...Margery King Margery King 2003 The GLQ Gallery GREER’S WORLD Margery King Greer Lankton’s figures seem extraordinarily real. They are sometimes called dolls, but dolls are more vacant and benign. Greer’s figures are mannequin-like, but they are more than mannequins. In some ways...

... with AIS) to find their self-identities as women rejected by Germaine Greer in her book The Whole Woman because she insisted that “it is my considered posi- tion that femaleness is conferred by the final pair of XX chromosomes. Otherwise I don’t know what it is.”69 As Morland has noted, when Greer...

..., and Yinka Shonibare, among others. She has written on artists from Andy Warhol to James VanDerZee. From 1991 through 2002, she was a curator at the Andy Warhol Museum, where she co- organized The Warhol Look/Glamour Style Fashion. She curated Greer Lankton’s 1996 exhibition at the Mattress Factory...

... variety of writing by women: canonical lesbian mod- ernism by Radclyffe Hall and Gertrude Stein; new forms of autoethnography by women of color like Audre Lorde and Gloria Anzaldúa; feminist classics by Betty Friedan, Germaine Greer, Shulamith Firestone, and Jill Johnston; queer theory by Judith...

...; Teun Dekker, Martin Greer, and Ring T. Cardé, “Carbon Dioxide Instantly Sensitizes Female Yellow Fever Mosquitoes to Human Skin Odors,” Journal of Experimental Biology 208 (2005): 2963 – 72; and Pablo H. Guerenstein and John G. Hildebrand, “Roles and Effects of Environmental Carbon...

... in a murder. Jeff is subsequently killed by the femme fatale, Kathie (Jane Greer), when she discovers that he is handing her over to the police as the killer. When Jeff’s current girlfriend, Ann (Virginia Huston), asks the deaf boy whether Jeff intended to return to Kathie, the boy nods, telling a lie...

... by the bright lights into Rosalind Russell, Greer Garson, Judy Gar- land.” As with many feminist and queer autoethnographies, To Catch a Glimpse foregrounds how technology has changed hands, and how point of view is con- tested and dispersed. In keeping with Carlomusto’s commitment...

... (1982): Ellen Willis, 32, Joan Nestle, 32, Barbara Greer, 33; 12, no. 10 (1982): Samois, 26, Cleveland WAVAM, 26. 42. But see Feminist Anti-­Censorship Taskforce et al., eds., Caught Looking: Feminism, Pornography, and Censorship (East Haven, CT: Long River Books...