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1
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.
2
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.
3
Deepwell, Katy. "The Politics and Aesthetic Choices of Feminist Art Criticism." Arts 12, no. 2 (March 23, 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.
4
Cui, Shuqin. "Female and feminism." MODOS: Revista de História da Arte 7, no. 2 (June 4, 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.
5
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.
6
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.
7
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.
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, 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.
9
Das, Devaleena. "What Transnational Feminism Has Not Disrupted Yet." Meridians 22, no. 2 (October 1, 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.
10
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.
Full textAbstract:
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.
11
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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Yu, Jingyi, Yuanhang Zhang, Yaling Zhao, and Jiaying Zeng. "A probe into the Visual elements in female illustrations from the Perspective of Feminism." Highlights in Art and Design 2, no. 2 (April 3, 2023): 83–88. http://dx.doi.org/10.54097/hiaad.v2i2.7031.
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With the rise of the feminist movement in the 1970s, the concept of feminism gradually entered the public's field of vision. Its theory revolves around with the development of society, the wave of feminism continues to deepen and affect all aspects of human life. The improvement of productivity and the change of production relations urge women to re-recognize themselves, and the improvement of productivity and the change of production relations urge women to re-recognize themselves, and women's self-worth and social status are more and more affirmed. The female image, as one of the common subjects in the history of eastern and western illustration, has rich forms of expression, thus reflecting multiple connotations, and analyzing the visual elements in female illustrations from the perspective of feminism. it provides a new perspective for illustration analysis, and can deeply understand the author's creative ideas through the selection and performance of picture elements. The author starts with feminist painting art, through the analysis of representative paintings including female images in Chinese and western art history. The author starts with feminist painting art, through the analysis of representative paintings including female images in Chinese and western art history, combined with feminist thoughts to analyze the implication behind image expression, and then from feminist painting to feminist illustration research As feminism goes deep into the public's As feminism goes deep into the public's field of vision, feminist illustration expression is endowed with more forms and meaning of the times, and it is always intended to show the viewer a At the same time, illustration, as a widely used form of artistic expression, can provide an effective perspective for feminist expression as a woman. At the same time, illustration, as a widely used form of artistic expression, can provide an effective perspective for feminist expression as a suitable medium, so as to provide a window for the public to understand feminism. The research and thinking of this paper is devoted to excavating the unique and diverse female beauty in different female paintings and illustrations. and hopes to appeal to the viewer to have more tolerance and appreciation of the current feminist art, in the present when many female artists are open up the artistic road in the future with practice.
14
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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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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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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Erofeeva, E. V., and I. A. Obukhova. "Constructing the Image of Feminism in Russian Media: A Corpus Study." SibScript 25, no. 1 (March 14, 2023): 35–46. http://dx.doi.org/10.21603/sibscript-2023-25-1-35-46.
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As any social movement, feminism finds its reflection in the media. Media are a full-fledged institution capable of shaping public consciousness, targeting particular social groups, setting standards of mass behavior, and determining the main directions of social development. This research featured Russian news about feminism in terms of event structure. It covered news headlines published in Russian media in 2014-2021 and retrieved via the Smi2.ru media aggregator. Feminism-related headlines were automatically extracted from a dataset of 8,954 headlines. The subcorpus was analyzed in the Semograph Information System, which made it possible to classify texts, obtain frequency data on certain classes, and establish connections between them. The frequency data analysis was represented as a graphical model of the news space in the field of feminism using the SciVi visualizer. The event and thematic analyses revealed a three-level classification. The media usually informed about events where participants belonged to various social groups that protested against something, e.g., people or performances. The news informed about the actions and reactions of media people and about art sphere. The article introduces a graphical model that shows the links between event components in the headlines. It demonstrated three main areas of action in the field of feminism: art, media, and feminist movements. Each of these fields has its own core and structure. The media sphere appeared to be closed on itself; the art-related news agenda focused mostly on social matters; the field of feminist movements was associated with counteracting and involved descriptions of radical actions. When informing about feminism, the media construct an alternative reality that differs from the real issues that feminism aims at resolving.
