FEMINISM AND ART HISTORY NOW

Radical Critiques of Theory and Practice, AAVV, 2016

FEMINISM AND ART HISTORY NOW:

Radical Critiques of Theory and Practice, AAVV, 2016

PART I. WRITING | SPEAKING | STORYTELLING 25
1 . An Unfinished Revolution in Art Historiography, or
How to Write a Feminist Art History 31
Victoria Horne and Amy Tobin
2 . I Want a Dyke for President: Sounding out Zoe
Leonard’s Manifesto for Art History’s Feminist Futures 41
Laura Guy
3 . ‘Our Stories Are Our Life Blood’: Indigenous
Feminist Memory and Storytelling as Strategy for
Social Change 63
Cherry Smiley

PART II. VISIBILITY | INTERVENTION | REFUSAL 83
4 . Making Visible Lee Krasner’s Occupation: Feminist
Art Historiography and the Pollock-Krasner Studio 87
Andrew Hardman
5 . Challenging Feminist Art History: Carla Lonzi’s
Divergent Paths 104
Giovanna Zapperi
6. Th is Moment: A Dialogue on Participation, Refusal
and History Making 124
Angela Dimitrakaki and Lara Perry

PART III. SPATIALITY | OCCUPATION | HOME 143
7. Th e Salon Model: Th e Conversational Complex 147
Elke Krasny
8. Los Angeles, 1972/Glasgow, 1990: A Report on
Castlemilk Womanhouse 164
Hannah Hamblin
9. I f You Lived Here… : A Case Study on Social
Reproduction in Feminist Art History 183
Kirsten Lloyd

PART IV. TEMPORALITY | GHOSTS | RETURNS 203
1 0. Temporalities of the ‘Feminaissance’ 207
Francesco Ventrella
1 1. Gestures of Inclusion, Bodily Damage and the
Hauntings of Exploitation in Global
Feminisms (2007) 230
Kimberly Lamm
1 2. Learning and Playing: Re- enacting Feminist
Histories 260
Catherine Grant

Feminism and Art History Now: Radical Critiques of Theory and Practice

To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians? The significant new research gathered here engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of twenty-first-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada’s contemporary indigenous culture. Individual chapter analyses focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these studies provide readers with a view of feminist art histories of the past, present and future.

Recommend
  • Facebook
  • Twitter
  • Google +
  • LinkedIN
Share
Leave a reply