{"id":862,"date":"2024-08-12T19:18:32","date_gmt":"2024-08-12T19:18:32","guid":{"rendered":"https:\/\/web.saic.edu\/bdg\/?page_id=862"},"modified":"2024-08-29T17:26:00","modified_gmt":"2024-08-29T17:26:00","slug":"memorial-libraries","status":"publish","type":"page","link":"https:\/\/web.saic.edu\/bdg\/further-resources\/memorial-libraries\/","title":{"rendered":"The Barbara DeGenevieve Memorial Library"},"content":{"rendered":"\n<p>The Barbara DeGenevieve Memorial Library is a collection of books previously owned by Barbara DeGenevieve (1947\u20132014). Originally housed by Mana Contemporary and open to their community and the public, the collection is now housed at Ohklahomo.<\/p>\n\n\n\n<p>In response to the exhibition, the SAIC Galleries and Flaxman Library at the School of the Art Institute collaborated on a <a href=\"https:\/\/i-share-sai.primo.exlibrisgroup.com\/discovery\/search?query=any,contains,barbara%20degenevieve&amp;tab=CourseReserves&amp;search_scope=CourseReserves&amp;vid=01CARLI_SAI:CARLI_SAI&amp;facet=crsid_name,include,EXHIBITION%20:%20Barbara%20Degenevieve%20In%20Your%20Face&amp;offset=0\">bibliography<\/a> for the semester including books from DeGenevieve&#8217;s library, syllabi, and visiting artists.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-group alignwide\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"766\" src=\"https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-1024x766.png\" alt=\"\" class=\"wp-image-863\" style=\"width:840px;height:auto\" srcset=\"https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-1024x766.png 1024w, https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-300x224.png 300w, https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-768x574.png 768w, https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-1100x823.png 1100w, https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-550x411.png 550w, https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM-160x120.png 160w, https:\/\/web.saic.edu\/bdg\/wp-content\/uploads\/sites\/14\/2024\/08\/Screen-Shot-2024-08-12-at-2.10.52-PM.png 1516w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h1 class=\"wp-block-heading alignwide has-text-align-center is-style-default has-vivid-red-color has-text-color has-link-color has-body-font-family has-large-font-size wp-elements-9484f0e539bdd9236c504d295f871737\" style=\"font-style:normal;font-weight:600;line-height:1.2\"><a href=\"https:\/\/www.instagram.com\/ohklahomo\/\"><strong>Ohklahomo:<\/strong><\/a><\/h1>\n\n\n\n<p>Ohklahomo is an experimental performance, sound, art and language space located in Mark Jeffery and Lori Talley&#8217;s basement on Iowa Street in Chicago. As of 2023, the space began hosting the library of maverick Barbara DeGenevieve in an effort to allow for response, conversation and activation of her legacy. <\/p>\n\n\n\n<p>Most of the books in the Memorial Library are nonfiction: texts she used as resources for her artwork, or for teaching classes in the department of photography at the School of the Art Institute of Chicago. The collection is organized thematically, separated by genres such as philosophy, art history, and gender studies. These themes were important components in research and production of DeGenevieve\u2019s visual works. Her library showcases her thoughts, references, and sources of inspiration.