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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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Beckmann, Sarah. "Fiber, Art, and Feminism." Hopkins Review 17, no. 1 (January 2024): 137–49. http://dx.doi.org/10.1353/thr.2024.a918458.
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Jakubowska, Agata. "Feminist art and art history in state socialist Poland, as seen through all-women exhibitions." MODOS: Revista de História da Arte 7, no. 2 (May 30, 2023): 94–119. http://dx.doi.org/10.20396/modos.v7i2.8672671.
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This essay discusses the relationship between feminism and the art world in state socialist Poland. Contrary to the narrations that are centred around the second-wave feminism developed in the West, this essay concentrates on the significance of the socialist project of the emancipation of women. Its meaning is demonstrated through the study of all-women exhibitions, more precisely of three shows that were organised at those moments when women’s issues were intensively discussed in Poland: Women Fighting for Peace (Cracow, 1952), Women’s Art Festival (Poznań, 1980), and Polish Women Artists (Warsaw, 1991). The main questions addressed in the analysis are what discourses on women and women artists influenced the art world at a given period and how they evolved concerning the changing political situation. The study shows that the socialist project of women’s emancipation played an important role, both positively and negatively, in the development of feminist art history and activism in Poland.
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Motta, Aline. "Water Is a Time Machine." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 140–44. http://dx.doi.org/10.1525/lavc.2023.5.2.140.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Fajardo-Hill, Cecilia. "Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 81–91. http://dx.doi.org/10.1525/lavc.2023.5.2.81.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Rjeille, Isabella. "Feminist Histories." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 92–107. http://dx.doi.org/10.1525/lavc.2023.5.2.92.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Fernández, María. "Radical Women and Digital Bodies." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 108–16. http://dx.doi.org/10.1525/lavc.2023.5.2.108.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Antivilo, Julia. "Laboratorio curatorial feminista." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 117–29. http://dx.doi.org/10.1525/lavc.2023.5.2.117.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Kalyva, Eve, and Elize Mazadiego. "Introduction to the Dialogues on the Future of Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 72–80. http://dx.doi.org/10.1525/lavc.2023.5.2.72.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Lamoni, Giulia. "Learning from the (Imagined) Archive." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 130–39. http://dx.doi.org/10.1525/lavc.2023.5.2.130.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Prakarsh Kulahari and Dr. Sanju Choudhary. "UNVEILING CYBER FEMINISM: ADDRESSING GENDER BIAS AND ONLINE HARASSMENT IN THE TECH ERA OF ARTIFICIAL INTELLIGENCE." International Journal of Linguistics Applied Psychology and Technology (IJLAPT) 2, no. 1 (January 10, 2024): 1–12. http://dx.doi.org/10.69889/ijlapt.v2i1.39.
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Cyber-feminism is a branch of feminism and a feminist movement that focuses, investigate and address the intersection of gender, technology, and digital culture. It seeks to promote a more inclusive and equitable online world by challenging patriarchal structures and biases that exist in technology and digital media. Cyber-feminism encompasses a range of activities and practices, including advocating for gender diversity in the tech industry, addressing online harassment and abuse, promoting feminist digital art and culture, and empowering women to take an active role in shaping digital spaces. Overall, cyber-feminism aims to create a more just and equitable digital future for all. Cyber-feminism is a relatively new concept that combines feminism with technology and digital culture. Its main goal is to create a more gender-inclusive and equitable and just digital future for all individuals. The present chapter is an attempt to conceptualize the concept of cyber-feminism and the issue of gender bias in the present era. Cyberspace proves to be liberating for the women and helps them move beyond the traditional binaries and limitations of the popular gender politics by building major areas of cyber-feminist debate to disturb the commonly accepted notions surrounding the gender and online spaces.
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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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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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Erofeeva, Elena, and Irina Obukhova. "Image of feminism in Russian media." SHS Web of Conferences 164 (2023): 00055. http://dx.doi.org/10.1051/shsconf/202316400055.
