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Artykuły w czasopismach na temat „Feminist art history”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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1

Zenovich, Jennifer A., i Shane T. Moreman. "Third Wave Feminist Analysis of a Second Wave Feminist's Art". Departures in Critical Qualitative Research 4, nr 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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2

Jill Fields. "Frontiers in Feminist Art History". Frontiers: A Journal of Women Studies 33, nr 2 (2012): 1. http://dx.doi.org/10.5250/fronjwomestud.33.2.0001.

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3

Jones, Amelia. "Power and Feminist Art (History)". Art History 18, nr 3 (wrzesień 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 (25.08.2022): 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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5

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

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6

Gouma-Peterson, Thalia, i Patricia Mathews. "The Feminist Critique of Art History". Art Bulletin 69, nr 3 (wrzesień 1987): 326. http://dx.doi.org/10.2307/3051059.

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Gouma-Peterson, Thalia, i Patricia Mathews. "The Feminist Critique of Art History". Art Bulletin 69, nr 3 (wrzesień 1987): 326–57. http://dx.doi.org/10.1080/00043079.1987.10788437.

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8

Coughlin, Maura, Fiona Carson, Claire Pajaczkowska, Linda Nochlin i Aruna D'Souza. "The Legacy of Feminist Art History". Art Journal 61, nr 1 (2002): 101. http://dx.doi.org/10.2307/778174.

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9

Kwak, Su-Joung, i 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, nr 2 (20.06.2022): 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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10

Zelenović, Ana. "Theorizing feminist art in socialist Yugoslavia". Genero, nr 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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11

Dovgopyat, P. E. "The specificity of functioning of the term feminist art in the art history terminological system". Uchenye zapiski St. Petersburg University of Management Technologies and Economics, nr 4 (16.01.2023): 306–11. http://dx.doi.org/10.35854/2541-8106-2022-4-306-311.

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The relevance of this study lies in appealing to the problem of developing one’s own microfield on the basis of the art history term feminist art. The article considers for the first time the specifics of the existence of feminist art in the terminology of art history. The purpose of this study is to determine the features of the functioning of feminist art in the art criticism terminological system. The basis of this study are the method of definitional analysis with elements of the semasiological method. In accordance with the put forward in the course of this study hypothesis, feminist art serves as the basis for the formation of a separate microfield within the art history terminological system. As a result, it was established that the term feminist art has a terminological potential — on the basis of this phrase, nomens are formed, as well as new components of the form of the concepts of art history terminology.

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12

Ursic, Elizabeth. "Imagination, Art, and Feminist Theology". Feminist Theology 25, nr 3 (maj 2017): 310–26. http://dx.doi.org/10.1177/0966735017695953.

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This article explores the importance of imagination and art when developing and working with theology, particularly feminist theology. It begins with a short review of selected periods in Christian history that either supported or warned against the use of imagination and art in classical theological development. Feminist theology has had a different history because since its inception, imagination has been central to the formation and exploration of the field. Imagination and art have continued to develop and promote feminist theological worship, and backlash against feminist theology has also focused on these artistic expressions. I propose the term theological imaginizing for the intentional engagement and exploration of imagination and art with theology, and I share insights based on my field research for integrating feminist theology with art in Christian worship today.

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13

Langa, Helen, Patricia Trenton, Melanie Anne Herzog, Elizabeth Sussman, Barbara J. Bloemink, Linda Nochlin, Kathleen D. McCarthy, Ellen Wiley Todd i Kirsten Swinth. "Recent Feminist Art History: An American Sampler". Feminist Studies 30, nr 3 (1.10.2004): 705. http://dx.doi.org/10.2307/20458996.

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14

Tobin, Amy. "The Work of Feminist-Influenced Art History". Art History 39, nr 5 (18.10.2016): 1043–46. http://dx.doi.org/10.1111/1467-8365.12284.

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15

LIPTON, EUNICE. "Feminist Interventions: Politics and Vision in Art History". Gender & History 2, nr 1 (marzec 1990): 91–97. http://dx.doi.org/10.1111/j.1468-0424.1990.tb00086.x.

