Journal articles: 'Feminism and art'

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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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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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Trevisan, Gabriela Simonetti. "A mulher e a arte: a criação feminina nas palavras de Júlia Lopes de Almeida." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 189–215. http://dx.doi.org/10.22456/2596-0911.103861.

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Este artigo tem como foco uma análise do texto “A mulher e a arte” (sem data), da escritora carioca Júlia Lopes de Almeida (1862-1934). Este escrito, recém-publicado na íntegra pela primeira vez, em revista acadêmica, constitui uma conferência da autora na qual ela expõe suas opiniões sobre o tema da arte de autoria feminina, tecendo uma série de críticas de cunho feminista à desigualdade entre os gêneros no espaço da criação artística. Em seu texto, a literata cita diversos nomes de artistas e intelectuais mulheres, de modo a sustentar seu argumento em defesa da potência criativa feminina e assinalar a importância da transformação da cultura patriarcal. Assim, a partir do olhar historiográfico e embasados pela epistemologia feminista, buscamos ressaltar a conferência como fundamental para o estudo da escrita de autoria feminina e feminista no Brasil entre os séculos XIX e XX.Palavras-chave: Júlia Lopes de Almeida. Literatura. Feminismo. AbstractThis article focuses on an analysis of the text “The woman and the art” (undated), by the writer Júlia Lopes de Almeida (1862-1934), from Rio de Janeiro. This writing, recently published in full for the first time, constitutes a conference in which the author exposes her opinions on the theme of art of female authorship, weaving a series of feminist criticisms of the inequality between genders in the space of artistic creation. In her text, Júlia lists several names of artists and women intellectuals, in order to support her argument in defense of the feminine creative power and point out the importance of the transformation of patriarchal culture. Thus, from the historiographic perspective and based on feminist epistemology, we seek to emphasize the conference as fundamental for the study of female and feminist writing feminists in Brazil between the 19th and 20th centuries.Keywords: Júlia Lopes de Almeida. Literature. Feminism.

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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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Kwak, Su-Joung, and 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, no. 2 (June 20, 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.

6

Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 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.

7

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, no. 1 (August 31, 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.

8

Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 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.

9

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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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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Dr.Khalid bin Abdul-Aziz al-Saif, Dr Khalid bin Abdul-Aziz al-Saif. "The Philosophical Foundations of Feminism (Presentation & Criticism) And the Impact of that on Islamic Feminism." journal of king abdulaziz university arts and humanities 26, no. 2 (January 12, 2018): 45–72. http://dx.doi.org/10.4197/art.26-2.3.

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Feminist movements are one of the most controversial movements, and these movements would not have been around had it not been for philosophical support. In general, their philosophy is based on postmodern philosophies, which are considered general knowledge of the overall pan of what is raised in feminist criticism. The importance of knowing these Western philosophical foundations of feminism comes to light when unveiling them from the joints of Arab feminist thought where it becomes clear to the critic that Arab feminist thought is only an echo of Western feminist thought.

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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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Ghodsee, Kristen, Hülya Adak, Elsa Stéphan, Chiara Bonfiglioli, Ivan Stankov, Rumiana Stoilova, Rochelle Goldberg Ruthchild, et al. "Book Reviews." Aspasia 15, no. 1 (August 1, 2021): 165–207. http://dx.doi.org/10.3167/asp.2021.150111.

