination based upon my gender and general appearance. It is very upsetting to come to the realization that people may dislike you and prevent you from doing your job based on something you can’t change.
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“Seductive Subversion: Women In Pop Art”

By Chelsea Spear

Exhibit at The Aidekman Center for the Arts
Medford, MA

Free association: When I say the words “Pop Art,” what comes to mind? Screen-prints of Brillo boxes and Campbell’s soup cans, Ben-Day dots on comic-strip women, cartoon collages. And pop artists? Andy Warhol, Roy Lichtenstein, Richard Hamilton, maybe Jasper Johns and Robert Rauschenberg. Like most art movements, Pop Art is considered to be a boys’ club. “Seductive Subversion” seeks to turn this misconception on its head.
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Beyond Twilight: Stephenie Meyer’s The Host

By Lisa Anderson

Stephenie Meyer: Few writers have ever had their work loved and hated so deeply at the same time.

Her Twilight series, consisting of four novels and a novella, has sold over 100 million copies worldwide and been translated into 38 languages, as well as being adapted into a film saga that is set to conclude this year. Meyer has a wide variety of critics, from vampire purists who resent the liberties she has taken with the lore, to feminists who find the relationship between her romantic leads unhealthy. In all the hubbub, though, you hear almost nothing about Meyer’s other brain child: A science fiction novel called The Host which was released in 2008.
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Portrait of a Reputation: The Woodmans

By Chelsea Spear

The early months of 2011 find artist Francesca Woodman in the spotlight. After numerous solo shows throughout the United States and Europe, the photographer will be the subject of a career retrospective at the San Francisco Museum of Modern Art. Her work changes hands for hundreds of dollars. Established photographers like Cindy Sherman and Photoshop illustrators such as Rosie Hardy cite Woodman’s ethereal self-portraits as a key influence.
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Excellence (Still) Has No Sex: A Tribute To Artist Eva Hesse, 1936 – 1970

By Emily Carney

“You won’t believe it. I was told by the doctor that I have the most incredible life he ever heard. Have you got tissues? It’s not a little thing to have a brain tumor at thirty-three.”

Eva Hesse

This was just the beginning of an interview artist Eva Hesse conducted with Cindy Nesmer near the end of her life. The tumult—and ultimate artistic triumph—of Eva Hesse’s inner life was more than apparent in the three-dimensional latex and plastic sculptures which she made near her life’s end.
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In Defense Of Elizabeth Gilbert

By Lisa Anderson

Elizabeth Gilbert seems to be a rather divisive literary figure. Her 2006 memoir, Eat, Pray, Love told the story of the year she lived abroad after her first marriage ended. It spent almost two hundred weeks on the New York Times bestseller list, and was praised by Oprah Winfrey. At the same time, it received a lot of criticism in the blogosphere. The gist of the criticism is that many people have problems starker than Gilbert’s, that very few people have the resources to travel for a year as she did, a and that to use other countries as the backdrop for her personal salvation was imperialist at best, racist at worst.

I don’t think that any writer is above criticism, and I’m not trying to silence anyone. I certainly agree that racial and cultural sensitivity are important. However, a lot of what I’ve heard said about Gilbert misses the point of her work, and some critiques are quite sexist. I’d like to point out a few of the things that I’ve heard and explain why I don’t believe they apply.
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Fetish Art And Feminism

By Kai Shuart

Recently, I finished reading Craig Yoe’s Secret Identity: The Fetish Art of Superman’s Co-Creator Joe Shuster. Yes, it’s true. Even though I’m as much of a feminist as you’re likely to meet, I also love fetish and pinup art. I say this not to claim definitively that pinup or fetish art is feminist; I’m too well aware of the incongruity of these two things to make such a bold claim. Rather, I state my identity as pinup fan and feminist to remind everyone that feminism is not a monolith—it comes in many different varieties. I also state these seemingly contradictory positions to remind everyone that our desires know no political affiliation. We all have fantasies that we can’t explain for the life of us.
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It’s a Love/Hate Thing: Why Dollhouse‘s Echo Matters

By Catherine Coker

We hate Echo.

Well, many of us do. Because she’s played by Eliza Dushku (who we didn’t have a problem with as Faith, or as Buffy in Faith’s body, come to think of it), or because she is so very much a FOX network construct (iddy-biddy dress and shiny red motorcycle), or because she’s really the misogynist wet dream Joss Whedon never dared to have otherwise (Yeah, I’ve got nothing on that one; anti-Whedonists are a class all their own). When Dollhouse was canceled, the anger wasn’t at television executives it was at Echo.

Why?
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