<\/p>\n\n\n\n<p><\/p>\n<\/div><\/div>\n\n\n\n<ol class=\"wp-block-list\">\n<li><em>The Activist\u2019s Handbook <\/em>by Randy Shaw<\/li>\n\n\n\n<li><em>Queer <\/em>by William S. Burroughs<\/li>\n\n\n\n<li><em>Dress Your Family in Corduroy and Denim <\/em>by David Sedaris&nbsp;<\/li>\n\n\n\n<li><em>Valis <\/em>by Philip K. Dick<\/li>\n\n\n\n<li><em>Against the Grain (A Rebours) <\/em>by J. K. Huysmans&nbsp;<\/li>\n\n\n\n<li><em>Dares to Speak: Historical and Contemporary Perspectives on Boy-Love <\/em>edited Joseph Geraci&nbsp;<\/li>\n\n\n\n<li><em>The Practice of Love: Lesbian Sexuality and Perverse Desire <\/em>by Teresa de Lauretis&nbsp;<\/li>\n\n\n\n<li><em>Inside\/Out: Lesbian Theories, Gay Theories <\/em>edited by Diana Fuss<\/li>\n\n\n\n<li><em>Secret Publicity: Essays on Contemporary Art<\/em> by Sven L\u00fctticken<\/li>\n\n\n\n<li><em>&nbsp;The Sadomasochism of Everyday Life: Why We Hurt Ourselve<\/em>s<em>\u2014And Others\u2014And How to Stop <\/em>by John Munder<\/li>\n\n\n\n<li><em>&nbsp;The Critical Image: Essays on Contemporary Photography <\/em>edited by Carol Squiers<\/li>\n\n\n\n<li><em>&nbsp;Words Without Pictures<\/em><\/li>\n\n\n\n<li><em>&nbsp;A Streetcar Named Desire <\/em>by Tennessee Williams<\/li>\n\n\n\n<li><em>&nbsp;Poetry: An Introduction <\/em>by Jeffrey D. Hoeper and James H. Pickering<\/li>\n\n\n\n<li><em>&nbsp;Bad Girls &amp; Dirty Pictures: The Challenge to Reclaim Feminism <\/em>by Alison Assiter &amp; Avedon Carol&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;The Freud Reader <\/em>edited by Peter Gay<\/li>\n\n\n\n<li><em>&nbsp;Art and Morality <\/em>edited by Jos\u00e9 Luis Berm\u00fadez and Sebastian Gardner<\/li>\n\n\n\n<li><em>&nbsp;Taking It Like a Man: White Masculinity, Masochism, and Contemporary American Culture <\/em>by David Savran<\/li>\n\n\n\n<li><em>&nbsp;The Lesbian and Gay Studies Reader <\/em>edited by Henry Abelove, Mich\u00e8le Aina Barale, and David M. Halperin<\/li>\n\n\n\n<li><em>&nbsp;Photography: What\u2019s the Law?: How the photographer and the user of photographs can protect themselves <\/em>by Robert M. Cavallo and Stuart Kahan<\/li>\n\n\n\n<li><em>&nbsp;Defending Pornography: Free Speech, Sex, and the Fight for Women\u2019s Rights <\/em>by Nadine Strossen&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Polysexuality <\/em>edited by Fran\u00e7ois Peraldi&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Fetishism as Cultural Discourse <\/em>edited by Emily Apter &amp; William Pietz<\/li>\n\n\n\n<li><em>&nbsp;The Invisible Dragon: Essays on Beauty <\/em>by Dave Hickey&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Feminist Accused of Sexual Harassment <\/em>by Jane Gallop&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Counter-Blast <\/em>by Marshall McLuhan<\/li>\n\n\n\n<li><em>&nbsp;The Invention of Pornography: Obscenity and the Origins of Modernity, 1500-1800 <\/em>edited Lynn Hunt&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Abuses <\/em>by Alphonso Lingis&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Pornography and Difference <\/em>by Berkeley Kaite<\/li>\n\n\n\n<li><em>&nbsp;Ecstasy Unlimited: On Sex, Capital, Gender, and Aesthetics <\/em>by Laura Kipnis&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Bodies Under Siege: Self-mutilation in Culture and Psychiatry <\/em>by Armando R. Favazza&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Social Text <\/em>37<\/li>\n\n\n\n<li><em>&nbsp;The Contest of Meaning: Critical Histories of Photography <\/em>edited by Richard