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Anna Artwinska and Agnieszka Mrozik, eds., Gender, Generations, and Communism in Central and Eastern Europe and Beyond, New York: Routledge, 2020, 352 pp., £120.00 (hardback), ISBN: 978-0-36742-323-0.Clio: Femmes, Genre, Histoire, 48, no. 2 (2018)Lisa Greenwald, Daughters of 1968: Redefining French Feminism and the Women’s Liberation MovementGal Kirn, The Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation StruggleMilena Kirova, Performing Masculinity in the Hebrew BibleAndrea Krizsan and Conny Roggeband, eds., Gendering Democratic Backsliding in Central and Eastern Europe: A Comparative AgendaLudmila Miklashevskaya, Gender and Survival in Soviet Russia: A Life in the Shadow of Stalin’s TerrorBarbara Molony and Jennifer Nelson, eds., Women’s Activism and “Second Wave” Feminism: Transnational HistoriesN. K. Petrova, Zhenskie sud’by voiny (Women’s war fates)Feryal Saygılıgil and Nacide Berber, eds. Feminizm: Modern Türkiye’de Siyasi Düşünce, Cilt 10 (Feminism: Thought in modern Turkey, vol. 10)Marsha Siefert, ed., Labor in State-Socialist Europe, 1945–1989: Contributions to a History of WorkZilka Šiljak Spahić, Sociologija roda: Feministička kritika (Sociology of gender: Feminist critique)Věra Sokolová and Ľubica Kobová, eds., Odvaha nesouhlasit: Feministické myšlení Hany Havelkové a jeho reflexe (The courage to disagree: Hana Havelková’s feminist thought and its reflections)Katarzyna Stańczak-Wiślicz, Piotr Perkowski, Małgorzata Fidelis, Barbara Klich-Kluczewska, Kobiety w Polsce, 1945–1989: Nowoczesność – równouprawnienie – komunizmp (Women in Poland, 1945–1989: Modernity, equality, communism)Vassiliki Theodorou and Despina Karakatsani, Strengthening Young Bodies, Building the Nation: A Social History of Children’s Health and Welfare in Greece (1890–1940) Maria Todorova, The Lost World of Socialists at Europe’s Margins: Imagining Utopia, 1870s–1920s Jessica Zychowicz, Superfluous Women: Art, Feminism and Revolution in Twenty-First-Century Ukraine

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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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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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Xie, Wenqian. "On Chinese feminist art from the perspective of globalization." BCP Education & Psychology 6 (August 25, 2022): 152–63. http://dx.doi.org/10.54691/bcpep.v6i.1784.

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In comparison with the expression of feminist art during the second wave of the feminism movement in the United States, Chinese feminist art embodies similar development paths but with different pursuits. Immigrant countries determine that feminist art in the United States has different aims on account of artists of different races and nationalities, such as black women discussing racial discrimination and immigration; European immigrants criticize patriarchy from the perspective of Western art history; and LGBT people are oppressed by society. However, Chinese feminist art also has its own unique artistic expression objects and goals in the development and evolution of feminist theory. Aiming at the prevalent problem of preference for boys over girls and gender inequality, Chinese female artists criticize the hidden gender discrimination in society in a particular way.

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Čakardić, Ankica. "Down the Neoliberal Path: The Rise of Free Choice Feminism." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 33. http://dx.doi.org/10.25038/am.v0i14.215.

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The free choice ideology dictates that any time a woman makes a choice it is an act of feminism. The idea that personal choice presupposes the faraway horizons of freedom and its guarantee, as well as the undoubted potentials of women’s empowerment, makes up the central position of the critique in this essay. Our text is divided into two parts. In the first part of the paper we are going to outline the basic assumptions of neoliberalism, in order to use them as foundations for the argument about its feminist affirmation. We will illustrate the relationship between neoliberalism and feminism by using the example of women's entrepreneurship, which is usually interpreted as a strategy of undeniable emancipation. In the second part of the essay, as a concrete response to ‘neoliberal feminism’, we are going to point to the progressive potential of social reproduction theory and socialist-feminist practice to be further developed out of it. Given the intention of this text is not to exhibit a detailed historical-comparative analysis of feminism, we are merely going to use concrete examples to illustrate the link between feminism and neoliberalism, and to map the shift from early second-wave feminism to identity politics and the cultural turn that swallows up the critique of political economy. Article received: June 2, 2017; Article accepted: June 16, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Čakardić, Ankica. "Down the Neoliberal Path: The Rise of Free Choice Feminism." AM Journal of Art and Media Studies 14 (2017): 33-44. doi: 10.25038/am.v0i14.215

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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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Cleveston Gelain, Gabriela, Milene Migliano, and Pedro De Assis Pereira Scudeller. "Experiências de uma Riot Grrrl: Kathleen Hanna, feminismo, DIY e cultura remix." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 152–88. http://dx.doi.org/10.22456/2596-0911.104017.

