Feminism Art Theory: An Anthology 1968 - 2014

ISBN-13: 9781118360606 / Angielski / Twarda / 2015 / 544 str.

Hilary Robinson

Opis

Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked.

• Completely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions
• Brings together 88 revealing texts from North America, Europe and Australasia, juxtaposing writings from artists and activists with those of academics
• Embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism, to education and aesthetics
• Includes many classic texts, but is particularly notable for its inclusion of rare and significant material not reprinted elsewhere
• Provides a uniquely flexible resource for study and research due to its scale and structure; each of the seven sections focuses on a specific area of debate, with texts arranged chronologically in order to show how issues and arguments developed over time

Recenzje

Praise for the first edition"Robinson's anthology of feminist writing on, in and around art from the last 30 years does fill a very tangible gap and will be of immense use to anybody who spends their time looking at and thinking about art." Art Monthly"Since the first edition appeared in early 2001, Feminism-Art-Theory has proven a vital resource. Substantially revised, this second edition and Robinson's thoughtful, nuanced yet demotic framing of the issues responds forcefully to the renewed currency of feminism as a living theory and praxis."Judith Rodenbeck, Sarah Lawrence College"Hilary Robinson's editorial enterprise has become indispensible to an adequate understanding of feminist art as, always, a deeply felt and passionately political practice, and, increasingly, a thoroughly theorized one."Terrance Smith, University of Pittsburgh

Spis treści

Preface x

Acknowledgements and Sources xii

Introduction: Feminism Art Theory: Towards a (Political) Historiography 1

1 Overviews 8

Introduction 8

1.1 Gender in/of Culture 12

Valerie Solanas, Scum Manifesto (1968) 12

Shulamith Firestone, (Male) Culture (1970) 13

Sherry B. Ortner, Is Female to Male as Nature is to Culture? (1972) 17

Carolee Schneemann, From Tape no. 2 for Kitch s Last Meal (1973) 26

1.2 Curating Feminisms 28

Cornelia Butler, Art and Feminism: An Ideology of Shifting Criteria (2007) 28

Xabier Arakistain, Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism (2007) 33

Mirjam Westen, rebelle: Introduction (2009) 35

2 Activism and Institutions 44

Introduction 44

2.1 Challenging Patriarchal Structures 51

Women s Ad Hoc Committee/Women Artists in Revolution/WSABAL, To the Viewing Public for the 1970 Whitney Annual Exhibition (1970) 51

Monica Sjöö, Art is a Revolutionary Act (1980) 52

Guerrilla Girls, The Advantages of Being a Woman Artist (1988) 54

Mary Beth Edelson, Male Grazing: An Open Letter to Thomas McEvilley (1989) 54

Lubaina Himid, In the Woodpile: Black Women Artists and the Modern Woman (1990) 60

Jerry Saltz, Where the Girls Aren t (2006) 62

East London Fawcett, The Great East London Art Audit (2013) 64

2.2 Towards Feminist Structures 66

WEB (West East Coast Bag), Consciousness Raising Rules (1972) 66

Women s Workshop, A Brief History of the Women s Workshop of the Artist s Union 1972 1973 (c. 1973) 67

Martha Rosler, Well, is the Personal Political? (1980) 68

Lucy Lippard, Trojan Horses: Activist Art and Power (1984) 69

Anne Marsh, A Theoretical and Political Context (1985) 79

Xabier Arakistain et al., ARCO Manifesto: Politics of Equality between Men and Women in the Art World (2005) 85

Parliament of Spain, Article 26: Equality in Artistic and Intellectual Creation and Production (2007) 86

2.3 Activism in Practice 88

Mierle Laderman Ukeles, Manifesto for Maintenance Art, 1969! (1969) 88

Leslie Labowitz Starus and Suzanne Lacy, In Mourning and in Rage (1978) 91

Zoe Leonard, I Want a President (1992) 95

Andrea Fraser, There s No Place like Home (2012) 96

Nadezhda Tolokonnikova, Opening Courtroom Statement by Nadya (2013) 102

2.4 Education 106

Miriam Schapiro, The Education of Women as Artists: Project Womanhouse (1972) 106

Lisa Tickner, Retrospect (2008) 107

Griselda Pollock, Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University (2010) 114

Lisa Nyberg and Johanna Gustavsson, Radical Pedagogy (2011) 124

3 Historical and Critical Practices 129

Introduction 129

3.1 Interrogating Art History 134

Linda Nochlin, Why Have There Been No Great Women Artists? (1971) 134

Griselda Pollock, Women, Art and Ideology: Questions for Feminist Art Historians (1983) 149

Mira Schor, Patrilineage (1991) 159

3.2 Feminist/Writing 165

Carol Duncan, Virility and Domination in Early Twentieth Century Vanguard Painting (1973) 165

Joan Borsa, Frida Kahlo: Marginalization and the Critical Female Subject (1990) 169

Freida High W. Tesfagiorgis, In Search of a Discourse and Critique/s that Center the Art of Black Women Artists (1993) 185

Maureen Connor, Working Notes: Conversation with Katy Deepwell (2002) 198

Martina Pachmanová, In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory (2009) 203

