Thematische Bibliographien / Feminism and art

Auswahl der wissenschaftlichen Literatur zum Thema „Feminism and art“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Feminism and art"

1

Deepwell, Katy. „Art Criticism and the State of Feminist Art Criticism“. Arts 9, Nr. 1 (25.02.2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.
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2

Witkowska, Sylwia. „POLISH FEMINISM – PARADIGMS“. DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, Nr. 25 (25.02.2019): 192–239. http://dx.doi.org/10.5604/01.3001.0012.9836.

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Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
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3

Deepwell, Katy. „The Politics and Aesthetic Choices of Feminist Art Criticism“. Arts 12, Nr. 2 (23.03.2023): 63. http://dx.doi.org/10.3390/arts12020063.

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This article explores feminist art criticism from the point of view of aesthetics/politics in global contemporary art. It is based on the author’s experience as an art critic and founding editor of n.paradoxa: international feminist art journal (1998–2017). Reading articles published in the previous two decades both for the journal and outside it, it became possible to identify how subjects produce specific objects in art criticism that demonstrate different locations and standpoints in thought and how these align with criticism from broader feminist political theories. This is an exploration of the aesthetics/politics both in, about and beyond feminist art criticism. The methodology presented analyses feminist art criticism using a model of clusters of concepts that draws on Anne Ring Petersen’s examination of identity politics, race and multiculturalism from 2012. Feminist analyses in which this approach has been attempted are discussed: Sue Rosser’s 2005 analysis of cyberfeminism and Tuzyline Jita Allan’s 1995 discussion of black/womanist/African feminisms. The article identifies four types of feminist art criticism: liberal feminism, materialist feminism, feminist cosmopolitan multi-culturalism, and queer post-colonial feminism. The aims, methods and approaches of these tendencies are outlined to demonstrate the differences between them. The article concludes with a discussion about the futures of feminist art criticism.
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Cui, Shuqin. „Female and feminism“. MODOS: Revista de História da Arte 7, Nr. 2 (04.06.2023): 301–34. http://dx.doi.org/10.20396/modos.v7i2.8672939.

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The question of “why there have been no great women artists,” initiated by Linda Nochlin in 1971, elicits different responses from art domains in China. In addition, the notions of feminism or feminist art criticism, translated from English and practiced by Chinese artists, create distinct connotations reflective of different gender conditions. Zhu and Xiao, in their Feminisms with Chinese Characteristics, claim that “Chinese feminisms must remain plural because those concepts represent the changing practical consciousness in response to historical and social developments” (Zhu and Xiao, 2021: 1). Dai Jinhua, a Chinese scholar, views feminism as “the search for different worlds and alternative possibilities other than global capitalism” (Dai, 2002: 29). A historical overview of woman and art in China demonstrates a plurality of female and feminism, and this article shows how alternative responses to Nochlin’s question become possible if one views sexual difference and gender politics as a non-binary system in specific historical contexts.
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Dziamski, Grzegorz. „ESTHETICS TOWARDS FEMINISM“. DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, Nr. 25 (25.02.2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
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Kwak, Su-Joung, und Eun-Mi Choi. „A Study on Nail Art Design, Reflecting Symbolic Feminine Elements Expressed in the Film ‘Agassi (The Handmaiden)’“. Korean Society of Beauty and Art 23, Nr. 2 (20.06.2022): 239–50. http://dx.doi.org/10.18693/jksba.2022.23.2.239.

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In a modern Korean society, feminism which pursues gender equality and targets to secure social equality has emerged as a hot topic across all sectors such as economy, politics, society, art and culture. As a dominant form of popular art & culture, film has a significant influence on people. In terms of the history of movie, descriptions on women have become more elaborate. In modern films, especially, perspectives on women have evolved from sexual consciousness to feminine growth. In feminist films, it not desirable to create a myth which emphasizes women’s tough aspects only or just focus on superficial resistance or women’s liberation. Furthermore, feminism should not be satirized as a formal or commercial jest. Instead, descriptions on women have to be more serious with sincerity. In particular, Director Park Chan-wook often starred a woman as a main character in his films, and his mise-en-scène is unbelievable. His unusual pictorial sense which will never be found elsewhere around the globe also shined in ‘Agassi (The Handmaiden)’. Therefore, this study attempted to investigate this feminist movie which has a lot of symbolic fine-art elements. For this, four symbolic characteristics of feminism expressed in ‘Agassi’ were chosen through analysis on previous studies, and 4 different nail styles were created, using diverse nail art techniques and materials. The study results confirmed that symbolic feminine elements expressed in films could make a contribution to new nail art with diverse motives.
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7

