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Feminist and psychoanalytic analysis of spectatorship.
Photography --- Feminist art criticism. --- Art criticism --- Feminist criticism --- Philosophy.
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Feminism Reframed: Reflections on Art and Difference addresses the on-going dialogue between feminism, art history and visual culture from contemporary scholarly perspectives. Over the past thirty years, the critical interventions of feminist art historians in the academy, the press and the art world have not only politicised and transformed the themes, methods and conceptual tools of art history, but have also contributed to the emergence of new interdisciplinary areas of investigation, incl...
Feminism and art. --- Feminist art criticism. --- Art criticism --- Feminist criticism --- Art and feminism --- Art
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This collection brings together representative work from Sina Queyras's poetic oeuvre. Queyras is at the forefront of contemporary discussions of genre, gender, and criticism of poetry. Her influential blog-turned-literary-magazine, Lemon Hound, published up-and-coming writers as well as work by established literary figures in Canada and abroad. The title, Barking & Biting, makes reference to the tagline of Lemon Hound: "more bark than bite." Erin Wunker's introduction situates Queyras's poetry within ongoing debates around genre and gender. It suggests that Queyras's writing, be it literary critical, poetic, or prose, is precise and probing but avoids toothless critical positioning. It pays particular attention to Queyras's poetic innovations and intertextual references to other women writers, and suggests that read together Queyras's oeuvre embodies an engaged feminist attention-what Joan Retallack has called a "poethics," where poetry and ethics are bound together as a mode of inquiry and aesthetics. Queyras's poems trace a consistent concern with both poetic genealogies and the status of women. Thus far, twenty-first century poetics have been preoccupied with two ongoing conversations: the perceived divide between lyric and conceptual writing, and the underrepresentation of women and other non-dominant subjects. While these two topics may seem epistemologically and ethically separate, they are in fact irrevocably intertwined. Questions of form are, at their root, questions of visibility and recognizability. Will the reader know a poem when she sees it? And will that seeing alter her perception of the world? And how is the form of the poem altered, productively or un-, by the identity politics of its author? These are the questions that undergird Queyras's poetry and guide the editorial selections. Queyras's poetics pay dogged attention to questions of both representation and genre. In each of her poetry collections she inhabits tenets of the traditional lyric but leverages the genre open to let conceptualism in. This is demonstrated in her afterword, "Lyric Conceptualism, a Manifesto in Progress," which was first published on the Poetry Foundation's Harriet the Blog. In it Queyras puts forward a set of maxims about the possibilities of a new hybrid, the conceptual lyric poem.
Canadian poetry --- Canadian poetry. --- Canadian poetry. --- Canadian women. --- avant-garde. --- feminism. --- feminist art. --- feminist poetics. --- lyric conceptualism. --- poetics. --- poetry. --- women.
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This book is a collection of glimpses into the lives and works of fifteen prominent women artists in contemporary ceramics. Spanning multiple genres, generations, and geographies, these potters and ceramic sculptors describe nuances, contradictions, and tensions surrounding their artworks, artistic processes, and professional lives. Otherin this text, artistic ambivalences are questioned and analyzed in terms of myriad gender issues. Featured ceramicists include: Maureen Burns-Bowie, Esta Carn...
Women potters --- Art pottery, American --- Feminism and art. --- Feminism in art. --- Feminist art criticism. --- Art criticism --- Feminist criticism --- Art and feminism --- Art --- American art pottery
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'I am Jugoslovenka' argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. 'I am Jugoslovenka' tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
Feminism --- Feminism and the arts --- East European art. --- Feminist performance. --- Marina Abramovic. --- Sanja Ivekovic. --- Yugoslav feminism. --- Yugoslav performance. --- Yugoslav socialism. --- feminist art. --- gender and socialism. --- performance art.
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Thema's in de kunst ; ras ; gender ; geslacht --- Kunst en maatschappij ; kunst van vrouwen --- Kunst en nationalisme --- 7.01 --- Kunst ; theorie, filosofie, esthetica --- Art and race. --- Feminism and art. --- Feminist art criticism. --- Art and race --- Feminism and art --- Feminist art criticism --- Art criticism --- Feminist criticism --- Art and feminism --- Art --- Race and art --- Ethnopsychology
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In the 1970s, Lucy R. Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women’s movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement. This new collection of previously published essays covers more than two decades of Lippard’s thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today’s fine and popular art. With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard’s leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.