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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, nr 1 (1.12.2012): 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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17

Jakubowska, Agata. "Feminism in the Time of Transformation. Piotr Piotrowski, Zofia Kulik and the Development of Feminist Art History in Poland". Artium Quaestiones, nr 33 (30.12.2022): 261–78. http://dx.doi.org/10.14746/aq.2022.33.10.

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This article is an analysis of one area of Piotr Piotrowski’s (1952–2015) activity in the 1990s – his writings on the art of Zofia Kulik and, more specifically, on its feminist dimension. I argue that although Piotrowski was never interested in women’s art in particular, not only did he practise feminist criticism during this period, but he was also a catalyst for the development of a specific form of feminist reflection that was then new in Polish art history. It focused on power relations and did not accept distancing oneself from social and political problems. I analyse it from the perspective of contemporary revisions of the development of feminist discourse after 1989 in Eastern Europe, which critically examines its embeddedness in Western ideas.

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18

Joachim, Joana. "Black Gold: A Black Feminist Art History of 1920s Montréal". Canadian Journal of History 56, nr 3 (1.12.2021): 266–91. http://dx.doi.org/10.3138/cjh.56-3-2021-0017.

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The 1920s have been touted as the golden era of jazz and Black history in Montréal. Similarly, the decade is well known for the Harlem Renaissance, a key moment in African American art history. Yet this period in Black Canadian art histories remains largely unknown. As a first step toward shedding some light on this period in Black Canadian art history, I propose to use what I term a Black feminist art-historical (bfah) praxis to discuss some visual art practices undoubtedly active alongside well-known jazz musicians and cultural producers in 1920s Montréal. This paper presents an overview of critical race art history and feminist art history, as well as Black feminist approaches to visual representation, to outline what might be considered four tenets of bfah praxis. Applying these tenets, I propose that a new art history may emerge from well-known art objects and practices as well as lesser-known ones. I posit that through a deliberately bfah approach, new meanings emerge and the voices of Black women, even when obstructed by mainstream white narratives, may begin to stand out and shed light upon a variety of histories. This praxis aims to underline the subtext lurking at the edges of these images and to make intangible presences visible in the archive and in art history. I propose bfah as a strategy for more nuanced discussion of the work of Black Canadian artists and histories that have by and large been left out of official records.

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19

Hagaman, Sally. "Feminist Inquiry in Art History, Art Criticism, and Aesthetics: An Overview for Art Education". Studies in Art Education 32, nr 1 (1990): 27. http://dx.doi.org/10.2307/1320397.

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20

Sheingorn, Pamela. "The Medieval Feminist Art History Project: A Progress Report". Medieval Feminist Newsletter 15 (marzec 1993): 24–26. http://dx.doi.org/10.17077/1054-1004.1636.

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Broude, Norma, Mary D. Garrard, Thalia Gouma-Peterson i Patricia Mathews. "An Exchange on the Feminist Critique of Art History". Art Bulletin 71, nr 1 (marzec 1989): 124. http://dx.doi.org/10.2307/3051218.

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22

Kim, Hyeonjoo. "Historiography of Feminist Studies in Korean Contemporary Art History". Art History Forum 50 (30.06.2020): 57–79. http://dx.doi.org/10.14380/ahf.2020.50.57.

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Cho, Hyeok. "History of Korean Feminist Art, a Reconstruction of Discourses : The 1980s ‘Yeoseong misul (Women’s Art)’ and the 1990s ‘Postmodern Feminist Art’". Art History Forum 51 (31.12.2020): 99–123. http://dx.doi.org/10.14380/ahf.2020.51.99.

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Gluzman, Georgina G., i Viviana Usubiaga. "Feminism is for Todes : Art History and Feminist Interventions in Spanish‐Speaking Latin America". Art History 44, nr 4 (24.08.2021): 854–60. http://dx.doi.org/10.1111/1467-8365.12591.