Witkowska, Sylwia. „Polski feminizm - paradygmaty“. DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, Nr. 25 (25.02.2019): 194–241. http://dx.doi.org/10.5604/01.3001.0012.9855.

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The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
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8

Nwafor, Nkiruka Jane. „Engaging women’s social concerns through the twenty-first century feminist art projects of three Nigerian women artists“. UJAH: Unizik Journal of Arts and Humanities 23, Nr. 1 (31.08.2022): 134–60. http://dx.doi.org/10.4314/ujah.v23i1.5.

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In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their themes challenge critical issues that affect women in Nigeria’s twenty-first-century contemporary realities. These artists are also from different geopolitical areas (west, east, and north respectively) in Nigeria. In analyzing their art, I also argue that their art may offer possibilities in affirming the relevance of African feminist art.
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Das, Devaleena. „What Transnational Feminism Has Not Disrupted Yet“. Meridians 22, Nr. 2 (01.10.2023): 240–66. http://dx.doi.org/10.1215/15366936-10637591.

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Abstract Examining the critical genealogy of transnational feminism, this essay proposes a feminist theoretical model called quilted epistemology derived from the Black feminist art of quilting. Aiming to strengthen transnational feminism, quilted epistemology intends to resolve some of the existing limitations of transnational feminism and embrace multiple and incompatible feminist knowledge positions from the Global South to the Global North.
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Dziamski, Grzegorz. „Estetyka wobec feminizmu“. DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, Nr. 25 (25.02.2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
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Dissertationen zum Thema "Feminism and art"

1

Wong, See-yuen Gina. „Global feminisms in feminist art and their new challenges“. Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38697245.

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Wong, See-yuen Gina, und 黃思源. „Global feminisms in feminist art and their new challenges“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38697245.

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Kidder, Alana D. „Women Artists in Pop: Connections to Feminism in Non-Feminist Art“. Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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Reading, Christina. „Representing melancholy : figurative art and feminism“. Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/ae432ef0-fe07-4314-b972-11b50495534a.

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Re-presentations of women's melancholic subjectivity by women figurative artists from different historical moments, canonical images of melancholy and theoretical accounts of melancholy are brought together to address the question: 'What aspects of women's experience of melancholy have women figurative artists chosen to represent historically and contemporaneously, and further what is the importance of these artworks for understanding the nature of women's melancholic subjectivity today?
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Chandler, Patricia Elaine. „Aesthetics of healing : joining feminism, autobiography and landscape /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11759.

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Wade, Bussey Sahirah Fatin. „Pre-Service Art Teachers and the Use of Feminist Curriculum and Pedagogy in the Art Classroom“. Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/18.

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The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.
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Horne, Victoria. „History of feminist art history : remaking a discipline and its institutions“. Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.

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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.
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Laurentiis, Gabriela Barzaghi De 1987. „Louise Bourgeois e os modos feministas de criar“. [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279680.