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The purpose of the paper is to analyze Russian news content about feminism from the point of view of the event structure that is presented in the news. The research material is a corpus of headlines of Russian media publications demonstrated in the media news aggregator smi2.ru from 2014 to 2021. News headlines related to feminism (8,954) are automatically extracted from the entire array of texts to study the representation of feminism in the news agenda. The resulting subcorpus is analyzed in the IS Semograph, which allows carrying out a multilevel classification of content and automatically obtain data on the frequency of certain classes and their connection closeness. A three-level classification based on the analysis of events indicated in the news is created as a result of the material thematic analysis. It has been established that events in which the interacting parties are social groups, are covered most often. Actors oppose something (specific people, performances, etc.), and the news is mainly associated with coverage of actions and reactions of media people and the field of art. Frequency analysis of connections between event components allows modeling the event structure associated with feminism: the most typical structure of an event includes either feminist movements as a protagonist, or cultural and media figures who act for feminism and/or against specific individuals and organizations, trying to influence society as a whole, and these actions take place in the media space or in the cultural sphere. Therefore, the feminism image, which core is not the real problem and women rights, but mainly scandalous and illegal actions related to the field of art and media people, is constructed in the media.
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Lin, Xuannan. "Feminine Body Writing in Untitled Film Stills." Lecture Notes in Education Psychology and Public Media 3, no. 1 (March 1, 2023): 516–22. http://dx.doi.org/10.54254/2753-7048/3/2022576.
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With the rise of postmodernism in the Western world, the development of feminism has gradually revealed the characteristics of postmodernism. Among them, feminine body writing is a good example. However, the academia does not pay much attention to body writing in photography art, which gives some research space for this paper. Therefore, this paper studies Cindy Shermans Untitled Film Stills and uses the theory of feminine body writing which is proposed by Hlne Cixous in The Laugh of the Medusa to explore what Sherman wants to suggest about feminism in Untitled Film Stills. The study has shown that, Cindy Sherman combines feminine body writing with photography, and uses self-direction and selfie to display women trapped in the male gaze, which show her awakening feminine consciousness and her satire on patriarchy. Shermans photographic works play an essential part in the development of feminism.
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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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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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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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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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Sekartaji Suminto, RA. "Art, Ideality, and Reality: A Feminist Review through Griselda Pollock's Lens." IJVCDC (Indonesian Journal of Visual Culture, Design, and Cinema) 2, no. 2 (October 31, 2023): 161–71. http://dx.doi.org/10.21512/ijvcdc.v2i2.10751.
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This article explores the intricate connection between art, ideality, and reality from a feminist perspective, focusing on the influential insights of Griselda Pollock, a renowned art historian, and feminist scholar. By critically analyzing Pollock's work, this study uncovers the complexities of feminism within the art realm and its intersections with idealized notions and tangible realities. The article begins by contextualizing Pollock's contributions to feminist art theory and her approach to understanding artistic practices. It highlights how Pollock challenges patriarchal frameworks and amplifies the marginalized voices of women artists. Examining the concept of ideality, the study explores how idealized standards and societal expectations shape artistic representations and their impact on gender inequalities. Pollock's lens reveals art as a powerful tool for feminist resistance, disrupting dominant ideologies and asserting diverse narratives. The investigation of reality within the feminist review uncovers the interplay between art and the material world. Pollock's perspective illuminates how art reflects and responds to women's lived experiences, addressing social, political, and cultural realities. It showcases art's potential as a platform for feminist activism, shedding light on social injustices and advocating for change. This article emphasizes the significance of Pollock's feminist lens in understanding the dynamics of art, ideality, and reality. It underscores art's transformative potential as a vehicle for feminist critique and activism, challenging gender representation and power structures. The insights contribute to feminist art theory and its relevance in contemporary discourse. It highlights the ongoing need to engage with diverse feminist perspectives to critically examine art and its relationship to broader societal issues.