Bolton<\/li>\n\n\n\n<li><em>&nbsp;L<\/em>&#8216;<em>Amour Fou: Photography &amp; Surrealism <\/em>by Rosalind Krauss and Jane Livingston&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Shock Treatment <\/em>by Karen Finley&nbsp;<\/li>\n\n\n\n<li><em>The Age of Sex Crime <\/em>by Jane Caputi&nbsp;<\/li>\n\n\n\n<li><em>Overexposed: Treating Sexual Perversion in America <\/em>by Sylv\u00e8re Lotringer<\/li>\n\n\n\n<li><em>&nbsp;Reality Isn\u2019t What It Used To Be: Theatrical Politics, Ready-To-Wear Religion, Global Myths, Primitive Chic, and Other Wonders of the Postmodern World <\/em>by Walter Truett Anderson&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Remarks on Colour <\/em>by Ludwig Wittgenstein<\/li>\n\n\n\n<li><em>&nbsp;The Edge of The Bed: How Dirty Pictures Changed My Life <\/em>by Lisa Palac&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Project Cheap&nbsp;<\/em><\/li>\n\n\n\n<li><em>&nbsp;The Classing Gaze: Sexuality, Class and Surveillance <\/em>by Lynette Finch<\/li>\n\n\n\n<li><em>&nbsp;Sex, Sin, and Blasphemy: A Guide to America\u2019s Censorship Wars <\/em>by Marjorie Heins<\/li>\n\n\n\n<li><em>&nbsp;Spanking the Maid <\/em>by Robert Coover<\/li>\n\n\n\n<li><em>&nbsp;Sexual Sameness: Textual Differences in Lesbian and Gay Writing <\/em>edited by Joseph Bristow&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Performance &amp; Cultural Politics <\/em>edited by Elin Diamond&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Sin and Fear: The Emergence of a Western Guilt Culture 13th-18th Centuries <\/em>by Jean Delumeau<\/li>\n\n\n\n<li><em>&nbsp;Personals: Portraits of Real People and Their Personal Ads!&nbsp;<\/em><\/li>\n\n\n\n<li><em>&nbsp;New Sexual Agendas <\/em>edited by Lynne Segal&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;The Sex Which Is Not One <\/em>by Luce Irigaray&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Subversive Intent: Gender, Politics, and the Avant-Garde <\/em>by Susan Rubin Suleiman&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;A Century of Gay Erotica <\/em>by Phil Andros, Samuel R. Delany, John Preston, Larry Townsend and Aaron Travis<\/li>\n\n\n\n<li><em>&nbsp;Dissemination <\/em>by Jacques Derrida<\/li>\n\n\n\n<li><em>&nbsp;Sexual Dissidence: Augustine to Wilde, Freud to Foucault <\/em>by Jonathan Dollimore<\/li>\n\n\n\n<li><em>&nbsp;Roland Barthes <\/em>by Michael Moriarty&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Discontents: New Queer Writers <\/em>edited by Dennis Cooper<\/li>\n\n\n\n<li><em>&nbsp;XY: On Masculine Identity <\/em>by Elisabeth Badinter<\/li>\n\n\n\n<li><em>&nbsp;Global Sex <\/em>by Dennis Altman&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;The Subversive Imagination: Artists, Society, &amp; Social Responsibility <\/em>edited by Carol Becker (x2)<\/li>\n\n\n\n<li><em>&nbsp;Pornocopia: Porn, Sex, Technology and Desire <\/em>by Laurence O\u2019Toole<\/li>\n\n\n\n<li><em>&nbsp;Skin: A Natural History <\/em>by Nina G. Jablonski&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Outlaw Culture: Resisting Representations<\/em> by bell hooks<\/li>\n\n\n\n<li><em>&nbsp;Female Nude: Art, Obscenity and Sexuality <\/em>by Lynda Nead&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;120 Banned Books: Censorship Histories of World Literature <\/em>by Nicholas J. Karolides, Margaret Bald, and Dawn B. Sova<\/li>\n\n\n\n<li><em>&nbsp;Feminism and Psychoanalysis <\/em>edited by Richard Feldstein and Judith Roof<\/li>\n\n\n\n<li><em>&nbsp;Arts in Crisis: The National Endowment for the Arts Versus America <\/em>by Joseph Wesley Zeigler<\/li>\n\n\n\n<li><em>&nbsp;Signs of the Flesh <\/em>by Daniel Rancour-Laferriere<\/li>\n\n\n\n<li><em>&nbsp;The Censored War: American Visual Experience During World War Two <\/em>by George H. Roeder, Jr.