Feminism and art --- Feminist art criticism --- 7.01 --- Beeldende kunst ; 20ste eeuw ; in relatie tot de prehistorie --- Art criticism --- Feminist criticism --- Art and feminism --- Art --- Kunst ; theorie, filosofie, esthetica --- social issues --- feminism --- gender issues --- gender [sociological concept] --- vrouw in de kunst --- United States --- United States of America --- Feminism --- Feminist art --- Photography --- Artists --- Body --- Drawing --- Exhibitions --- Theory --- Book --- Activism --- Discrimination
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Pinar Tuzcu explores rapper Lady Bitch Ray's performance and particularly her use of the term Kanackin. She combines issues of popfeminism and postmigration through speculative methodology and invites us to forget prescriptive definitions by proposing paradoxicality as a source to diversify our concepts of feminism. By means of Situational Analysis, her study works through the contradictory forms of positioning that occurred in group discussions with Turkish-German university students about Lady Bitch Ray's music videos. In this book, Tuzcu argues that these contradictory forms of positioning bear traces of emergent discourses that reach beyond Western-centric descriptions of feminism in Germany. »Der Diskurs um postmigrantische Popkultur in Deutschland wird durch Pinars Buch um einen vielversprechenden Beitrag erweitert. Lady Bitch Ray als hybride Kunstfigur passt in diesen Diskurs gut rein.« Patricia Bonaudo, Missy Magazine, 06.09.2016 Besprochen in: IDA-NRW, 1 (2017)
Hip-hop feminism. --- Women rap musicians --- Rap musicians --- Women musicians --- Feminism --- Postmigration; Popfeminism; Decolonial Approaches; Feminist Art & Performance; Rap; Gender; Popular Culture; Postcolonialism; Gender Studies; Cultural Studies; Sociology --- Cultural Studies. --- Decolonial Approaches. --- Feminist Art & Performance. --- Gender Studies. --- Gender. --- Popfeminism. --- Popular Culture. --- Postcolonialism. --- Rap. --- Sociology.
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Polish-born artist Ewa Partum is considered a pioneer of Central-Eastern European feminist art produced within the conceptual idiom. Her work can also be divided chronologically into Polish (1965-82), West Berlin (1982-1989) and transnational (from 1989) periods. Karolina Majewska-Güde articulates the historical alterity of Ewa Partum's works in their various locations and the specificity of the positions from which Partum's art was interpreted and disseminated. At the same time, the book engages with the art histories of the Central and Eastern European neo-avant-gardes focusing on the issue of narrative strategies of CEE art history.
Performance Art; Feminist Art; Conceptual Art; Central and Eastern Europe; Art History; Methodology; Art; Gender; Literature; Art History of the 20th Century; European Art; Political Art; Fine Arts; --- Partum, Ewa, --- Partum, Ewa, --- Criticism and interpretation. --- Poland. --- Art History of the 20th Century. --- Art History. --- Art. --- Central and Eastern Europe. --- Conceptual Art. --- European Art. --- Feminist Art. --- Fine Arts. --- Gender. --- Literature. --- Methodology. --- Political Art.
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Eunice Lipton was a fledging art historian when she first became intrigued by Victorine Meurent, the nineteenth-century model who appeared in Edouard Manet's most famous paintings, only to vanish from history in a haze of degrading hearsay. But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death-or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off layers of lies to reveal startling truths about Victorine Meurent-and about Lipton herself.
Feminist art criticism --- Women art historians --- Artists' models --- Art criticism --- Feminist criticism --- Art historians --- Women historians --- Models, Artists' --- Models (Persons) --- Biography. --- Lipton, Eunice. --- Manet, Edouard, --- Meurent, Victorine. --- Manet, Edouard --- Manė, Eduard --- Manet, Éduard --- מאנה, אדוארד, --- Relations with women.
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