Nasty Women Connecticut, New Haven, CT (2026)

We aim to remove elitism from our local art scene and empower all members of our community to participate in making and experiencing art.

06/23/2026

We are excited to announce a Pride Month Special, in which we are re-releasing SIX essays from the Feminist Media Histories archive for the month of the June. The work spans the first decade of FMH (2015–24), and covers a range of feminist-queer topics, historical approaches, and forms of media. All are FREE for the month of June! https://www.ucpress.edu/blog-posts/fmh-pride-26

Candace Moore, Proto-Q***r Media Criticism: "Cinema Ramblings" from an RKO Secretary (2015)

Ryan Powell, Hardcore Style, Q***r Heteroeroticism, and 'After Dark' (2019)

Ann Cvetkovich, "It Feels Right to Me": Q***r Feminist Art Installations and the Sovereignty of the Senses (2021)

Kiki Loveday, 'The Kiss': Forgetting Film History (2022)

Iris Pint, Making Trans History through the Otherness Archive and Curating Transmasculine Film (2024)

Celiany Rivera-Velázquez, Jayaera: The Multimedia Joy of Afro-Caribbean "Cuir Bliss" (2024)

06/20/2026

In 1970, Kate Millett published “Sexual Politics.” The book was quickly received as era-defining, and Millett was consecrated as the leader of second-wave feminism. “The violence of her public life began,” Rachel Cusk writes. “The success of ‘Sexual Politics’ brought all of fame’s bedfellows to Millett’s door: intrusion, insult, worship, expectation. In itself, success was a crude notion to apply to a set of ideas whose goal was so earnest and pure. That a profound critique of patriarchy could be a best-seller, and its author on the cover of Time magazine brought capitalism and revolution into uneasy proximity.” Between the enormity of her public persona and the complexity of her private self, Millett’s mental health began to fracture.

In Millett’s 1972 installation “Terminal Piece,” a mannequin sits alone in the second of two rows of empty folding chairs. She is fenced off from the spectators; it is unclear whether it is the figure who is behind bars or the viewers. Millett said that she created “Terminal Piece” because “it could not be written.” She believed that the visual art work, with its power of nonspecific allusion, could touch something deeper than human thought and rationality. “Looking at the caged woman amid rows of empty chairs, I felt instant fear, not just of this disturbing and sinister work but of the very notion of describing it in an essay,” Cusk continues. Read her consideration of Millett’s artistic practice and the limitations of language: https://newyorkermag.visitlink.me/yjaejB

06/16/2026

Once a year, Dutch kids, parents and teachers take part in a walking festival, heading out for four nights in a single week to explore their neighbourhoods, exercise and make friends. It’s a tradition that seems to be genuinely transformative

06/13/2026

Danielle Mckinney’s exhibition, “Forest for the Trees,” struck a personal chord for writer Channelle Chevelle Russell, who first discovered the artist’s work while studying in Scotland’s east coast alone. As a young Black woman abroad, she was “tortured by a dual sense of being hypervisible and passed on, passed over,” she said.

But Mckinney’s work became the “lifeline that lifted me out,” Russell said—her oil and water color portraits opening “a window towards the possibilities and ambivalences of solitude and private, domestic space for Black women, where being by and with myself did not also have to mean miserable.”
Image 1: Danielle Mckinney, “Milk and Honey” (2026)

06/11/2026

Director Mary Harron on her audacious ‘anti-biopic’ of Scum Manifesto author Valerie Solanas, who shot Warhol in 1968

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