&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Latent Image: The Discovery of Photography <\/em>by Beaumont Newhall&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Feminist Theory: The Intellectual Traditions of American Feminism <\/em>by Josephine Donovan&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Bodies of Work: Essays <\/em>by Kathy Acker<\/li>\n\n\n\n<li><em>&nbsp;Appropriation <\/em>edited by David Evans<\/li>\n\n\n\n<li><em>&nbsp;Lustmord: The Writings and Artifacts of Murders <\/em>edited by Brian King<\/li>\n\n\n\n<li><em>&nbsp;Nova Express <\/em>by William S. Burroughs&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Push Comes to Shove: New Images of Aggressive Women <\/em>by Maud Lavin<\/li>\n\n\n\n<li><em>&nbsp;Sweet Violence: The Idea of the Tragic <\/em>by Terry Eagleton&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;How Class Works: Power and Social Movement <\/em>by Stanley Aronowitz&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Laughing Screaming: Modern Hollywood Horror &amp; Comedy <\/em>by William Paul<\/li>\n\n\n\n<li><em>&nbsp;With Pleasure: Thoughts on the Nature of Human Sexuality <\/em>by Paul R. Abramson and Steven D. Pinkerton<\/li>\n\n\n\n<li><em>&nbsp;Desire in Language: A Semiotic Approach to Literature and Art <\/em>by Julia Kristeva, edited by Leon S. Roudiez<\/li>\n\n\n\n<li><em>&nbsp;Storytown: Stories <\/em>by Susan Daitch&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;One of the Guys: Women as Aggressors and Tortures <\/em>edited by Tara McKelvey<\/li>\n\n\n\n<li><em>&nbsp;Good Looking: Essays on the Virtue of Images <\/em>by Barbara Maria Stafford<\/li>\n\n\n\n<li><em>&nbsp;A Season in Hell <\/em>by Arthur Rimbaud<\/li>\n\n\n\n<li><em>&nbsp;Black Holes and Baby Universes and Other Essays <\/em>by Stephen Hawking<\/li>\n\n\n\n<li><em>&nbsp;Dirty Looks: Women, Pornography, Power <\/em>edited by Pamela Church Gibson and Roma Gibson<\/li>\n\n\n\n<li><em>&nbsp;Risk\/Riesgo <\/em>2, no. 3<\/li>\n\n\n\n<li><em>&nbsp;Violence and the Sacred <\/em>by Ren\u00e9 Girard<\/li>\n\n\n\n<li><em>&nbsp;The Desire to Desire: The Woman\u2019s Film of the 1940\u2019s <\/em>by Mary Ann Doane&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;Thinking the Body <\/em>by Jane Gallop<\/li>\n\n\n\n<li><em>&nbsp;A Mind of Its Own: A Cultural History of the Penis <\/em>by David M. Friedman<\/li>\n\n\n\n<li><em>&nbsp;Veronica\u2019s Revenge: Contemporary Perspectives on Photography <\/em>edited by Elizabeth Janus<\/li>\n\n\n\n<li><em>&nbsp;Harmful to Minors: The Perils of Protecting Children From Sex <\/em>by Judith Levine<\/li>\n\n\n\n<li><em>&nbsp;100 Years of Erotica: A Pornographic Portfolio of Mainstream American Culture from 1845-1945 <\/em>by Paul Aratow<\/li>\n\n\n\n<li><em>&nbsp;Between the Body and the Flesh <\/em>by Lynda Hart&nbsp;<\/li>\n\n\n\n<li><em>&nbsp;In the Flesh: The Cultural Politics of Body Modification <\/em>by Victoria Pitts<\/li>\n\n\n\n<li><em>&nbsp;The Body and The Lens: Photography 1839 to the Present <\/em>by John Pultz<\/li>\n\n\n\n<li><em>&nbsp;The Man Question: Visions of Subjectivity