Relevant bibliographies by topics / Feminist art history

Academic literature on the topic 'Feminist art history'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Feminist art history"

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Zenovich, Jennifer A., and Shane T. Moreman. "Third Wave Feminist Analysis of a Second Wave Feminist's Art." Departures in Critical Qualitative Research 4, no. 1 (2015): 57–80. http://dx.doi.org/10.1525/dcqr.2015.4.1.57.

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A third wave feminist approach to feminist oral history, this research essay blends both the visual and the oral as text. We critique a feminist artist's art along with her words so that her representation can be seen and heard. Focusing on three art pieces, we analyze the artist's body to conceptualize agentic ways to understand the meanings of feminist art and feminist oral history. We offer a third wave feminist approach to feminist oral history as method so that feminists can consider adaptive means for recording oral histories and challenging dominant symbolic order.
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Jill Fields. "Frontiers in Feminist Art History." Frontiers: A Journal of Women Studies 33, no. 2 (2012): 1. http://dx.doi.org/10.5250/fronjwomestud.33.2.0001.

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Jones, Amelia. "Power and Feminist Art (History)." Art History 18, no. 3 (September 1995): 435–43. http://dx.doi.org/10.1111/j.1467-8365.1995.tb00633.x.

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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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Sheingorn, Pamela. "The Medieval Feminist Art History Project." Medieval Feminist Newsletter 12 (September 1991): 5–10. http://dx.doi.org/10.17077/1054-1004.1591.

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Gouma-Peterson, Thalia, and Patricia Mathews. "The Feminist Critique of Art History." Art Bulletin 69, no. 3 (September 1987): 326. http://dx.doi.org/10.2307/3051059.

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Gouma-Peterson, Thalia, and Patricia Mathews. "The Feminist Critique of Art History." Art Bulletin 69, no. 3 (September 1987): 326–57. http://dx.doi.org/10.1080/00043079.1987.10788437.

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Coughlin, Maura, Fiona Carson, Claire Pajaczkowska, Linda Nochlin, and Aruna D'Souza. "The Legacy of Feminist Art History." Art Journal 61, no. 1 (2002): 101. http://dx.doi.org/10.2307/778174.

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Kwak, Su-Joung, and Eun-Mi Choi. "A Study on Nail Art Design, Reflecting Symbolic Feminine Elements Expressed in the Film ‘Agassi (The Handmaiden)’." Korean Society of Beauty and Art 23, no. 2 (June 20, 2022): 239–50. http://dx.doi.org/10.18693/jksba.2022.23.2.239.

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In a modern Korean society, feminism which pursues gender equality and targets to secure social equality has emerged as a hot topic across all sectors such as economy, politics, society, art and culture. As a dominant form of popular art & culture, film has a significant influence on people. In terms of the history of movie, descriptions on women have become more elaborate. In modern films, especially, perspectives on women have evolved from sexual consciousness to feminine growth. In feminist films, it not desirable to create a myth which emphasizes women’s tough aspects only or just focus on superficial resistance or women’s liberation. Furthermore, feminism should not be satirized as a formal or commercial jest. Instead, descriptions on women have to be more serious with sincerity. In particular, Director Park Chan-wook often starred a woman as a main character in his films, and his mise-en-scène is unbelievable. His unusual pictorial sense which will never be found elsewhere around the globe also shined in ‘Agassi (The Handmaiden)’. Therefore, this study attempted to investigate this feminist movie which has a lot of symbolic fine-art elements. For this, four symbolic characteristics of feminism expressed in ‘Agassi’ were chosen through analysis on previous studies, and 4 different nail styles were created, using diverse nail art techniques and materials. The study results confirmed that symbolic feminine elements expressed in films could make a contribution to new nail art with diverse motives.
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Zelenović, Ana. "Theorizing feminist art in socialist Yugoslavia." Genero, no. 24 (2020): 71–111. http://dx.doi.org/10.5937/genero2024071z.

