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Journal articles on the topic 'Feminism and art Australia'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Hurst, Cameron. "Doing Feminism: Women’s Art and Feminist Criticism in Australia." Australian and New Zealand Journal of Art 22, no. 2 (July 3, 2022): 218–23. http://dx.doi.org/10.1080/14434318.2022.2143761.

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2

Genovese, Ann. "Unravelling Identities: Performance and Criticism in Australian Feminisms." Feminist Review 52, no. 1 (March 1996): 135–53. http://dx.doi.org/10.1057/fr.1996.12.

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The following article is an exploration of the non-linear and non-unified identities that make up Australian feminism. The main premise is that the divergent strands of rational and romantic thought, central to the project of liberalism, are inherent in the characterization of Australian feminisms. As a result, there have always been tensions between feminists, centred around politics of self-identification. These tensions continue to exist, but to be articulated in different ways in different decades as a result of the ever changing relationships between feminist, state and media/public discourses. These ideas are explored through comparing two key moments in our recent past in which differences between feminisms were declared. These two events – the Mary Daly visit to Australia to promote Gyn/Ecology in 1981, and the debate engendered by Helen Garner's The First Stone in 1995 – are taken to be performative metaphors through which the continuities and discontinuities of the nature of Australian feminisms can be subjectively explored.

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3

Murdolo, Adele. "Warmth and Unity with all Women?" Feminist Review 52, no. 1 (March 1996): 69–86. http://dx.doi.org/10.1057/fr.1996.8.

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In this paper I discuss the four Women and Labour conferences which were held in Australian capital cities over the seven years between 1978 and 1984. I explore the ways in which the history of Australian feminist activism during this period could be written, questioning in particular the claim that the Women and Labour conferences have been central to the history of Australian feminism. I discuss the ways in which a historical sense could be established, using writings about the conferences as historical ‘evidence’, that race and ethnic divisions between women had not been important to the ‘women's movement’ until 1984. In other words, I challenge the construction of this conference as a turning point – not only in the feminist politicization of immigrant and Aboriginal women, but also in the politicization of all feminists about race and ethnic divisions. More broadly, I am interested in how a history would be written if it aimed to get to the ‘truth’ about racism and about the feminist activism of immigrant women. How would the apparent lack of written ‘evidence’ – at least until 1984 – of immigrant women's feminist activism, and of the awareness of Australian feminists about issues of racism, be written into this history? In addition, I suggest that it is important to the writing of feminist history in Australia that published documentation has been mostly produced by anglo women, and is thus partial and mediated by the lived, embodied experiences of anglo women. Finally, my intention is to interrogate commonly understood narratives about Australian feminist history, to challenge their seamlessness, and to suggest the importance of recognizing the tension within feminist discourses between difference as benign diversity and difference as disruption.

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4

VARNEY, DENISE. "Identity Politics in Australian Context." Theatre Research International 37, no. 1 (January 26, 2012): 71–73. http://dx.doi.org/10.1017/s0307883311000794.

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Identity mobilises feminist politics in Australia and shapes discursive and theatrical practices. Energised by the affirmative politics of hope, celebration and unity, Australian feminism is also motivated by injustice, prejudice and loss, particularly among Indigenous women and minorities. During the 1970s, when feminist theatre opened up creative spaces on the margins of Australian theatre, women identified with each other on the basis of an unproblematized gender identity, a commitment to socialist collectivism and theatre as a mode of self-representation. The emphasis on shared experience, collectivism and gender unity gave way in the 1980s to a more nuanced critical awareness of inequalities and divisions among women based on sexuality, class, race and ethnicity. My discussion spans broadly the period from the 1970s to the present and concludes with some commentary on recent twists and turns in identity politics.

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5

Ho, Christina. "Diversifying Feminism: Migrant Women’s Activism in Australia." Signs: Journal of Women in Culture and Society 33, no. 4 (June 2008): 777–84. http://dx.doi.org/10.1086/528742.

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6

Curthoys, Ann. "Adventures of Feminism: Simone de Beauvoir's Autobiographies, Women's Liberation, and Self-Fashioning." Feminist Review 64, no. 1 (April 2000): 3–18. http://dx.doi.org/10.1080/014177800338927.