in Feminist Theory <\/em>by Kathy E. Ferguson<\/li>\n\n\n\n<li><em>&nbsp;Sexual Meanings: The Cultural Construction of Gender and Sexuality <\/em>by Sherry B. Ortner and Harriet Whitehead<\/li>\n\n\n\n<li><em>The Invention of Heterosexuality <\/em>by Jonathan Ned Katz<\/li>\n\n\n\n<li><em>Feminists Theorize the Political <\/em>edited by Judith Butler and Joan W. Scott<\/li>\n\n\n\n<li><em>Her Tongue on My Theory: Images, Essays, and Fantasies <\/em>by Kiss &amp; Tell<\/li>\n\n\n\n<li><em>The Cult of Information: The Folklore of Computers and the True Art of Thinking <\/em>by Theodore Roszak&nbsp;<\/li>\n\n\n\n<li><em>Supposing the Subject <\/em>edited by Joan Copjec<\/li>\n\n\n\n<li><em>Naked Ambition: Women Who Are Changing Pornography <\/em>edited by Carly Milne<\/li>\n\n\n\n<li><em>Erotic Innocence: The Culture of Child Molesting <\/em>by James R. Kincaid&nbsp;<\/li>\n\n\n\n<li><em>Male Subjectivity at the Margins <\/em>by Kaja Silverman<\/li>\n\n\n\n<li><em>Running Scared: Masculinity and the Representation of the Male Body <\/em>by Peter Lehman<\/li>\n\n\n\n<li><em>Sexual Consent <\/em>by David Archard<\/li>\n\n\n\n<li><em>Illness as Metaphor and AIDS and Its Metaphors <\/em>by Susan Sontag<\/li>\n\n\n\n<li><em>The Art Lover <\/em>by Carole Maso&nbsp;<\/li>\n\n\n\n<li><em>Body Guards: The Cultural Politics of Gender Ambiguity <\/em>edited by Julia Epstein and Kristina Straub<\/li>\n\n\n\n<li><em>Virtual Gender: Fantasies of Subjectivity and Embodiment <\/em>edited by Mary Ann O\u2019Farrell &amp; Lynne Vallone<\/li>\n\n\n\n<li><em>Arguing with the Phallus: Feminist, Queer, and Postcolonial Theory <\/em>by Jan Campbell&nbsp;<\/li>\n\n\n\n<li><em>Body Transformations: Evolutions and Atavisms in Culture <\/em>by Alphonso Lingis&nbsp;<\/li>\n\n\n\n<li><em>Suspensions of Perception: Attention, Spectacle, and Modern Culture <\/em>by Jonathan Crary<\/li>\n\n\n\n<li><em>Erotic Faculties <\/em>by Joanna Frueh<\/li>\n\n\n\n<li><em>Naked Las Vegas <\/em>by Greg Friedler&nbsp;<\/li>\n\n\n\n<li><em>The Aesthetics of Disappearance <\/em>by Paul Virilio<\/li>\n\n\n\n<li><em>Body Art\/Performing the Subject <\/em>by Amelia Jones<\/li>\n\n\n\n<li><em>Bad Subjects: Political Education for Everyday Life<\/em><\/li>\n\n\n\n<li><em>The Woman in Question <\/em>edited by Parveen Adams and Elizabeth Cowie<\/li>\n\n\n\n<li><em>Sex Exposed: Sexuality and the Pornography Debate <\/em>edited by Lynne Segal and Mary McIntosh<\/li>\n\n\n\n<li><em>Feminism &amp; Pornography <\/em>by Drucilla Cornell<\/li>\n\n\n\n<li><em>Blood and Guts in High School <\/em>by Kathy Acker<\/li>\n\n\n\n<li><em>The Hysterical Male: New Feminist Theory <\/em>edited by Arthur Kroker and Marilouise Kroker&nbsp;<\/li>\n\n\n\n<li>Sublime Surrender: Male Masochism at the Fin-De-Si\u00e8cle by Suzanne R. Stewart<\/li>\n\n\n\n<li><em>Naked Lunch <\/em>by William S. Burroughs<\/li>\n\n\n\n<li><em>Sex &amp; Sensibility<\/em>: Reflections on Forbidden Mirrors and the Will to Censor by Marcia Pally<\/li>\n\n\n\n<li><em>The Sadeian Woman and the Ideology of Pornography <\/em>by Angela Carter<\/li>\n\n\n\n<li><em>Discourses of Sexuality: From Aristotle to AIDS <\/em>edited by Domna C. Stanton<\/li>\n\n\n\n<li><em>Fatal Women: Lesbian Sexuality and the Mark of Aggression <\/em>by Lynda Hart&nbsp;<\/li>\n\n\n\n<li><em>Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century <\/em>by John Boswell<\/li>\n\n\n\n<li><em>Building Bodies <\/em>edited Pamela