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Since there were plenty of feminist discourses in Yugoslavia, from "women question" discourse of the Party and the government to academic research of sociologist, philosophers, and anthropologists and later feminist activism, there is a need to rethink the possibilities of theory and history of feminist in socialist context. This research aims at connecting different feminist theories with various artistic practices that might have a feminist character. This paper aims to give the analysis of subjects, forms, and meanings of feminist and queer artworks from 1968 till 1990. Considering feminist and queer theories, social, historical, political, and cultural context of socialist Yugoslavia, the paper offers one possible history of feminist art, maps its ideas and forms, and presents the methodological problems that this kind of attempt carries.
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Dissertations / Theses on the topic "Feminist art history"

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Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.

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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.
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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Barriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.

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Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.

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Winter, Regina Beth 1945. "An integrative model for a discipline based feminist history of art." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276708.

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This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.
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Zdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.

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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.

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Long, Catherine. "A feminist dialogue with the camera : strategies of visibility in video art practices." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12060/.

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This is a practice–based PhD that seeks to contest limited and reductive tropes of female representation in a contemporary Western context. The focus of the thesis is on video art, which, I argue, can be both a radical tool for deconstructing dominant mainstream images of femininity and play a role in developing progressive re–presentations of female subjectivities. This thesis argues that there is a need to revisit feminist artworks from the 1970s and 1980s, the critical potential of which remains under–examined. Video as an artistic medium emerged during the late 1960s to 1980s over the same period that the women’s liberation movement gained momentum and achieved historic societal and legislative change in the West. Women artists used the medium of video as a means to contest the representational economy of traditional gender roles that placed a broad array of limitations upon women. The camera apparatus allowed women to control the production of their own image, articulate their subjective experiences and directly address the spectator. The re–imaging of female subjectivities progressed by feminist artists was, however, largely halted by the backlash against feminism in the 1990s. The issues raised by feminism, particularly in relation to female representation, therefore remain unresolved. This thesis argues that artistic strategies deployed by feminist artists in the 1970s and 1980s, underpinned by the radical principle ‘the personal is political’, which emerged in the 1970s, are still useful today. Through in depth analysis of selected video works from the 1970s onwards as well as reflection on my own art practice research, this thesis investigates how formal strategies employed by feminist artists can operate to undermine the status quo of hegemonic gender representations and to propose new potentialities of female subjectivities and gender identities.
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Niles, Krista Joy. "An Arranged Deconstruction: The Feminist Art Practice of Louise Lawler." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/565894.

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The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler's work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler's dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images that "document" art objects in situ. She has made her art in all the places in which artworks circulate or are displayed, be it the curated spaces of museums, an auction house or a private house, well-lit gallery show room walls or crowded and dark storage rooms. Throughout her forty-year career Lawler has worked to disrupt the patriarchy of the art world by drawing attention to philosophies of display and exhibition. She has shown us what is not on display within art systems by consistently showing us what is on display. She has refused to comply with systems or organization, crafting textual interventions that disrupt the linguistics of wall labels and titles of artworks. She has fragmented and dislocated the authorship of artists to their works, and she has appropriated curatorial practices to claim both the physical spaces of display and gain control of what objects are deemed valuable enough to be shown there. Lawler's work has consistently interrupted normative practices of art institutions, effectively disrupting the patriarchy inherent within the systems and structures to define art.
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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.

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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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Batorowicz, Beata Agnieszka, and n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship." Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.

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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history’s patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Books on the topic "Feminist art history"

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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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Norma, Broude, and Garrard Mary D, eds. Reclaiming female agency: Feminist art history after postmodernism. Berkeley: University of California Press, 2005.

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

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Inglot, Joanna. WARM: A feminist art collective in Minnesota. Minneapolis, MN: Weisman Art Museum, 2007.

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Inglot, Joanna. WARM: A feminist art collective in Minnesota. Minneapolis: University of Minnesota Press, 2007.

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Norma, Broude, Garrard Mary D, and Brodsky Judith K, eds. The power of feminist art: The American movement of the 1970s, history and impact. New York: H.N. Abrams, 1994.

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WARM: A feminist art collective in Minnesota. Minneapolis, MN: Weisman Art Museum, 2007.

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Sight lines: Women's art and feminist perspectives in Australia. Tortola, BVI: Craftsman House in association with Gordon and Breach, 1992.