4 Materials, Practices, Choices 217

Introduction 217

4.1 Aesthetic Choice 223

Judy Chicago, Woman as Artist (1971) 223

Marjorie Kramer, Some Thoughts on Feminist Art (1971) 225

Pat Mainardi, A Feminine Sensibility? (1972) 227

Judith Stein, For a Truly Feminist Art (1972) 228

Anne Marie Sauzeau Boetti, Negative Capability as Practice in Women s Art (1979) 229

4.2 Craft 233

Rozsika Parker, The Creation of Femininity (1984) 233

Catherine Harper, I Need Tracey Emin Like I Need God (2004) 237

Stephanie Syjuco, Anti Factory (2008) 240

4.3 Painting 241

Katy Deepwell, Paint Stripping (1994) 241

Alison Rowley, Plan: Large Woman or Large Canvas? A Confusion of Size with Scale (1996) 246

Amy Sillman, AbEx and Disco Balls: In Defense of Abstract Expressionism II (2011) 250

4.4 New Media 255

Mitra Tabrizian, The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble (1987) 255

Faith Wilding, Where is the Feminism in Cyberfeminism? (1998) 260

Elisabeth Subrin, Trashing Shulie : Remnants from Some Abandoned Feminist History (2006) 266

Alla Mitrofanova, Cyberfeminism in History, Practice and Theory (2010) 271

Stéphanie Jeanjean, Disobedient Video in the 1970s: Video Production by Women s Collectives (2011) 279

5 Representing Women 288

Introduction 288

5.1 Between Image and Representation 293

John Berger, Chapter 3 of Ways of Seeing (1972) 293

Laura Mulvey, Visual Pleasure and Narrative Cinema (1975) 300

Mary Kelly, Preface to Post Partum Document (1983) 310

Judith Williamson, Images of Woman : The Photography of Cindy Sherman (1983) 314

Elizabeth Grosz, Inscriptions and Body Maps: Representations and the Corporeal (1990) 320

Lynda Nead, Framing the Female Body (1992) 322

Nelly Richard, Politics and Aesthetics of the Sign (2004) 329

5.2 The Artist s Body in the Artwork 340

Lucy Lippard, The Pains and Pleasures of Rebirth: European and American Women s Body Art (1976) 340

Mary Duffy, Disability, Differentness, Identity (1987) 343

VALIE EXPORT, Aspects of Feminist Actionism (1989) 345

Orlan, Intervention d Orlan (1995) 361

Amelia Jones, Yayoi Kusama (1998) 367

6 Sex, Sexuality, Image 372

Introduction 372

6.1 Sexuality and the Sexual Body 376

Barbara Rose, Vaginal Iconology (1974) 376

Suzanne Santoro, Towards New Expression (1974) 378

Joanna Frueh, Feminism (1989) 379

Buseje Bailey, I Don t Have to Expose my Genitalia (1993) 385

Interview with Betty Tompkins (2006) 388

Chris Kraus, May 69 (2011) 393

6.2 Lesbian and Queer Practices 398

Monique Wittig, The Straight Mind (1980) 398

Jan Zita Grover, Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs (1991) 402

Shonagh Adelman, Desire in the Politics of Representation (1993) 408

Ridykeulous, Advantages of Being a Woman Lesbian Artist (2006) 410

Zanele Muholi, Ngiyopha: A Photo biographical Project (2009) 410

Catherine Lord, Wonder Waif Meets Super Neuter (2010) 414

7 Identity, Geography, Citizenship 435

Introduction 435

7.1 Projections 440

Kass Banning, The Ties That Bind: Here We Go Again (1987) 440

Adrian Piper, The Triple Negation of Colored Women Artists (1990) 444

Diane Losche, Reinventing the Nude: Fiona Foley s Museology (1999) 455

Jieun Rhee, Performing the Other: Yoko Ono s Cut Piece (2005) 461

7.2 Political Violence 471

Jill Bennett, Art, Affect, and the Bad Death : Strategies for Communicating the Sense Memory of Loss (2002) 471

Regina José Galindo , interview by Francisco Goldman (2006) 477

Between the Monument and the Ruin , interview with Lida Abdul by Candice Hopkins (2007) 482

7.3 Global Citizens 486

Tracey Rose, The Cant Show (2007) 486

Tanja Ostoji , Crossing Borders Series (2009) 488

Shirin Neshat, Art in Exile (2010) 491

Index 494

O autorze

Hilary Robinson is Dean of the School of Art and Design and Professor of Visual Culture at Middlesex University London, having previously held positions at Carnegie Mellon University, USA, and the University of Ulster, Northern Ireland. She is the author of Reading Art, Reading Irigaray: The Politics of Art by Women (2006), and the editor of Visibly Female: Women and Art Today (1987).

Blurb

Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, this archival anthology gathers together 88 indicative texts from North America, Europe and Australasia. The volume embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism to education and aesthetics. The writings of artists and activists are juxtaposed with those of academics, creating an entertaining and provocative web of ideas. Some of the texts are now regarded as classic, but the anthology is particularly notable for its inclusion of rare and significant material not reprinted elsewhere. The scale and structure of the volume make it a uniquely flexible resource for study and research. Each of the seven sections focuses on a specific area of debate and is introduced by a descriptive summary. The texts within each chapter are then presented in chronological order, indexing differing positions as they developed over time. The second edition is completely revised, retaining only one–third of the texts of the earlier edition, with all other material being new inclusions.