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25

Wang, Shuchen. "Fashioning Chinese feminism: Representations of women in the art history of modern China". Critical Studies in Fashion & Beauty 12, nr 2 (1.12.2021): 207–27. http://dx.doi.org/10.1386/csfb_00027_1.

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

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Zetterman, Eva. "Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s". American Studies in Scandinavia 48, nr 1 (1.03.2016): 61–83. http://dx.doi.org/10.22439/asca.v48i1.5361.

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Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main components are discussed: their respective political aims, alternative art spaces, pedagogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art.

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Clayton, Julia. "A Question of Misattribution: Women’s Art & Feminist Art History in Contemporary Fiction". Compendium : Journal of Comparative Studies = Revista de Estudos Comparatistas 1, nr 1 (2022): 9–26. http://dx.doi.org/10.51427/com.jcs.2022.0003.

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Whittington, Christine. "FEMINIST ART CRITICISM; AN ANNOTATED BIBLIOGRAPHY (Reference Publications in Art History). Cassandra Langer". Art Documentation: Journal of the Art Libraries Society of North America 13, nr 4 (grudzień 1994): 34. http://dx.doi.org/10.1086/adx.13.4.27948688.

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Bredikhina, Mila. "On Feminist Aesthetics and Anti-Propaganda in Russia". Arts 12, nr 1 (29.12.2022): 6. http://dx.doi.org/10.3390/arts12010006.

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The feminist agenda in Russia experienced a phase of intense aesthetic search in the field of contemporary art and contemporary theater. The split in society, war, increased censorship and state propaganda, and mass emigration stopped this process. Feminist ethics and aesthetics are oriented toward democratic values and the absolute value of human life; it is difficult for them to survive in totalitarian states. Using material from the history of feminism and aesthetic practices in the post-perestroika decades of Russia, this article examines two historical forms of such survival: the Stockholm syndrome and, in more detail, “anti-propaganda”, the popularization of the feminist agenda through aesthetic practices with mandatory feedback and the utmost attention to individual fate and personal trauma.

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Charlesworth, Amy. "From Representation to the Biopolitical?" Historical Materialism 25, nr 4 (14.02.2017): 201–14. http://dx.doi.org/10.1163/1569206x-12341549.

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AbstractThis review article considers the position of Angela Dimitrakaki’s 2013 bookGender, artWork and the global imperative: A materialist feminist critiquewithin the field of Art History and feminist politics.

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31

Springer, Julie, Amelia Jones i Judy Chicago. "Sexual Politics: Judy Chicago's "Dinner Party" in Feminist Art History". Woman's Art Journal 20, nr 1 (1999): 52. http://dx.doi.org/10.2307/1358848.

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Rand, Erica. "Women and Other Women: One Feminist Focus for Art History". Art Journal 50, nr 2 (1991): 29. http://dx.doi.org/10.2307/777159.

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Ventrella, Francesco. "The Writerly and the Dialogical Imagination of Feminist Art History". Art History 43, nr 1 (22.01.2020): 200–207. http://dx.doi.org/10.1111/1467-8365.12484.

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Betterton, Rosemary. "Book Review: Reclaiming Female Agency: Feminist Art History after Postmodernism". Feminist Review 87, nr 1 (wrzesień 2007): 163–65. http://dx.doi.org/10.1057/palgrave.fr.9400373.

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Horne, Victoria. "Danger! Women Reading: Feminist Encounters with Art, History and Theory". Women: A Cultural Review 30, nr 3 (3.07.2019): 221–30. http://dx.doi.org/10.1080/09574042.2019.1658511.

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Mihajlov, Jelena. "Griselda Pollock: A project of feminist reevaluation of art history". Kultura, nr 136 (2012): 146–62. http://dx.doi.org/10.5937/kultura1236146m.

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Horne, Victoria, i Amy Tobin. "an unfinished revolution in art historiography, or how to write a feminist art history". Feminist Review 107, nr 1 (27.06.2014): 75–83. http://dx.doi.org/10.1057/fr.2014.7.

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González-Martínez, Susana. "The didactic role of feminist art in metal music: Coven bands as a relational device for personal improvement and social justice". Metal Music Studies 8, nr 3 (1.09.2022): 401–21. http://dx.doi.org/10.1386/mms_00087_1.