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Culture della differenza: Femminismo, visualità e studi postcoloniali. Torino: UTET università, 2008.

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Karen, Cordero, and Sáenz Inda, eds. Crítica feminista en la teoría e historia del arte. México, D. F: Universidad Iberoamericana, 2007.

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Book chapters on the topic "Feminist art history"

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Brown, Kathryn, and Elspeth Mitchell. "Feminist Digital Art History." In The Routledge Companion to Digital Humanities and Art History, 43–57. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-6.

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Jakubowska, Agata. "Toward Alter-Globalist History of Feminist Art." In Horizontal Art History and Beyond, 99–108. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003186519-11.

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Jones, Amelia. "Strategic Oblivion: 1970s Feminist Art in 1980s Art History." In Memory & Oblivion, 1043–48. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_124.

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Hamilton, Elizabeth Carmel. "Narratives of Fugitivity: Black Feminist Futures in Art History." In Charting the Afrofuturist Imaginary in African American Art, 51–75. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003139577-3.

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Kalita, Pooja. "‘Art’ of Ethnography: Feminist Ethnography and Women Artists in South Asia." In Intersections of Contemporary Art, Anthropology and Art History in South Asia, 93–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05852-4_4.

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Wallin Wictorin, Margareta, and Anna Nordenstam. "Feminist Art History as an Approach to Research on Comics: Meta Reflections on Studies of Swedish Feminist Comics." In Palgrave Studies in Comics and Graphic Novels, 163–83. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93507-8_9.

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Olsza, Małgorzata. "Towards Feminist Comics Studies: Feminist Art History and the Study of Women’s Comix in the 1970s in the United States." In Palgrave Studies in Comics and Graphic Novels, 185–206. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93507-8_10.

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Arnell, Malin. "In the Beginning There Is an End." In Cultural Inquiry, 151–59. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_16.

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In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.
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Méndez Baiges, Maite. "Introduction. An Archaeology of Modernism." In Les Demoiselles d'Avignon and Modernism, 11–22. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.02.

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The book meticulously analyses the history of the critical reception of avantguard art through the interpretations received by one of its greatest emblems, Les Demoiselles d'Avignon by Picasso, 1907. Since Les Demoiselles has been considered over this century the true paradigm of Modern Art, this book is, fundamentally, a sort of synthesis of the discourses about Modernism from formalism, iconology, Leo Steinberg's 'Other Criteria’, sociological, the biographical and psychoanalytical theses, cultural and historicist and lastly, the impact of post-structuralism and the feminist, post-colonialist and transnational interpretations. The final chapter deals with the artistic versions of Les Demoiselles d'Avignon made by artists. It is an essay on the different versions and identities of Modern Art and Modernism that have been produced throughout the last century.
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Arden, Heather M. "Christine de Pizan’s Ditié de Jehanne d’Arc: History, Feminism, and God’s Grace." In Joan of Arc and Spirituality, 195–208. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-06954-2_11.

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Conference papers on the topic "Feminist art history"

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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.

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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
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Flores, José Antonio. "En Femenino." In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11630.

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The presence of women is already the majority in architecture students, with a growing trend for years; not so, for now, in the teaching staff. Architecture, like other disciplines in the Western world, has traditionally been male, but today the classrooms are full of young women who want to be architects. Teaching in architecture schools, despite the abundance of feminist studies, does not generally take into account the gender perspective. The study plans do not provide specific spaces for this matter, which favors the invisibility of women's work in the discipline and does not offer enough non-male references to students. This paper presents a two-year teaching experience that includes the gender perspective in the teaching of History of art and architecture for first-year students. La presencia de mujeres es ya mayoritaria en el estudiantado de arquitectura, con una tendencia creciente desde hace años; no así, por ahora, en el claustro docente. La arquitectura, como otras disciplinas en el mundo occidental, ha sido tradicionalmente masculina, pero hoy las aulas están llenas de chicas que quieren ser arquitectas. La docencia en las escuelas de arquitectura, pese a la abundancia de estudios feministas, no tiene generalmente en cuenta la perspectiva de género. Los planes de estudio no prevén espacios específicos para este asunto, lo que favorece la invisibilidad del trabajo de las mujeres en la disciplina y no ofrece suficientes referentes no masculinos a los/las estudiantes. Esta comunicación presenta una experiencia docente de dos años que incluye la perspectiva de género en la enseñanza de la Historia del arte y de la arquitectura para estudiantes de primer curso.
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YOSHIMURA, Noriko. "The identity and design of the modern British home under the influence of the ‘feminine territory’ and Japanese Art." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-033.