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While The Second Sex is usually taken as Simone de Beauvoir's major theoretical contribution to feminism, in the 1960s and 1970s it was very often through her autobiographies – especially Memoirs of a Dutiful Daughter, The Prime of Life, and Force of Circumstance, along with novels such as She Came to Stay and The Mandarins – that her feminist ideas were most thoroughly absorbed. The autobiographies became nothing less than a guide for the fashioning of a new kind of feminine self. Where The Second Sex had intimated that a significant aspect of human liberation lay in women not losing their identity or their sense of self in those of men, it was the autobiographies which suggested and demonstrated in great detail how this might be done. In them, the rejection of conventional marriage and children was no mere slogan, but the foundation of what seemed to young female readers to be a fascinating and challenging life. In this paper, I reflect on de Beauvoir and her historical and contemporary relevance: first through reminiscence and re-reading of the autobiographies themselves; then with an historical examination of how they were read, taking Sydney, Australia, as my example; and finally by offering some reflections on subsequent feminist critique.

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7

Paisley, Fiona. "Citizens of their World: Australian Feminism and Indigenous Rights in the International Context, 1920s and 1930s." Feminist Review 58, no. 1 (February 1998): 66–84. http://dx.doi.org/10.1080/014177898339596.

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Inter-war Australia saw the emergence of a feminist campaign for indigenous rights. Led by women activists who were members of various key Australian women's organizations affiliated with the British Commonwealth League, this campaign proposed a revitalized White Australia as a progressive force towards improving ‘world’ race relations. Drawing upon League of Nations conventions and the increasing role for the Dominions within the British Commonwealth, these women claimed to speak on behalf of Australian Aborigines in asserting their right to reparation as a usurped people and the need to overhaul government policy. Opposing inter-war policies of biological assimilation, they argued for a humane national Aboriginal policy including citizenship and rights in the person. Where white men had failed in their duty towards indigenous peoples, world women might bring about a new era of civilized relations between the races.

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8

Kenway, Jane, Sue Willis, Jill Blackmore, and Leonie Rennie. "Are boys victims of feminism in schools? Some answers from Australia." International Journal of Inclusive Education 1, no. 1 (January 1997): 19–35. http://dx.doi.org/10.1080/1360311970010103.

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9

Goh, Talisha. "FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY." Tempo 74, no. 292 (March 6, 2020): 21–29. http://dx.doi.org/10.1017/s0040298219001141.

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AbstractThe rise of new musicology and feminist music criticism in the 1980s prompted a rethinking of gender in Australian art music spheres and resulted in over a decade of advocacy on behalf of women music makers. Local musicological publications began to cover feminist concerns from the late 1980s, with a focus on composing women. Catalysed by the proliferation of feminist musicology internationally in the 1990s, a series of women's music festivals were held around Australia from 1991–2001 and accompanied by conferences, symposia and special-issue publications. Aesthetic concerns were at the forefront of this debate as women musicologists and practitioners were divided on the existence of a gendered aesthetic and the implications this might have. This article examines the major feminist aesthetic contributions and debates at the time and how these considerations have impacted music-making practices, with particular reference to women composers of new music.

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10

Pini, Barbara, and Sally Shortall. "Gender Equality in Agriculture: Examining State Intervention in Australia and Northern Ireland." Social Policy and Society 5, no. 2 (April 2006): 199–206. http://dx.doi.org/10.1017/s1474746405002885.

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This paper is concerned with the extent to which the state offers potential for furthering farm women's status and rights. Using case studies of Australia and Northern Ireland, it examines the extent to which the state has intervened to address gender inequality in the agricultural sector. These two locations provide a particularly rich scope for analysis because while Australia has a long history of state feminism and an extensive legislative framework for pursing gender equity, this is not the case with Northern Ireland. At the same time, the restructuring of the state in Northern Ireland, following on from the Belfast Agreement of 1998 and the Northern Ireland Act of 1998, has generated new opportunities for state intervention regarding gender equality. Moreover, while gender is now for the first time being placed on the state agenda in Northern Ireland, gender reform is being wound back in Australia, as equity discourses are subsumed by the hegemonic discourses of neo-liberalism.

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11

Russell, Penny. "Generations of Feminist Studies Conference, 28–30 June 2005, Art Gallery of South Australia." Australian Feminist Studies 21, no. 49 (March 2006): 103–4. http://dx.doi.org/10.1080/08164640500470685.

