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Relevant bibliographies by topics / Feminist art criticism

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Academic literature on the topic 'Feminist art criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Feminist art criticism"

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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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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.

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Frueh, Joanna, and Arlene Raven. "Feminist Art Criticism." Art Journal 50, no. 2 (June 1991): 6–10. http://dx.doi.org/10.1080/00043249.1991.10791436.

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Langer, Cassandra L. "Feminist Art Criticism." Art Journal 50, no. 2 (June 1991): 21–28. http://dx.doi.org/10.1080/00043249.1991.10791440.

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Deepwell, Katy. "New Feminist Art Criticism." Journal of Aesthetics and Art Criticism 55, no. 3 (1997): 344. http://dx.doi.org/10.2307/431815.

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Sisson, Elaine, and Katy Deepwell. "New Feminist Art Criticism." Circa, no. 74 (1995): 69. http://dx.doi.org/10.2307/25562907.

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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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Simpson, Pamela H., Cassandra Langer, and Sherry Piland. "Feminist Art Criticism, an Annotated Bibliography." Woman's Art Journal 17, no. 2 (1996): 56. http://dx.doi.org/10.2307/1358478.

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Failing, Patricia, Joanna Freuh, Cassandra L. Langer, and Arlene Raven. "New Feminist Criticism: Art, Identity, Action." Journal of Aesthetics and Art Criticism 53, no. 2 (1995): 225. http://dx.doi.org/10.2307/431560.

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Garber, Elizabeth. "Implications of Feminist Art Criticism for Art Education." Studies in Art Education 32, no. 1 (1990): 17. http://dx.doi.org/10.2307/1320396.

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Dissertations / Theses on the topic "Feminist art criticism"

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Garber, Elizabeth Jessie. "Feminist polyphony : a conceptual understanding of feminist art criticism in the 1980s /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487671640055385.

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d'Esterre, Elaine, and mikewood@deakin edu au. "Feminist poetics: Symbolism in an emblematic journey reflecting self and vision." Deakin University. School of Literary and Communication Studies, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.123532.

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My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, seen by the image of my other eye, or faction, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a rewriting of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.

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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

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Ensor, Ronda L. "Romaine Brooks embracing diversity /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04192008-104844/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Maria Gindhart, committee chair; Susan Richmond, Akela Reason, committee members. Electronic text (82 p. : ill. (chiefly col.)) : digital, PDF file. Description based on contents viewed July 14, 2008. Includes bibliographical references (p. 78-82).

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Lane, Kathryn. "Representaciones de Figuras Feministas en la Muestra Despierta!" Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/pitzer_theses/6.

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Elizabeth Waltenburg es una artista contemporánea argentina. En su muestra, despierta!, las obras en óleo sobre tela representan a mujeres, niños y animales en fondos extraños y deprimidos. Ella utilize simbolismo de animales y figuras femeninas para discutir el feminismo actual. Ella trabaja en un tiempo complicado por el feminismo, el postfeminismo, la critica de ambos, y un sistema de comunicación global. Su trabajo marca una tendencia hecho por la confusión de todos estos movimientos. Esta tesis discute su trabajo en el contexto de la historia de representaciones de mujeres, de niños y de animales para llegar a una mejor comprensión de los que hace ella. English: Elizabeth Waltenburg is a contemporary Argentine artist. In her show, “Wake Up!”, the oil on canvas works represent women, children and animals on strange and depressed backgrounds. She uses the symbolism of feminine and animal figures to comment on contemporary feminism. She works in a complex era marked by feminism, post-feminism, criticism of both schools and a system of global communication. Her work incorporates elements from all the issues above. This thesis discusses her work in the context of the history of representation of women, children, and animals in order to arrive to a better comprehension of the kind of work she does.

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Rhoades, Melinda Justine. "Addressing the computing gender gap a case study using feminist pedagogy and visual culture art education /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1217107478.

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Lindner, Stacie M. "Janine Antoni finding a room of her own /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-133229/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Susan Richmond, committee chair; Nancy Floyd, Maria P. Gindhart, committee members. Electronic text (127 p. : iil. (mostly col.)) : digital, PDF file. Description based on contents viewed June 20, 2007. Includes bibliographical references (p. 121-127).

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Tvardovskas, Luana Saturnino 1983. "Figurações feministas na arte contemporanea : Marcia X., Fernanda Magalhaes e Rosangela Renno." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278878.

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Orientador: Luzia Margareth Rago
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Focalizando as poéticas visuais das artistas Márcia X., Fernanda Magalhães e Rosângela Rennó, essa pesquisa aborda as relações estabelecidas entre a produção artística contemporânea e a crítica cultural feminista. Evidencia a permanência do ¿dispositivo da sexualidade¿ na contemporaneidade, na perspectiva aberta por Foucault, ao que procura contrapor as formas da resistência feminista encontradas em instalações, performances e objetos artisticamente construídos a partir de um olhar diferenciado, que visam provocar e polemizar com as verdades instituídas, em especial em relação ao corpo feminino, à sexualidade e à subjetividade
Abstract: This research explores the interconnections between artistic production and feminist cultural criticism, focusing on Brazilian artists Marcia X., Fernanda Magalhães and Rosângela Rennó¿s works of art. It shows the continuity of ¿the dispositif of sexuality¿ in contemporary world, considered through Foucault¿s concepts, and it points at the feminist forms of resistance as they appear in installations, performances and artistic objects construed by a diferenciated regard, that aims at polemizing with natural truths as they are imposed in relation to female body, sexuality and subjectivity
Mestrado
Historia Cultural
Mestre em História

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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

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Tvardovskas, Luana Saturnino 1983. "Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.