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Orientador: Luzia Margareth Rago
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-27T13:44:06Z (GMT). No. of bitstreams: 1 Laurentiis_GabrielaBarzaghiDe_M.pdf: 188718690 bytes, checksum: efdce2b517714ad07709da63f618f70c (MD5) Previous issue date: 2015
Resumo: Esta dissertação aborda a produção artística de Louise Bourgeois, focando as formas corporais trazidas em suas obras. Trata-se de perceber como sua arte possibilita elaborar críticas ao modelo falogocêntrico do feminino e, simultaneamente, abre possibilidades para a criação de formas múltiplas das subjetividades das mulheres. A produção de sentidos para as obras é realizada a partir de uma orientação teórica e metodológica feminista e pós estruturalista, apresentada, principalmente, nos escritos de Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago e Michelle Perrot
Abstract: This research addresses the artistic production of Louise Bourgeois, focusing on the corporal forms expressed in in her pieces. It pertains the perception of how her art enables the possibility to criticize the phallogocentric model of feminine and, simultaneously, allows the creation of multiple forms on the women subjectivity. The production of meanings for her works is accomplished trough a theoretical and methodological feminist and post structuralist orientation, presented, mainly, in the writings of Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago and Michelle Perrot
Mestrado
Historia Cultural
Mestra em História
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Ackerman, Amanda K. „Victor Burgin's "Gradiva": Feminism, Antiquity, and Conceptualism“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470672257.

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Eddy, Rebecca L. „A quest for art“. Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1185.

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Thesis (M.F.A.)--West Virginia University, 1999.
Title from document title page. Document formatted into pages; contains iii, 22 p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Bücher zum Thema "Feminism and art"

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Helena, Reckitt, und Phelan Peggy, Hrsg. Art and feminism. London: Phaidon, 2001.

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Millner, Jacqueline, und Catriona Moore. Contemporary Art and Feminism. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175.

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Papas, Susan. Sexuality, art and feminism. London: Chelsea College of Art and Design, 2003.

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M, Kokoli Alexandra, Hrsg. Feminism reframed. Newcastle, UK: Cambridge Scholars Pub., 2008.

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Museum voor Moderne Kunst (Arnhem, Netherlands), Hrsg. Rebelle: Art & feminism, 1969-2009. Arnhem: Museum voor Moderne Kunst, 2010.

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Karen, Frostig, und Halamka Kathy A, Hrsg. Blaze: Discourse on art, women and feminism. Newcastle, UK: Cambridge Scholars, 2007.

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Frostig, Karen, und Kathy A. Halamka. Blaze: Discourse on art, women and feminism. Newcastle: Cambridge Scholars, 2009.

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Charron, Marie Eve, und Therese St-Gelais. Archi-feministes!: Art contemporain, theories feministes = contemporary art, feminist theories. Montr eal: OPTICA, centre d'art contemporain, 2019.

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Pusa, Tiina, und Larissa Haggrén. Feminism and queer in art education. Helsinki, Finland: School of Arts, Design and Architecture, Aalto ARTS Books, 2018.

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Boobis, Nathalie, und Anne Louise Kershaw. Equals: Exploring feminism through art & conversation. [Manchester]: Blank Media Collective, 2013.

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Buchteile zum Thema "Feminism and art"

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Liclair, Christian. „Feminist Pleasures/Pleasurable Feminism“. In Sexually Explicit Art, Feminist Theory, and Gender in the 1970s, 80–111. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003225614-4.

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Millner, Jacqueline, und Catriona Moore. „Feminist worlds“. In Contemporary Art and Feminism, 204–36. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-6.

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McGrane, Caitlin. „Amplify Your Feminism“. In The Routledge Companion to Mobile Media Art, 96–106. New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429242816-11.

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Millner, Jacqueline, und Catriona Moore. „Avant gardening“. In Contemporary Art and Feminism, 168–203. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-5.

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Millner, Jacqueline, und Catriona Moore. „Feminism and the pedagogical turn in art“. In Contemporary Art and Feminism, 85–128. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-3.

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Millner, Jacqueline, und Catriona Moore. „Beyond performing identities“. In Contemporary Art and Feminism, 49–84. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-2.

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Millner, Jacqueline, und Catriona Moore. „From the politics of representation to a politics of acts“. In Contemporary Art and Feminism, 13–48. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-1.

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Millner, Jacqueline, und Catriona Moore. „Introduction“. In Contemporary Art and Feminism, 1–12. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-101.

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Millner, Jacqueline, und Catriona Moore. „Conclusion“. In Contemporary Art and Feminism, 237–47. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-7.

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Millner, Jacqueline, und Catriona Moore. „Craftivism“. In Contemporary Art and Feminism, 129–67. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-4.