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12

Pascoe Leahy. "From the Little Wife to the Supermom? Maternographies of Feminism and Mothering in Australia since 1945." Feminist Studies 45, no. 1 (2019): 100. http://dx.doi.org/10.15767/feministstudies.45.1.0100.

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13

D'Cruz, Glenn. "‘Class’ and Political Theatre: the Case of Melbourne Workers Theatre." New Theatre Quarterly 21, no. 3 (July 18, 2005): 207–17. http://dx.doi.org/10.1017/s0266464x05000114.

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Traditionally, class has been an important category of identity in discussions of political theatre. However, in recent years the concept has fallen out of favour, partly because of changes in the forces and relations of capitalist production. The conventional Marxist use of the term, which defined an individual's class position in relation to the position they occupied in the capitalist production process, seemed anachronistic in an era of globalization. Moreover, the rise of identity politics, queer theory, feminism, and post-colonialism have proffered alternative categories of identity that have displaced class as the primary marker of self. Glenn D'Cruz reconsiders the role of class in the cultural life of Australia by examining the recent work of Melbourne Workers Theatre, a theatre company devoted to promoting class-consciousness, in relation to John Frow's more recent re-conceptualization of class. He looks specifically at two of the company's plays, the award-winning Who's Afraid of the Working Class? and The Waiting Room, with reference to Frow's work on class, arguing that these productions articulate a more complex and sophisticated understanding of class and its relation to politics of race and gender today. Glenn D'Cruz teaches drama and cultural studies at Deakin University, Australia.

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14

Irving, Helen. "The Republic is a Feminist Issue." Feminist Review 52, no. 1 (March 1996): 87–101. http://dx.doi.org/10.1057/fr.1996.9.

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The growth during the 1990s of a republican movement in Australia has stimulated among other things a feminist examination of both the gendered nature of republicanism and the under-representation of women in senior positions in republican organizations. Feminists have adopted several critical perspectives on Australian republicanism: one involves the claim for the redesign of Australian political institutions in order to maximize the representation of women and women's interests; another suggests that the neglected history of women's involvement in constitutional politics during the last century needs to be understood to throw light on ways in which republicanism can be made more meaningful for women now, while a third argues that republicanism is not essentially a feminist issue and should not be pursued as such. The article challenges this conclusion.

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15

Jover Biboum, Margarita, Rubén García Rubio, and Carlos Ávila Calzada. "Adrian Parr, a polyhedral relationship with water." ZARCH, no. 15 (January 27, 2021): 188–95. http://dx.doi.org/10.26754/ojs_zarch/zarch.2020154932.

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Adrian Parr is a transdisciplinary scholar who brings the design disciplines into conversation with the humanities, social sciences, and science. Rather than work within the clearly defined boundaries of a specialized discipline, her writings and movies create ethical montages consisting of theoretical criticism, poetics, imagery, and sound. The daughter and niece of two of Australia's most well-known contemporary artists, she has a sensitivity toward the affective potential of thought and ethical reflection. Her writings encompass a journey through the notebooks of Leonardo da Vinci, Deleuze, feminism, contemporary art, sustainability culture, urbanism, climate change, policy, collective memory, trauma theory, and Marxist thinking. Her films set out to humanize the water and sanitation statistics driving national and international policy. In this interview Adrian Parr talks about the environmental and water problems in different parts of the world under a vision in which humanism, education, ethics, awareness and leadership play a transcendental role.

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16

Jan Wilson, Tikka. "Feminism and Institutionalized Racism: Inclusion and Exclusion at an Australian Feminist Refuge." Feminist Review 52, no. 1 (March 1996): 1–26. http://dx.doi.org/10.1057/fr.1996.3.

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This article is a microlevel discussion of indigenous/white relations at an Australian feminist refuge. It argues that the organization and practices of the refuge, including those which were specifically ‘feminist’ and those purporting to be anti-racist, reproduced a pattern of institutional racism which privileged and naturalized ‘whiteness’, white feminism and white women, and perpetuated the racial disadvantage of Aboriginal women, including continuing accountability to white colonizing women, loss of employment and economic security and contingent rather than guaranteed access to appropriate domestic violence crisis services. The article focuses on three interrelated concepts which were fundamental to the white women's construction and legitimation of their positions in the events: ‘sisterhood’, ‘multiculturalism’ and ‘the good feminist worker’.