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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.

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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Nowak, Jessica Kristin. "Gender Inequality in Education." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.31.

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Education is a critical factor in achieving social equality, including gender equality. For this reason, ensuring equality in the provision of education should not only be a social priority but something natural and obvious. This topic was the subject of considerable debate among scholars for many decades. The beginnings of the struggle for equality of women are based primarily on the battle for access to education, which was essential in this regard. Therefore the gender education gap is decreasing, and nowadays, contemporary rarely persists in educated countries. As a result of the struggle of feminists, today, women around the Globe are more educated than at any point in history. Nevertheless, the phenomena such as “gender inequality” or “gender gap” understood more broadly than education, are still relevant problems. Thereby, men are still more educated and privileged. The problem is not only the degree of accessibility to education but also its content. Yet, current gender inequality is the result of super imposed stereotypical patterns, as well as prejudices and discriminations embodied in the system. This article was written to introduce the issue of gender inequality in education. The given research problem in this study is as follows: where do gender inequalities in education become apparent? The aim of the study is to overview the current state of knowledge. Exploring this topic is crucial because this phenomenon has many negative consequences. This article aims to present the initial characteristics of the problem and draw attention to the issue. The method used is a literature review.
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Lee, Yuk Yee Karen, and Kin Yin Li. "THE LANDSCAPE OF ONE BREAST: EMPOWERING BREAST CANCER SURVIVORS THROUGH DEVELOPING A TRANSDISCIPLINARY INTERVENTION FRAMEWORK IN A JIANGMEN BREAST CANCER HOSPITAL IN CHINA." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact003.

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"Breast cancer is a major concern in women’s health in Mainland China. Literatures demonstrates that women with breast cancer (WBC) need to pay much effort into resisting stigma and the impact of treatment side-effects; they suffer from overwhelming consequences due to bodily disfigurement and all these experiences will be unbeneficial for their mental and sexual health. However, related studies in this area are rare in China. The objectives of this study are 1) To understand WBC’s treatment experiences, 2) To understand what kinds of support should be contained in a transdisciplinary intervention framework (TIP) for Chinese WBC through the lens that is sensitive to gender, societal, cultural and practical experience. In this study, the feminist participatory action research (FPAR) approach containing the four cyclical processes of action research was adopted. WBC’s stories were collected through oral history, group materials such as drawings, theme songs, poetry, handicraft, storytelling, and public speech content; research team members and peer counselors were involved in the development of the model. This study revealed that WBC faces difficulties returning to the job market and discrimination, oppression and gender stereotypes are commonly found in the whole treatment process. WBC suffered from structural stigma, public stigma, and self-stigma. The research findings revealed that forming a critical timeline for intervention is essential, including stage 1: Stage of suspected breast cancer (SS), stage 2: Stage of diagnosis (SD), stage 3: Stage of treatment and prognosis (ST), and stage 4: Stage of rehabilitation and integration (SRI). Risk factors for coping with breast cancer are treatment side effects, changes to body image, fear of being stigmatized both in social networks and the job market, and lack of personal care during hospitalization. Protective factors for coping with breast cancer are the support of health professionals, spouses, and peers with the same experience, enhancing coping strategies, and reduction of symptom distress; all these are crucial to enhance resistance when fighting breast cancer. Benefit finding is crucial for WBC to rebuild their self-respect and identity. Collaboration is essential between 1) Health and medical care, 2) Medical social work, 3) Peer counselor network, and 4) self-help organization to form the TIF for quality care. The research findings are crucial for China Health Bureau to develop medical social services through a lens that is sensitive to gender, societal, cultural, and practical experiences of breast cancer survivors and their families."
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