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Konferenzberichte zum Thema "Feminism and art"

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Hosseini, Reihaneh. „The Path to Womanhood: An Analytical and Historical Study on Feminism and Feminist Art History“. In The 5th World Conference on Research in Social Sciences. Acavent, 2023. http://dx.doi.org/10.33422/5th.socialsciencesconf.2023.02.102.

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Xin, Li. „Feminism in Susie Chao’s Sai Jinhua“. In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.151.

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Huang, Rui. „Feminism Discourse in Different Gender-Temperament Social Media“. In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.029.

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Hu, Zhenglun. „Review of Feminism Research and Analysis of Deviation in Contemporary Development“. In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.043.

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Haute, Lucile. „Kombucha as a Guide. Serendipitous Journey through Taste, Feminism, Free and Open Source Culture, and Ritual“. In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-63-full-haute-kombucha-as-a-guide.

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During one and a half years living with kombucha, the author followed it across a journey that diverged from a disciplinary point of view in favor of a “global design” (Papanek) approach that embraces co-dependencies (Haraway, Tsing). This journey spanned several domains: gastronomy and food, health, textile design, social practices. It was the occasion to find out how different cultures might be embodied by the heterogeneous kombucha community and its various locations: from bio-hack lab to the kitchen, art gallery, design school, and brewery lab. What may this Symbiotic Culture Of Bacteria and Yeast teach us—humans—about our ways of collaborating with, cultivating, exploiting or caring for the living beings we eat and/or use to make everyday objects? Could kombucha SCOBY provide a guide to shifting ways of understanding and performing our way of life, or to phrase it another way: to initiate a cultural revival?
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Hong, Chengxiaoyan, Yang Hong, Jiawen Li und Qingyan Zhang. „The Issue that Feminism is Stigmatized on the Internet in China and Some Possible Solutions“. In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.036.

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Liu, Yaxin. „A Room of One’s Own in Suzhou: Analyzing the Dissemination of Woolf’s Feminism in China“. In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.137.

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Lei, Na. „The Pursuit of the Immortal Soul The Analysis of the Little Sea Maid under the Perspective of Feminism“. In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.188.

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Pavez Estrada, Javiera, Claudia Oviedo und Anabella Roitman. „MUJERES EN LOS PROCESOS PARTICIPATIVOS DE REURBANIZACIÓN DEL HÁBITAT POPULAR. Alcances del urbanismo feminista en la Reurbanización de Villa 20 en Buenos Aires, Argentina.“ In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2022. http://dx.doi.org/10.5821/siiu.12042.

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When thinking about the place of women in the popular habitat management from feminism, questions arise: How these processes of social production were throughout history? How should a Feminist Urban Management be? What subjectivities matter? How are processes evaluated? This communication condenses the results obtained in the framework of an academic exercise with Urban Planning students, in which it was proposed to generate devices to measure and evaluate the role of women, as active political subjects, within an ongoing participatory process: the Integral Reurbanization Project (IRUP) of Villa 20 in Buenos Aires, Argentina. For this, an analysis of the proposed participatory management devices was carried out, through primary sources (interviews) and secondary sources (literature referred to the case). The experience resulted in the creation of three designs: the Feminist Timeline, the Interference Scheme, and the Evaluation of Gender Transversality, which together allowed the generation of a set of weighting of the process from a feminist and gender perspective. Keywords: Feminist urbanism, Participation, Popular habitat, Urban management. Al pensar desde el feminismo el lugar de las mujeres en la gestión del hábitat popular, surgen interrogantes: ¿Cómo fueron sus procesos de producción social a través del tiempo? ¿cómo debería ser una gestión urbana feminista? ¿qué subjetividades importan? ¿Cómo se evalúan esos procesos? Esta comunicación condensa los resultados obtenidos en el marco de un ejercicio académico con estudiantes de urbanismo, en el cual se les propuso diseñar dispositivos para medir y evaluar el rol de las mujeres como sujetos políticos activos de un proceso participativo en curso: el Proyecto Integral de Reurbanización (PIRU) de Villa 20 en Buenos Aires, Argentina. Se realizó un análisis de los dispositivos de gestión participativa vigentes, a través de fuentes primarias (entrevistas) y secundarias (lecturas). La experiencia devino en la creación de tres diseños: la Línea de tiempo feminista, el Esquema de interferencias y la Evaluación de la transversalidad de género, que en conjunto permitieron generar un set de ponderación del proceso, desde una perspectiva de género y feminista. Palabras clave: Urbanismo feminista, Participación, Hábitat popular, Gestión urbana.
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Oliveira, Beatriz, und Jorge Sá. „Data Feminism Influence on Data Visualization“. In 23ª Conferência da Associação Portuguesa de Sistemas de Informação. Associação Portuguesa de Sistemas de Informação, APSI, 2023. http://dx.doi.org/10.18803/capsi.v23.365-381.