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Orientador: Luzia Margareth Rago
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História

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Books on the topic "Feminist art criticism"

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Arlene, Raven, Langer Cassandra L, and Frueh Joanna, eds. Feminist art criticism: Ananthology. New York, NY: IconEditions, 1991.

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Arlene, Raven, Langer Cassandra L, and Frueh Joanna, eds. Feminist art criticism: An anthology. New York, NY: IconEditions, 1991.

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Arlene, Raven, Langer Cassandra L, and Frueh Joanna, eds. Feminist art criticism : an anthology. Ann Arbor: UMI Research Press, 1988.

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Frueh, Joanna, Cassandra L. Langer, and Arlene Raven. Feminist art criticism: An anthology. Ann Arbor, Mich: UMI Research Press, 1988.

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Langer, Cassandra L. Feminist art criticism: An annotated bibliography. New York, NY: G.K. Hall, 1993.

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Joanna, Frueh, Langer Cassandra L, and Raven Arlene, eds. New feminist criticism: Art, identity, action. New York, NY: IconEditions, 1994.

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1962-, Deepwell Katy, ed. New feminist art criticism: Critical strategies. Manchester: Manchester University Press, 1995.

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

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Ljiljana, Kolešnik, ed. Feministička likovna kritika i teorija likovnih umjetnosti: Izabrani tekstovi. Zagreb: Centar za ženske studije, 1999.

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

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Book chapters on the topic "Feminist art criticism"

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Holder, Maryse. "Another Cuntree: At Last, a Mainstream Female Art Movement." In Feminist Art Criticism, 1–20. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-1.

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Chadwick, Whitney. "Women Artists and the Politics of Representation." In Feminist Art Criticism, 167–85. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-10.

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Goldman, Shifra. "“Portraying Ourselves”: Contemporary Chicana Artists." In Feminist Art Criticism, 187–205. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-11.

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Sims, Lowery Stokes. "Aspects of Performance in the Work of Black American Women Artists." In Feminist Art Criticism, 207–25. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-12.

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Raven, Arlene. "The Last Essay on Feminist Criticism." In Feminist Art Criticism, 227–38. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-13.

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Vogel, Lise. "Fine Arts and Feminism: The Awakening Consciousness." In Feminist Art Criticism, 21–57. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-2.

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Duncan, Carol. "The Aesthetics of Power in Modern Erotic Art." In Feminist Art Criticism, 59–69. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-3.

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Orenstein, Gloria Feman. "The Reemergence of the Archetype of the Great Goddess in Art by Contemporary Women." In Feminist Art Criticism, 71–86. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-4.

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Barry, Judith, and Sandy Flitterman-Lewis. "Textual Strategies: The Politics of Art-Making." In Feminist Art Criticism, 87–97. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-5.

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Roth, Moira. "Visions and Re-Visions: Rosa Luxemburg and the Artist’s Mother." In Feminist Art Criticism, 99–110. Routledge, 2018. http://dx.doi.org/10.4324/9780429500497-6.

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Conference papers on the topic "Feminist art criticism"

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Man, Zhihui. "Research on American Feminist Literary Criticism." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.256.

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Zhang, Tingting. "Research Literature Review on Western Feminist Literary Criticism." In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.219.

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Pan, Haiou. "Westward Ecological Feminist Literary Criticism and Its Enlightenment." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesame-18.2018.49.

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Zhang, Tingting. "Main Schools and Its Viewpoint on Western Feminist Literary Criticism." In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.222.

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Wang, Lijie. "Reestablishment of Ethical Morality in African American Society Criticism and Construction of Eco-feminism." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.54.

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Mahmood, Snoor, and Shokhan Fatah. "“I’m Cold All the Time Anyway”: A Psycho-Feminist Study of Marsha Norman’s ’Night, Mother." In 3rd International Conference on Language and Education. Cihan University-Erbil, 2023. http://dx.doi.org/10.24086/iclangedu2023/paper.951.

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This article is an inter-disciplinary study of Marsh Norman’s ‘Night, Mother. Marsha Norman is an American playwright who is famous for addressing the dilemmas of women in her writings. Female characters in her plays are generally depicted as victims of their societies. They are situated in a place in which they are powerless and helpless about improving their own conditions. This study aims at exposing the psychological suffering of the main character in relation to the socially imposed standards of living. According to different theories of feminist critics such as Kate Millet, Luce Irigary, Jane Stoppard, and psycho feminist theories of Nancy Chodorow, in addition to going back to the science of psychology, it shows that the life of women is predetermined by social values and norms. It also shows that the kind of life assigned to women based on their gender roles and feminine duty is the factor behind women’s psychological anguish and self-destructive decisions, such as committing suicide.

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