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Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento punk, estimulando o surgimento de outras iniciativas feministas, rebeldes e riot grrrls. Sua prática e performance artística são abordadas pelo viés das culturas DIY e remix, potencializando partilhas do sensível e politicidades no engajamento de subjetividades que superam a contenção dos imaginários vigentes.Palavras-chave: Feminismo. Riot Grrrl. Kathleen Hanna. Cultura remix. Imaginário político. AbstractThrough fragments of narratives gathered from the documentary The Punk Singer, based on the life and career of musician and activist Kathleen Hanna, pioneer of the Riot Grrrl movement, we refer to the third wave of the feminist movement, by demonstrating the dimensions of intersectionality and youth protagonism within her work. Ranging from fanzines, art, collages and lyric-making to performance and music groups based on a punk "do it yourself" (DIY) philosophy, we highlight Hanna's broad contribution to contemporary feminism by challenging an oppressive scenario within the punk movement, and by stimulating the emergence of other feminist, rebel and riot grrrls initiatives. Her artistic practice and performance are analyzed through the bias of DIY and remix cultures, thus potentializing distributions of the sensible and politicities in the engagement of subjectivities that surpass the containment of current imaginaries.Keywords: Feminism. Riot Grrrl. Kathleen Hanna. Remix culture. Political imaginary.

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Nwanna, Clifford. "Dialectics of African Feminism A Study of the Women's Group in Awka (the Land of Blacksmiths)." Matatu 40, no. 1 (December 1, 2012): 275–83. http://dx.doi.org/10.1163/18757421-040001019.

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There appears to be a lack of interest from researchers on African art, on feminist related issues. Their researches are devoted to other aspects of African art. This situation has created a gap in both African art and African gender studies. The present essay interrogates the socio-economic and political position of women in Africa from a feminist theoretical viewpoint. Here, the formation and the activities of the women group in Awka was used as a case study, to foreground the fact that feminism is not alien to Africa; rather it has existed in Africa since the ancient times. The women group stands out as true African patriots and protagonists of the African feminist struggle.

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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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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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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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Musgrave, L. Ryan. "Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics." Hypatia 18, no. 4 (2003): 214–35. http://dx.doi.org/10.1353/hyp.2003.0087.

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Musgrave, L. Ryan. "Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics." Hypatia: A Journal of Feminist Philosophy 18, no. 4 (October 2003): 214–35. http://dx.doi.org/10.2979/hyp.2003.18.4.214.

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Musgrave, L. Ryan. "Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics." Hypatia 18, no. 4 (2003): 214–35. http://dx.doi.org/10.1111/j.1527-2001.2003.tb01419.x.

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This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.

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Rahayu, Sukesi, Katrhryn Emerson, and Phakkharawat Sittiprapaporn. "Feminism in song of jineman kenya ndesa laras slendro pathet sanga." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 154–58. http://dx.doi.org/10.33153/glr.v19i2.3558.

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AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting sources. The results of this study indicate that in Sukesi Rahayu's Jineman Kenya Ndesa Slendro Sanga, there is feminist content, namely an attempt to elevate the dignity of women, which in this case is sindhen, within the scope of Javanese art culture as well as women in general.Keywords: Feminism; Sindhenan; Javanese culture

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Fisher, Anna Watkins. "Like a Girl's Name." TDR/The Drama Review 56, no. 1 (March 2012): 48–76. http://dx.doi.org/10.1162/dram_a_00143.

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What if the future of feminist art lay not in images of self-mastery, dignity, and maturity but rather in performances of teen regression? Adolescent drag designates a performance of irony, awkwardness, and equivocality that expands the identificatory repertoire available to a generation of women who are said to have inherited from Western feminism.

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ZALEWSKI, MARYSIA. "‘I don't even know what gender is’: a discussion of the connections between gender, gender mainstreaming and feminist theory." Review of International Studies 36, no. 1 (January 2010): 3–27. http://dx.doi.org/10.1017/s0260210509990489.