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Data Visualisation is currently seen as a powerful communication tool, as the human mind is more receptive to visual information than words or raw data. However, most existing visualisations are done from an androcentric perspective. This article proposes Data Visualisation from a feminist perspective. To this end, concepts such as Feminism, Data Visualisation and Data Feminism will be addressed to arrive at the concept of Data Visualisation in Feminism, resulting in a set of guidelines and recommendations to be incorporated when designing Data Visualisations. As part of the work carried out, an existing data visualisation was selected and analysed, highlighting the guidelines of Data Feminism in Data Visualisation. As a result, a recreation of this visualisation is proposed, incorporating the Data Feminism guidelines. It was found that the resulting visualisation is different from the original and is aligned with the concepts of Data Feminism.
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Berichte der Organisationen zum Thema "Feminism and art"

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Schultz, Susanne. Intersectional Convivialities Brazilian Black and Popular Feminists Debating the Justiça Reprodutiva Agenda and Allyship Framework. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, November 2022. http://dx.doi.org/10.46877/schultz.2022.50.

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The concept of reproductive justice is currently receiving a lot of attention in transnational counter-hegemonic feminisms. The text explores how Black and popular feminism are adopting the concept currently in Brazil. In the first section, the text deals with implications for agenda setting and reflects the movements’ strong reference to necropolitical dimensions of reproductive relations. Three elements of agenda setting are explored: addressing structural inequality within “classical” reproductive health issues; the attention to anti-natalist strategies, such as a continuous policy of sterilisation; and experiences of motherhood/parenthood being stigmatised or attacked. In the second section, the text explores another level of meaning of reproductive justice, namely that of being a framework for intersectional feminist alliances. Therefore, it deals with how the movements negotiate different positionalities and the question of allyship within their everyday convivialities. The movements negotiate these organisational challenges by reflecting processes of collective repositioning in a complex way and referring to important concepts of contemporary anti-racist and social movements in Brazil, such as não lugar, aquilombamento, and bem-viver.
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Hicks, Jacqueline. Feminist Foreign Policy: Contributions and Lessons. Institute of Development Studies (IDS), August 2021. http://dx.doi.org/10.19088/k4d.2021.110.

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A relatively small number of countries have an explicit “Feminist Foreign Policy” (FFP). Those most often cited are Sweden, Canada, France, Mexico, and Spain. In theory, an FFP moves beyond gender mainstreaming in foreign development assistance to include: (1) a wider range of external actions, including defence, trade and diplomacy (2) a wider range of marginalised people, not just women. Within foreign development assistance, it implies a more coherent and systematically institutionalised approach to gender mainstreaming. In practice, those countries with an explicit FFP implement it in different ways. Canada currently focuses on development assistance, France on development assistance and formal diplomacy, Sweden more comprehensively covers the trade and defence policy arenas. Mexico and Spain are yet to produce detailed implementation plans. There is increasing academic interest in FFP, but most analyses found during the course of this rapid review focus on narrative content of policies rather than impact. Policy advocacy and advice is provided by several high-profile advocacy organisations. National government agencies in Sweden, France and Canada have produced some evaluations of their FFP, but the evidence is weak. There are many international institution evaluations of gender mainstreaming for many different sectors that are context-specific.
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Woolson Neville, Diane, und Helen Gremillion. Experiencing Women’s Advocacy: Connections with and Departures from a Feminist Socio-Political Movement to end Violence Against Women. Unitec ePress, August 2015. http://dx.doi.org/10.34074/rsrp.032.