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This article presents an analysis of the feminist artistic practices that some bands are adopting through metal music to show how their approaches are linked to a tradition in the history of feminist art. For this purpose, I addressed these feminist metal bands to demonstrate how their practices align with feminist and artistic pedagogies that evolved during the 1970s women’s liberation movement. I examine how artists, like second-wave feminist art groups, create an integrating framework that transcends the scope of art, managing to simultaneously convene and attend to various personal and social processes, based on a reflection substantiated on social group theory, feminist art, feminist pedagogies and ritual studies. Similarly, I highlight and differentiate their specific strategies by analysing their practices in order to understand, on the one hand, these feminist bands as a powerful relational device, which I have termed ‘coven bands’, and, on the other hand, the set of their practices as a didactic action of feminist resistance for personal improvement and social justice. Therefore, I will show how coven bands – whose name is a metaphor that evokes a gathering or circle of witches – are both a collective critical conscience and a multifunctional platform where several of life’s processes can be conjured up, such as relational learning, mutual help, psycho-emotional healing, creativity, empowerment and social action simultaneously.

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McLellan, Josie. "From the Political to the Personal: Work and Class in 1970s British Feminist Art". Twentieth Century British History 31, nr 2 (12.11.2019): 252–74. http://dx.doi.org/10.1093/tcbh/hwz030.

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Abstract How did British feminist art of the 1970s represent work and class, and what light does this shed on the women’s movement more generally? This article discusses the work of artists, including Bobby Baker, the Feministo and Fenix collectives, the Hackney Flashers, and Mary Kelly. These artists were eager to connect feminist activism to other struggles on the Left and were thus initially drawn to document working-class women’s paid work. Their political commitment to represent ‘ordinary’ working lives often led to lengthy periods of research, as well as attempts to make both the creative process and the finished product accessible to new participants and audiences. However, across this period, two changes took place. First, artists began to focus on women’s unpaid work, drawing attention to the tension between domestic work and paid employment, and the lack of easy solutions to this problem. Secondly, most lost faith in art’s power to represent the experience of work beyond the individual and the personal. Early political idealism gave way to sustained soul-searching about the intellectual, moral, and aesthetic difficulties of representing the experience of others, particularly those of a different class background. This article, then, shows that the early British women’s movement was keen to engage with working-class experience and that it did so in a way that was self-reflective. In the end, it was this self-reflection, and the questions that it generated about the morality, politics, and aesthetics of representing others, that led to the personal and psychological turn of the later 1970s.

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Ghodsee, Kristen, Hülya Adak, Elsa Stéphan, Chiara Bonfiglioli, Ivan Stankov, Rumiana Stoilova, Rochelle Goldberg Ruthchild i in. "Book Reviews". Aspasia 15, nr 1 (1.08.2021): 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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Djuric, Dubravka. "The feminist avant-garde and feminaissance in american poetry and the visual arts". Bulletin de l'Institut etnographique 69, nr 2 (2021): 275–87. http://dx.doi.org/10.2298/gei2102275d.

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In this article, I will discuss the appearance and meaning of the terms feminist avant/garde and feminaissance. I will point to the differences in the mediums of these two fields of cultural production (verbal art and visual art). I am interested in the way these terms help us to construe histories but also impact the contemporary production of radical feminist practices. The notion of the feminist avant-garde was introduced by the American critic Elizabeth A. Frost in 2003 in order to point to the feminist avant-garde poetry tradition. In 2016, the curator Gabrielle Schor introduced the same term, using it for the international exhibition of performance artists from the 1970s. In both fields, the term avant-garde had been used to refer to male artistic and poetry practices. By applying it to radical women?s poetry and performance practices, these practices became visible, valued and recognizable. Feminaissance was introduced in the US in 2007 and referred to the several exhibitions dedicated to female art. The term expressed the optimistic re-actualization of female art, but at the same time, it provoked polemics regarding the contemporary construction of feminist art history. In the field of experimental poetry, feminaissance was used with the same meaning in 2007, at a conference dedicated to feminist experimentation. Within the visual arts, the term feminaissance foregrounded the problematics of the historization of female art, while in experimental poetry this discussion took place around the feminist positions of essentialism and anti-essentialism.