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17

YOUNG, GREG. "‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music." Popular Music 23, no. 2 (May 2004): 173–93. http://dx.doi.org/10.1017/s0261143004000145.

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For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Australian settings. This paper examines that development as part of a continuum of twentieth century Australian male music performance that has variously been informed by the bush legend; a mythologised late nineteenth-century Australian masculine image, popularised in The Bulletin under the editorship of Archibald, that saw the urban as the feminine and the rural as the masculine. The paper considers how the combination of sexual anxiety surrounding male gender identity in Australian performance, and this rigid bush aesthetic, have encouraged the development of unstable male gender representations in Australian music that for the most part have come across as either caricatured male, sexless or anti-pop. The exception is the late Michael Hutchence whose performances were a clear departure from this in that on stage and in music videos he conveyed a star persona that was sexually charged and often ambiguous about its sexuality. It is for that reason alone that Michael Hutchence has been referred to as Australia's only international rock star (Carney 1997).

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18

Wilson, Tikka Jan. "Feminism and Institutionalized Racism: Inclusion and Exclusion at an Australian Feminist Refuge." Feminist Review, no. 52 (1996): 1. http://dx.doi.org/10.2307/1395769.

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19

Hunter, Kathryn M. "The Drover's Wife and the Drover's Daughter: Histories of Single Farming Women and Debates in Australian Historiography." Rural History 12, no. 2 (October 2001): 179–94. http://dx.doi.org/10.1017/s0956793300002430.

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AbstractIn the 1980s two vigorous debates commanded the attention of economic and feminist historians alike, and they played a key part in shaping the historiography concerning rural women in Australia. One debate revolved around the use of the nineteenth-century census in determining women's occupations, including those of farming women. The other debate, part of a wider feminist conversation about women's agency, focused on the question of the nature of white women's lives within colonial families and society. Despite the centrality of rural women to these debates, and the role colonial women's histories played in shaping the historiography, these debates did not impact upon the writing of rural history in Australia. This article revisits these debates in the light of new research into the lives of never-married women on Australia's family farms and uses their histories to question the conclusions arrived at by feminist and economic historians. It also questions the continuing invisibility of rural women in histories of rural Australia and hopes to provoke more discussion between rural and feminist historians.

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20

Ballard, Susan, and Agnieszka Golda. "Feminism And Art." Australian Feminist Studies 30, no. 84 (April 3, 2015): 199–210. http://dx.doi.org/10.1080/08164649.2015.1046713.

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21

Haines, Jody. "The Making of ‘Good’ Mirrors: Art and Activism in Public Space." Journal of Public Space, Vol. 4 n. 3 (November 30, 2019): 171–84. http://dx.doi.org/10.32891/jps.v4i3.1228.

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This article, The Making of ‘Good’ Mirrors: Art and Activism in Public Space, discusses the Feminist and Indigenous methods I apply to co-created collaborative and relational portraiture projects expressly created for public space and semi-public space and how they act as art and activism. The discussed projects, created using still and moving image, work in resistance to the problem of the gendered aesthetic within the Australian context through the applied making methods within a social studio, the politics of representation and the public placement of the project’s products. Discussed projects include #IAMWOMAN (2017-current), Women Dreaming (2018) and Flipping the Script (2018).

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22

Tait, Peta. "Danger Delights: Texts of Gender and Race in Aerial Performance." New Theatre Quarterly 12, no. 45 (February 1996): 43–49. http://dx.doi.org/10.1017/s0266464x00009611.

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Circus artists, especially aerial performers and wire-walkers, transgress and reconstruct the boundaries of racial and gender identity as part of their routine. In the following article, Peta Tait analyzes the careers of two twentieth-century Australian aerialists of Aboriginal descent who had to assume alternative racial identities to facilitate and enhance their careers. Both Con Colleano, who became a world-famous wire-walker in the 1920s, and Dawn de Ramirez, a side-show and circus aerialist who worked in Europe in the 1960s, undermined the social separation of masculine and feminine behaviours in their acts. Theories of the body and identity, including those of Foucault and Judith Butler, inform this critique of the performing body in circus. The author, Peta Tait, is a playwright and drama lecturer at the University of New South Wales. She is author of Original Women's Theatre (1993) and Converging Realities: Feminism in Australian Theatre (1994).

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23

Sheppard, Alice. "Suffrage Art and Feminism." Hypatia 5, no. 2 (1990): 122–36. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00421.x.