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This article examines how contemporary women’s advocates working in New Zealand with women experiencing intimate partner violence regard their work and how these experiences both connect with and depart from a feminist movement to end violence against women. Ten women’s advocates from ten different organisations were interviewed two times. The first interviews involved participants commenting on vignettes about hypothetical cases of intimate partner violence. The second interviews weresemi-structured and involved discussions about participants’ work and wider thoughts on the phenomenon of intimate partner violence. Interviews were analysed using Interpretative Phenomenological Analysis to identify key themes within participants’ interviews. Analysis indicated an alignment with international research illustrating an erosion of feminist perspectives in advocacy work. At the same time, it revealed areas of enduring feminist influence. Findings, therefore, suggest that the relationship between advocacy and the feminist movement to end violence against women is complicated and contradictory. Implications for further research directions are considered.
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Woolson Neville, Diane, und Helen Gremillion. Experiencing Women’s Advocacy: Connections with and Departures from a Feminist Socio-Political Movement to end Violence Against Women. Unitec ePress, August 2015. http://dx.doi.org/10.34074/rsrp.032.

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This article examines how contemporary women’s advocates working in New Zealand with women experiencing intimate partner violence regard their work and how these experiences both connect with and depart from a feminist movement to end violence against women. Ten women’s advocates from ten different organisations were interviewed two times. The first interviews involved participants commenting on vignettes about hypothetical cases of intimate partner violence. The second interviews weresemi-structured and involved discussions about participants’ work and wider thoughts on the phenomenon of intimate partner violence. Interviews were analysed using Interpretative Phenomenological Analysis to identify key themes within participants’ interviews. Analysis indicated an alignment with international research illustrating an erosion of feminist perspectives in advocacy work. At the same time, it revealed areas of enduring feminist influence. Findings, therefore, suggest that the relationship between advocacy and the feminist movement to end violence against women is complicated and contradictory. Implications for further research directions are considered.
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Woolson Neville, Diane, und Helen Gremillion. Experiencing Women’s Advocacy: Connections with and Departures from a Feminist Socio-Political Movement to end Violence Against Women. Unitec ePress, August 2015. http://dx.doi.org/10.34074/rsrp.032.

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This article examines how contemporary women’s advocates working in New Zealand with women experiencing intimate partner violence regard their work and how these experiences both connect with and depart from a feminist movement to end violence against women. Ten women’s advocates from ten different organisations were interviewed two times. The first interviews involved participants commenting on vignettes about hypothetical cases of intimate partner violence. The second interviews weresemi-structured and involved discussions about participants’ work and wider thoughts on the phenomenon of intimate partner violence. Interviews were analysed using Interpretative Phenomenological Analysis to identify key themes within participants’ interviews. Analysis indicated an alignment with international research illustrating an erosion of feminist perspectives in advocacy work. At the same time, it revealed areas of enduring feminist influence. Findings, therefore, suggest that the relationship between advocacy and the feminist movement to end violence against women is complicated and contradictory. Implications for further research directions are considered.
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Batliwala, Srilatha. Transformative Feminist Leadership: What It Is and Why It Matters. United Nations University International Institute of Global Health, Dezember 2022. http://dx.doi.org/10.37941/rr/2022/2.