L. Moore<\/li>\n\n\n\n<li><em>White: Whiteness and Race in Contemporary Art <\/em>by Maurice Berger<\/li>\n\n\n\n<li><em>Color Conscious: The Political Morality of Race <\/em>by K. Anthony Appiah and may Gutmann&nbsp;<\/li>\n\n\n\n<li><em>Am I Black Enough for You?: Popular Culture From the \u2018Hood and Beyond <\/em>by Todd Boyd<\/li>\n\n\n\n<li><em>Feminism Without Women: Culture and Criticism in a \u2018Postfeminist\u2019 Age <\/em>by Tania Modleski<\/li>\n\n\n\n<li><em>The Sexual Brain <\/em>by Simon LeVay<\/li>\n\n\n\n<li><em>Pornography: Film and Culture <\/em>edited by Peter Lehman<\/li>\n\n\n\n<li><em>Prosthetic Culture: Photography, Memory and Identity <\/em>by Celia Lury<\/li>\n\n\n\n<li><em>From Mastery to Analysis: Theories of Gender in Psychoanalytic Feminism <\/em>by Patricia Elliot<\/li>\n\n\n\n<li><em>The Pornography of Power <\/em>by Lionel Rubinoff<\/li>\n\n\n\n<li><em>Our Lady of the Flowers <\/em>by Jean Genet<\/li>\n\n\n\n<li><em>The Dialectic of Sex: The Case for Feminist Revolution <\/em>by Shulamith Firestone<\/li>\n\n\n\n<li><em>Child-Loving: The Erotic Child and Victorian Culture <\/em>by James R. Kincaid&nbsp;<\/li>\n\n\n\n<li><em>Sex, Laws, and Cyberspace: Freedom and Censorship on the Frontiers of the Online Revolution <\/em>by Jonathan Wallace and Mark Mangan&nbsp;<\/li>\n\n\n\n<li><em>Bodies That Matter: On the Discursive Limits of \u201cSex\u201d <\/em>by Judith Butler<\/li>\n\n\n\n<li><em>Sexual\/Textual Politics: Feminist Literary Theory <\/em>by Toril Moi<\/li>\n\n\n\n<li><em>Pornified: How Pornography is Transforming Our Lives, Our Relationships, and Our Families <\/em>by Pamela Paul&nbsp;<\/li>\n\n\n\n<li><em>Grotesque: Natural Historical &amp; Formaldehyde Photography<\/em><\/li>\n\n\n\n<li>The Dictionary of Feminist Theory by Maggie Humm<\/li>\n\n\n\n<li><em>The Feminine Sublime: Gender and Excess in Women\u2019s Fiction <\/em>by Barbara Claire Freeman&nbsp;<\/li>\n\n\n\n<li><em>XXX: A Woman\u2019s Right to Pornography <\/em>by Wendy McElroy<\/li>\n\n\n\n<li><em>Justine, Philosophy in the Bedroom, and Other Writings <\/em>by Marquis De Sade<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>The Barbara DeGenevieve Memorial Library is a collection of books previously owned by Barbara DeGenevieve (1947\u20132014). Originally housed by Mana Contemporary and open to their community and the public, the collection is now housed at Ohklahomo. In response to the exhibition, the SAIC Galleries and Flaxman Library at the School of the Art Institute collaborated [&hellip;]<\/p>\n<a class=\"read-more-link\" href=\" https:\/\/web.saic.edu\/bdg\/further-resources\/memorial-libraries\/ \">Read more<\/a>","protected":false},"author":9,"featured_media":0,"parent":86,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/gallery-page.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-862","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/pages\/862","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/comments?post=862"}],"version-history":[{"count":16,"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/pages\/862\/revisions"}],"predecessor-version":[{"id":1478,"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/pages\/862\/revisions\/1478"}],"up":[{"embeddable":true,"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/pages\/86"}],"wp:attachment":[{"href":"https:\/\/web.saic.edu\/bdg\/wp-json\/wp\/v2\/media?parent=862"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}