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AbstractIn this article I discuss some of the connections between gender, gender mainstreaming and feminist theory. As a global initiative, gender mainstreaming is now well established; but the role of feminism and feminists in achieving this success is questionable. Some, including Harvard Law Professor Janet Halley claim that feminists, particularly in the realm of governance feminism, have been extremely successful. Yet despite this success Halley invites us to ‘take a break from feminism’. I consider this political and intellectual invitation in this article in order to shed some light on the relationship between gender mainstreaming and feminism but also to probe what Robyn Wiegman refers to as a ‘critical incomprehension’ around feminism. My discussion includes a brief analysis of the imagery used in documentation relating to the United Kingdom's Gender Equality Duty Legislation; the latter a contemporary example of a legislative attempt to properly mainstream gender. In conclusion I return to the Halley's invitation to ‘take a break from feminism’ and introduce, by way of contrast, Angela McRobbie's recent discussion of post-feminism ultimately suggesting that we might see Halley's call, as well as the popularity (and ‘failures’) of gender mainstreaming as examples of post-feminist practice. Image 1.Pop-art images advertising the ‘Gender Agenda’ on the Internet {http://www.gender-agenda.co.uk/} which is part of the UK's legislation on gender equality produced by the UK's Equality and Human Rights Commission (formerly the Equal Opportunities Commission).If you look around the United States, Canada, the European Union, the human rights establishment, even the World Bank, you see plenty of places where feminism, far from operating underground, is running things.1Any force as powerful as feminism must find itself occasionally looking down at its own bloody hands.2

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Gonçalves, Mirna Xavier. "A voz feminista em ação: Suzanne Lacy e Andrea Dworkin." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 389–417. http://dx.doi.org/10.22456/2596-0911.103469.

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Dentre todas as possibilidades de ação feminista, há a militância em espaço público e a prática em apoio às mulheres, bem como a levada de consciência sobre pautas feministas para as mulheres, tanto no âmbito privado como no público. Esta era a abordagem de Andrea Dworkin, que proferia discursos em marchas e levava suas próprias experiências para o âmbito da escrita, sua prática profissional. A mesma abordagem era utilizada por Suzanne Lacy, artista contemporânea que, através de instalações urbanas, realizava suas ações de militância combinada à arte. Este trabalho visa traçar parâmetros comuns entre estas duas mulheres, focando em suas pautas e na reverberação de seus trabalhos um em relação ao outro, bem como na sociedade.Palavras-chave: Público. Arte Contemporânea. Feminismo. AbstractAmongst all possibilities of feminist action there’s the militant strategy: to take the word of action into the public space, to act in women’s aid, to talk to your target audience and bring your discourse to the people. That was Andrea Dworkin’s strategy, who would bring her speeches into women’s marches and take her experience into her writing, which was her profession. The same strategy was taken by Suzanne Lacy, contemporary artist who focuses on urban installations to mix political and artistic action. This paper correlates these two authors, focusing on their preferred subjects and how their works reverberated together and in society.Keywords: Public. Contemporary Art. Feminism.

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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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Wang, Shuchen. "Fashioning Chinese feminism: Representations of women in the art history of modern China." Critical Studies in Fashion & Beauty 12, no. 2 (December 1, 2021): 207–27. http://dx.doi.org/10.1386/csfb_00027_1.

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Artworks record history. The images of women’s fashion and beauty presented in the art history of modern China illustrate explicitly the challenging, changing and circuitous development of women’s rights and feminism in the country. In this study, I analyse and contextualize the most widespread representations of Chinese ‘modern women’s fashion’: (1) the geisha-like ladies of news illustrations before the 1911 Revolution, (2) the poster-calendar girls in the republican aesthetics of an early commercial society, (3) the papercutting folk art that profiles ‘half the sky’ in the uniform aesthetics of Marxist‐Leninist‐Maoist propaganda, (4) the gender-specific art themes and materials applied by female artists after the opening-up policy and (5) the feminist art in the Chinese contemporary art world. The resulting analysis helps to elucidate the interconnections among fashion, art and women’s status in China, in pursuit of modernity, the radical expansion of western colonization, domestic political turmoil and, in particular, longstanding patriarchal cultural norms and values.