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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica". Ars Adriatica 8, nr 1 (28.12.2018): 195–210. http://dx.doi.org/10.15291/ars.2762.

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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.

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Rogoff, Irit. "Tiny Anguishes: Reflections on Nagging, Scholastic Embarrassment, and Feminist Art History". differences 4, nr 3 (1.11.1992): 38–65. http://dx.doi.org/10.1215/10407391-4-3-38.

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Jennison, Rebecca. "Painting Life Back into History—Hung Liu's "Hard-Won" Feminist Art". Feminist Studies 38, nr 1 (2012): 141–75. http://dx.doi.org/10.1353/fem.2012.0022.

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Hults, Linda C. ""Lady without Equal": Lucrezia Paolina, Salvator Rosa, and Feminist Art History". Early Modern Women: An Interdisciplinary Journal 5 (1.09.2010): 11–43. http://dx.doi.org/10.1086/emw23541500.

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Fox, Oriana. "Once More with Feeling: an abbreviated history of feminist performance art". Feminist Review 96, nr 1 (październik 2010): 107–21. http://dx.doi.org/10.1057/fr.2010.11.

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Tejeda Martín, Isabel. "Exposiciones de mujeres y exposiciones feministas en España. Un recorrido por algunos proyectos realizados desde la II República hasta hoy, con acentos puestos en lo autobiográfico = Women’s Exhibitions and Feminist Exhibitions in Spain: A Journey Through some Projects Carried out Since The 2nd Republic until the Present, with some Biographical Highlights". Espacio Tiempo y Forma. Serie VII, Historia del Arte, nr 8 (17.11.2020): 29. http://dx.doi.org/10.5944/etfvii.8.2020.28770.

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Este artículo repasa la historia de las exposiciones de mujeres en España desde los años treinta, como precedente de las primeras exposiciones feministas de los años noventa, contextualizándolas en su momento político. Profundiza en algunos de los proyectos comisariados por la autora, en los que rescata a artistas ignoradas por las historias del arte contemporáneo, especialmente las artistas Pop de los años sesenta, como pioneras del arte feminista.AbstractThis essay examines the history of women’s exhibitions in Spain since the 1930s, considering said shows as a precedent for the first feminist exhibitions in the 1990s, and providing them with a context within their political time. This text delves in some of the projects curated by the author, in which she rescued a number of women artists who had been ignored by the usual histories of contemporary art –especially the female Pop artists from the 1970s– as pioneers of feminist art.

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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970". Revista PHILIA | Filosofia, Literatura & Arte 2, nr 2 (10.11.2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.

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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.

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Garnelo Díez, Isabel. "Deepwell, Katy (ed.): Feminist Art Activisms and Artivism". Boletín de Arte, nr 42 (17.11.2021): 323–25. http://dx.doi.org/10.24310/bolarte.2021.vi42.12029.

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Classon Frangos, Mike, i Anna Nordenstam. "Introduction". European Comic Art 15, nr 1 (1.03.2022): 1–6. http://dx.doi.org/10.3167/eca.2022.150101.

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This special issue of European Comic Art presents articles on the diversity of contemporary feminist comics in the Nordic region. The Nordic countries have seen an explosion in feminist comics and graphic novels since the first decade of the twenty-first century. In Sweden, feminist comics have become commercial successes, winning prestigious prizes, and appearing in exhibitions, Instagram, and other social media. Recently, a new generation of artists has entered the scene with a renewed focus on queer and intersectional issues. This special issue directs attention to feminist comic art throughout the Nordic region—with representation from Denmark, Finland, Norway, and Sweden—by established creators as well as emerging voices. The history of feminist comics can be traced back to the social movements of the 1970s, but the energy and creativity of contemporary feminist comics is new, reflecting both international trends and conditions specific to the region and to each national context.

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