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Suffrage graphics constitute one of the first collective, ideological, artistic expressions by American women. Premised on the popular view of woman's nature as virtuous, responsible, and nurturant, this art nonetheless challenged traditional practices and demanded political change. Interrelationships between feminism, art, and the historical context are explored in this analysis of women's imagery.

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24

Gilbert, Helen, Peta Tait, Venetia Gillot, Julie Holledge, Anna Messariti, Lydia Miller, and Mary Moore. "Converging Realities: Feminism in Australian Theatre." Theatre Journal 47, no. 3 (October 1995): 430. http://dx.doi.org/10.2307/3208908.

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25

Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 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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Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 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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27

Garber, Elizabeth. "Feminism, Aesthetics, and Art Education." Studies in Art Education 33, no. 4 (1992): 210. http://dx.doi.org/10.2307/1320667.

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28

Bryzgel, Amy. "Art and Feminism Unifying Yugoslavia." Art Journal 81, no. 4 (October 2, 2022): 150–52. http://dx.doi.org/10.1080/00043249.2022.2133313.

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29

Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

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30

Mina, Hao. "Feminism Is Still Relevant in Australia." Studies in Social Science Research 2, no. 3 (July 15, 2021): p26. http://dx.doi.org/10.22158/sssr.v2n3p26.

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Feminist movements had been pervasive in the 20th century. It helped women to earn civil rights globally, welcomed by most civilized citizens. Then in the 21st century, it seems to have no reason to exist since there are no apparently observable and unpleasant unequal treatments towards women. Feminism, hence, is regarded as a word of the past by some people. Nevertheless, it is not the fact. By studying the situation in Australia, women in this nation have become the study object. Working opportunities in politics and business have been counted, combined with the study of relevant government policies towards different gender. The male’s changing attitude towards female in gender role has also exposed the socialization process in Australia. Through close scrutiny, it is found that feminism is still very much relevant in Australia.

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Ha, Hye-Seok, and A.-Ram Han. "Feminism in the Art of Dance." Journal of the Korean Society for the Philosophy of Sport, Dance, & Martial Arts’ 26, no. 1 (March 31, 2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.007.

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Ha, Hye-Seok, and A.-Ram Han. "Feminism in the Art of Dance." Journal of the Korean Society for the Philosophy of Sport, Dance, & Martial Arts’ 26, no. 1 (March 31, 2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.85.

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33

Forte, Jeanie. "Women's Performance Art: Feminism and Postmodernism." Theatre Journal 40, no. 2 (May 1988): 217. http://dx.doi.org/10.2307/3207658.

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34

Forte, Jeanie. "Rachel Rosenthal: Feminism and performance art." Women & Performance: a journal of feminist theory 2, no. 2 (January 1985): 27–37. http://dx.doi.org/10.1080/07407708508571083.

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35

Stuart, Avelie, and Ngaire Donaghue. "Choosing to conform: The discursive complexities of choice in relation to feminine beauty practices." Feminism & Psychology 22, no. 1 (October 18, 2011): 98–121. http://dx.doi.org/10.1177/0959353511424362.

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There exists the idea that western societies are now postfeminist, implying that remaining differences between men and women should be understood as a result of the free exercise of individual choice. Yet this postfeminist promise of liberation is overwhelmingly packaged within the crushingly cruel beauty images that western women are judged against and incited to emulate. Theorizing female agency in light of choice and liberation discourses has been the topic of much recent feminist literature, to which this article seeks to contribute. We utilized a feminist post-structuralist framework to examine how young Australian women position themselves as freely choosing and able to throw off oppression. We discuss these findings in relation to the conception of the neoliberal feminine subject; described as someone who playfully expresses herself by freely choosing her level of participation in socially promoted beauty practices; in turn resulting in a resistance to being seen as inflexible, or critical of wider social influences

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36

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 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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Aleci, Linda S., Norma Broude, and Mary D. Garrard. "The Expanding Discourse: Feminism and Art History." Woman's Art Journal 16, no. 1 (1995): 47. http://dx.doi.org/10.2307/1358630.

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Korsmeyer, Carolyn, Norma Broude, and Mary D. Garrard. "The Expanding Discourse: Feminism and Art History." Journal of Aesthetics and Art Criticism 51, no. 4 (1993): 628. http://dx.doi.org/10.2307/431898.