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Hayes, Shannan L. "Wanting More." differences 31, no. 1 (May 1, 2020): 64–97. http://dx.doi.org/10.1215/10407391-8218774.

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This essay interrogates the forms of feminist political desire and subject formation being reproduced under the heading of contemporary feminist art. The author considers two recent exhibitions, similarly organized around the theme of intersectionality, that took place over two consecutive summers in New York City: Simone Leigh’s The Waiting Room at the New Museum (2016), and the group exhibit We Wanted a Revolution at the Brooklyn Museum (2017). While both exhibitions promote the work of black women artists at the center of their institutional program-building initiatives, each exhibition forwards a notably distinct version of what counts as “revolutionary” feminist politics. Hayes argues ultimately for an interpretation of Leigh’s work as a prefigurative, utopian feminism that demands more—for example, than mere inclusion—from progressive institutions and feminist art.

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Wejbert-Wąsiewicz, Ewelina Izabela. "Feminizm w polskiej literaturze kobiet." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 97. http://dx.doi.org/10.17951/l.2017.15.2.97.

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Przedmiotem rozważań dla niniejszego szkicu są przede wszystkim wątki feministyczne obecne w polskiej literaturze kobiet. Tekst podejmuje refleksję dotyczącą następujących kwestii: czy istnieje zjawisko literatury feministycznej w Polsce; czy wątki feministyczne są charakterystyczne tylko dla sztuki kobiet; jakie feminizmy obecne są w literaturze kobiet? Socjologiczna badania pokazują, iż w Polsce feminizm nie zyskuje aprobaty społecznej nawet wśród kobiet doświadczającyh nierówności płciowych. Ciagle pokutuje negowanie pozytywnej roli feminizmu, zakorzeniiła sie silnie postawa antyfeministyczna mająca żróło w braku wiedzy, streotypach odnośnie do ruchu kobiet. Ewa Malinowska wiele lat temu argumentowała, że ruch feministyczny w Polsce jest działaniem jednostek a nie kolektywnej pracy aktorów społecznych. Rodzimych korzeni literatury związanej z femiznimem upartuje się Entuzjstkach Narcyzy Żmichowskiej. Skupione wokół tego ruchu pisarki angażowały się w polityczną i edukacyjną działalność. Po okresie I wojny światowej, wraz z zyskaniem praw do głosowania i edukacji rodzima literatura kobiet zaatakowała zerwaniem wielu społecznych, obyczajowych tabu, w tym seksulanych, np. ciąża, macierzyństwo, aborcja, małżeństwo (G. Zapolska, Z. Nalkowska, M. Kuncewiczowa, P. Gojawiczyńska, I. Krzywicka, A. Gruszecka, H. Boguszewska and many others).Druga wojna światowa i póżniejszy PRL przysłoniły idee feministyczne, ważne tematy i problemy dla kobiet. Sytuacja uległa zmiane po 1989 roku wraz z debiutami pisarek nie tylko opisujących doświadczenia kobiece ale także otwarcie declarującycmi sympatię do feminizmu w wywiadach (np. Manuela Gretkowska, Izabela Filipiak, Olga Tokarczuk, Natasza Goerke). Współczesne literatura nie jest ofensywna, pisarki nie walczą i nie deklarują otwarcie femistycznej postawy, wartości.Feminism in Polish Women’s LiteratureSUMMARYThe subject of discussion in this sketch is first of all feminist themes present in Polish women’s literature. The text considers the following questions: whether the phenomenon of feminist literature exists in Poland; whether feminist themes are characteristic only of women’s art; what feminisms are present in women’s literature? Sociological studies show that feminism is not socially approved even among women who experience gender inequalities. The denial of the positive role of feminism still persists, and there is a deeprooted antifeminist attitude stemming from ignorance and stereotypes. Many years ago Ewa Malinowska argued that the feminist movement in Poland consisted in the activity of individuals rather than the collective work of social activists. The native roots of literature associated with feminism are sought in Narcyza Żmichowska’s Enthusiasts (Entuzjastki) group. The women writers participating in this movement were involved in political and educational activities. After World War One, after women were granted voting rights and right to education, women’s literature in Poland touched on many social and moral taboos, including sexual, such as pregnancy, maternity, abortion, or marriage (G. Zapolska, Z. Nałkowska, M. Kuncewiczowa, P. Gojawiczyńska, I. Krzywicka, A. Gruszecka, H. Boguszewska, and others). World War Two and the period of People’s Poland pushed feminist ideas and women’s important problems and subjects into the deep background. The situation changed after 1989 with the debuts of women writers who not only described female experiences but also openly declared their sympathies towards feminism in interviews (e.g. Manuela Gretkowska, Izabela Filipiak, Olga Tokarczuk, and Natasza Goerke). Contemporary literature is not aggressive, however: women writers do not fi ght and do not openly espouse feminist attitudes and values.