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The words of ancient Chinese philosopher Lao Tsu make the simplest, yet most profound, case for transformation – a change of direction, a fundamental shift in the nature or character of something, recasting the existing order and ways of doing things. This is what the world needs now, as institutions and systems of the past century prove unable to address the challenges of impending planetary disaster, persistent poverty, pandemics, rising fundamentalism and authoritarianism, wars, and everyday violence. Against a background of a worldwide backlash against women’s rights, gender parity in leadership positions – in legislatures, corporations, or civil society – has proved inadequate, as women in these roles often reproduce dominant patriarchal leadership models or propagate ideologies and policies that do not actually advance equality or universal human rights. What is required is truly transformative, visionary leadership, whereby new paradigms, relationships and structures are constructed on the basis of peace, planetary health, and social and economic justice.
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Wroblewski, Angela, Bente Knoll, Barbara Pichler, Elisabeth Reitinger, Birgit Hofleitner, Barbara Egger, Victoria Englmaier, Peter Koller und Arn Sauer. Chancen feministischer Evaluation. Methodische Herausforderungen bei der Evaluation von Gender Mainstreaming und Gleichstellungspolitiken. Working Paper 119. Herausgegeben von Angela Wroblewski. IHS - Institute for Advanced Studies, Mai 2018. http://dx.doi.org/10.22163/fteval.2018.502.

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Studies in the context of gender mainstreaming, gender equality policy or feminist issues often face specific challenges in connection with the empirical approach. The Gender Mainstreaming Working Group (AK GM) of the German Evaluation Society (DeGEval) focused on the choice of adequate methods and research designs for the evaluation of gender mainstreaming measures, gender equality policies and feminist evaluation at its spring conference 2017, which took place at the IHS on 11 May 2017 and is documented in this volume.
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Philip, Raisa. Mothers vs Children: Co-opting Child Rights as Gender Backlash. Institute of Development Studies, April 2023. http://dx.doi.org/10.19088/backlash.2023.003.

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This paper examines how progressive rights frameworks are instrumentalised as gender backlash tools to suppress feminist activism. I engage with the events following Rehana Fathima’s political act ‘Body and Politics’ which faced strong backlash in the form of censure through law, and discourse capture. Using a conceptual framework I developed, I explore how various backlash concepts – co-option, censure, and discourse capture - discursively interact with each other, and identify factors that facilitate cohesion across backlash actors. I argue that in the Rehana Fathima case, the rights framework facilitated the agendas of powerful actors and not the constituents it was framed to serve. I conclude by making a case for political allyship across movements and among actors who are working on counter backlash strategies; and for deeper engagement of feminist development agendas with the sexuality of women.
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Barakat, Sarah, Alexia Pretari und Jaynie Vonk. Centring Gender and Power in Evaluation and Research: Sharing experiences from Oxfam GB's quantitative impact evaluations. Oxfam GB, Juli 2021. http://dx.doi.org/10.21201/2021/7789.

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Bringing a feminist intent to research, monitoring and evaluation practices leads to defining these as tools to contribute to transforming the lives of women, girls and non-binary people, and to bringing about social justice. This has meant putting gender and power at the centre of our practice, which has in turn shaped the technical choices made specifically in quantitative impact evaluations. This paper focuses on describing how these technical choices, as well as ethical considerations, are changed by this feminist intent. The paper also presents the lessons learned and questions raised along the way, which may be useful for MEAL and research practitioners, as well as programme managers. How can we bring intersectionality to the fore? What does it mean to go beyond the gender binary? How can this work be transformative?
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Sultan, Maheen, und Pragyna Mahpara. Backlash in Action? Or Inaction? Stalled Implementation of the Domestic Violence (Prevention and Protection) Act 2010 in Bangladesh. Institute of Development Studies, Juni 2023. http://dx.doi.org/10.19088/ids.2023.030.

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The Bangladesh government adopted the Domestic Violence (Prevention and Protection) Act in 2010. While the formulation and enactment of the Act was an achievement for the government and the coalition that championed it (the Citizens’ Initiative Against Domestic Violence, CIDV), its implementation has been weak. In Bangladesh, dominant social norms have led to stereotyping domestic violence as a trivial, personal matter, which has led to service providers delegitimising and deprioritising the issue. Combined with all the gender biases that operate within the judiciary and other government departments, this has resulted in an unsatisfactory use of the Act for women seeking redress from violence. This paper explores to what extent this lax implementation is due to the weak capacity of implementing agencies versus deliberate/intentional inaction in the form of backlash. It also examines how women’s rights organisations have articulated feminist voices in terms of agenda and framing and used collective agency to counter the pushback.
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