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Board, Marilynn Lincoln, and Hilary Robinson. "Feminism-Art-Theory, an Anthology 1968-2000." Woman's Art Journal 26, no. 1 (2005): 61. http://dx.doi.org/10.2307/3566544.

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Heath, Joanne. "Negotiating the Maternal: Motherhood, Feminism, and Art." Art Journal 72, no. 4 (December 2013): 84–86. http://dx.doi.org/10.1080/00043249.2013.10792867.

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Evans, Siân. "Art + Feminism: an interview with Siân Evans." Art Libraries Journal 44, no. 2 (April 2019): 72–77. http://dx.doi.org/10.1017/alj.2019.7.

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How to answer this question? I guess I began my career as a librarian at a party. Newly possessing what I already knew was a useless (in capitalist terms, at least) MA in Art History, I had moved to New York City to be closer to my family, and to stay up all night at MisShapes parties and eat pizza at dawn. I was working in marketing for Forbes Magazine, as you do when you're 24 and need to pay the bills and have no idea what you want to do with your life. It wasn't long after the financial collapse of 2008, when job prospects were very low, that a friend of a friend who had just finished library school at Pratt handed me a drink at a party and said, ‘you like writing and researching, if you don't want to be a teacher, why don't you become a librarian?’

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Millner, Jacqueline, Catriona Moore, and Georgina Cole. "Art and Feminism: Twenty-First Century Perspectives." Australian and New Zealand Journal of Art 15, no. 2 (July 3, 2015): 143–49. http://dx.doi.org/10.1080/14434318.2015.1089816.

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Grad, Bonnie. "Framing feminism: Art and the women's movement." Women's Studies International Forum 11, no. 4 (January 1988): 422–23. http://dx.doi.org/10.1016/0277-5395(88)90103-3.

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Taylor, Anthea. "Marking feminist times: Remembering the longest revolution in Australia." Continuum 22, no. 1 (February 2008): 159–63. http://dx.doi.org/10.1080/10304310701642030.

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VARNEY, DENISE. "White-out: Theatre as an Agent of Border Patrol." Theatre Research International 28, no. 3 (October 2003): 326–38. http://dx.doi.org/10.1017/s0307883303001160.

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In Australia in 2001, there was a marked escalation of debates about nation, national identity and national borders in tandem with a right-wing turn in national politics. Within the cultural context of debate about national identity, popular theatre became an unwitting ally of neo-conservative forces. Within popular theatre culture, the neo-conservative trend is naturalized as the view of the Anglo-Celtic-European mainstream or core culture that also embraces and depoliticizes feminist debates about home and family. Elizabeth Coleman's 2001 play This Way Up assists in the production of an inward-looking turn in the national imaginary and a renewed emphasis on home and family. The performance dramatizes aspects of what we are to understand as ordinary Australian life which might be interpreted as that which Prime Minister John Howard defends in the name of the National Interest. The cultural imaginary that shapes the production of the popular play is that of the conservative white national imaginary.

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Kamran, Sadia Pasha. "WOMEN, ART & POLITICS IN PAKISTAN: RETHINKING FEMINISM THROUGH FEMINIST ART." PEOPLE: International Journal of Social Sciences 5, no. 2 (September 26, 2019): 712–19. http://dx.doi.org/10.20319/pijss.2019.52.712719.

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Grant, C. "Fans of Feminism: Re-writing Histories of Second-wave Feminism in Contemporary Art." Oxford Art Journal 34, no. 2 (June 1, 2011): 265–86. http://dx.doi.org/10.1093/oxartj/kcr021.

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Bartlett, Alison, and Margaret Henderson. "Feminism and the museum in Australia: an introduction." Journal of Australian Studies 40, no. 2 (April 2, 2016): 129–39. http://dx.doi.org/10.1080/14443058.2016.1157702.

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Larbalestier, Jan. "The politics of representation: Australian aboriginal women and feminism." Anthropological Forum 6, no. 2 (January 1990): 143–57. http://dx.doi.org/10.1080/00664677.1990.9967404.

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Bartlett, Alison. "Feminist heritage walks: materialising the feminist past in Perth, Australia and Glasgow, UK." Gender, Place & Culture 27, no. 7 (July 9, 2019): 1007–22. http://dx.doi.org/10.1080/0966369x.2019.1612855.

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