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Li, Yong Ri. "“Loose” Feminism: An Introductory Study of Feminist Art of Korean Minority in China." Journal of Basic Design & Art 22, no. 4 (August 31, 2021): 273–86. http://dx.doi.org/10.47294/ksbda.22.4.20.

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Moore, Kelli. "Techniques of Abstraction in Black Arts." Meridians 21, no. 2 (October 1, 2022): 413–35. http://dx.doi.org/10.1215/15366936-9882119.

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Abstract This review essay discusses recent exhibitions and accompanying art books published at the threshold of Black philosophy and aesthetics in relation to feminist mourning practices: Nicole Fleetwood’s book and exhibition Marking Time: Art in the Age of Mass Incarceration (2020); Grief and Grievance, an exhibition (2021); a book (2020) conceived by the late Nigerian curator Okwui Enwezor; and Saturation: Race, Art, and the Circulation of Value (2020), edited by C. Riley Snorton and Hentyle Yapp. These books and several others elucidate how relationships between transnational feminism, mourning, and Black works of art speak to Frantz Fanon’s idea of “the leap into existence,” Hortense Spillers’s “dialectics of a global new woman,” and David Marriott’s psycho-political analysis of invention.

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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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Luo, Xinyi. "Representation, Inter-construction, Production: Feminist Theory and Practice in Chinese Urban Films." Journal of Education, Humanities and Social Sciences 3 (September 22, 2022): 99–102. http://dx.doi.org/10.54097/ehss.v3i.1553.

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As a social trend of thought, feminism can be directly expressed through social movements, and it can also be appropriately spread through the media through art. As a theory and practice, feminism has an intriguing relationship with art, media and reality. This paper examines the theory and practice of feminism in film, and discusses the dimensions of screen space, media space, and real space, including the emergence of female consciousness, the construction of gender politics, and the new pattern of female discourse space, that is, to examine representation, mutual construction and production status.

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Gluzman, Georgina G., and Viviana Usubiaga. "Feminism is for Todes : Art History and Feminist Interventions in Spanish‐Speaking Latin America." Art History 44, no. 4 (August 24, 2021): 854–60. http://dx.doi.org/10.1111/1467-8365.12591.

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Rodrigues, Rejane Lopes. "CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking." arte e ensaios 26, no. 39 (August 15, 2020): 93–105. http://dx.doi.org/10.37235/ae.n39.8.

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A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.

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Robinson, Hilary. "Women, feminism, and art schools: The UK experience." Women's Studies International Forum 85 (March 2021): 102447. http://dx.doi.org/10.1016/j.wsif.2021.102447.

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LaDuke, Betty. "Inji Efflatoun Art, Feminism, and Politics in Egypt." Art Education 45, no. 2 (March 1992): 33. http://dx.doi.org/10.2307/3193323.

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Cheng, Meiling. "Elia Arce's performance art: Transculturation, feminism, politicized individualism." Text and Performance Quarterly 20, no. 2 (April 2000): 150–81. http://dx.doi.org/10.1080/10462930009366292.

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Journal articles on the topic 'Feminism and art'

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