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Đurić, Dubravka. "Gender Critique of The Scientific and Medical Construction of the Female Body in Women’s Artworks." AM Journal of Art and Media Studies, no. 32 (October 15, 2023): 29–40. http://dx.doi.org/10.25038/am.v0i28.579.
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In this paper I will develop a gender critique of scientific and medical idealizations of the human body and its health, which was performed out of gender and feminist studies, pointing also to women’s art. In the discourses of medicine, healthy and beautiful human – and especially the female human – body is revealed as an ideological construction, an affective agent and a biopolitical ideal that controls and regulates gender differences. My intention is to demonstrate that the discourses of medicine, feminism, and art are in a dialogue historically in relation to these topics. Following Tasha N. Dubriwny’s discussion of medical discourse and practice, I will map three phases in the development of Western medical discourses and point to the fact that they are in dialogue with feminist discourses and with the way how art treats and represents beautiful bodies, and/or sick bodies, with particular focus on female bodies. Discussion of the first phase of medical development points to the fact that visual art and photography were used to performatively help doctors to construct the female body as sick and deviant, as Didi Huberman showed. The second phase was the medicalization era, in which human bodies are expected to adhere to a standardized norm. In this period, within the framework of second wave feminism, feminist health activists appeared, forming the women's movement for health. Special attention will be directed to the third phase, the biomedicalization era or inclusion-and-difference paradigm, in which postfeminist discourses appeared and in relation to which I will discuss artworks by Hannah Wilke, Katarzyna Kozyra, and Orlan.
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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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Zhang, Bingqin, and Miao Long. "The expression of feminism in photography after the 1970s." Frontiers in Humanities and Social Sciences 4, no. 5 (May 27, 2024): 22–29. http://dx.doi.org/10.54691/na7mbh52.
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This article examines the impact of second and third wave feminism on photography, highlighting the shift towards a mature and open expression within the medium facilitated by the integration of feminist perspectives. The analysis focuses on key photographic projects from the 1970s to the 2010s by Duane Michals, Laurie Simmons, Shirin Neshat, Carrie Mae Weems, and John Dugdale. These projects are explored in the context of their response to feminist ideologies and their reflection of social issues. The article traces the evolution from the second wave’s critique of systemic gender biases to the third wave's emphasis on diversity and intersectionality. It concludes that feminism has significantly influenced photographic art, both in narrative style and in the portrayal of gender and social roles, enhancing the medium's capacity for social commentary and artistic expression.
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Cvetkovich, Ann. "Artists in the Archives." GLQ: A Journal of Lesbian and Gay Studies 29, no. 2 (April 1, 2023): 183–214. http://dx.doi.org/10.1215/10642684-10308493.
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Ulrike Müller's Herstory Inventory (HI) is a collection of over one hundred works on paper by “feminist” artists who were given “drawing assignments” that began with textual prompts taken from an archival list of T-shirts that Müller discovered in the collections of the Lesbian Herstory Archives (LHA). HI has also had multiple incarnations as a staged reading/live performance, audio installation, collective art project, art exhibition, and book, and its relay across media participates in a fascination with the archive that has pervaded LGBTQ culture, resulting in a proliferation of new archives that is one manifestation of the “archival turn.” This essay focuses on how Müller's HI uses the LHA as a point of departure for a creative practice that not only opens lesbian feminist archives to new visibility and new publics but also creates a transgenerational dialogue around lesbian feminist politics and representation — both honoring and reviving its history and subjecting it to critique. HI's engagement with the LHA's lesbian feminist commitment to archival autonomy provides an interesting case history for radical archival politics, as tensions between counterarchives and archival critique get played out through the tensions between lesbian and queer feminisms. Returning to the politics of representation and visibility that have been so central and vexing in lesbian feminism, HI puts art practices in conversation with archival ones. The project approaches the archive through abstraction and drawing, both practices of representation that resist the realisms of documentary media such as film and photography, to enact a queer politics of visibility.