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Feminism in art. --- Feminism --- Feminist art criticism. --- Political aspects.

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Within the politically charged debates of the feminist art movement, Judy Chicago's Dinner Party has been a focal point of controversy. A monumental table in the form of an equilateral triangle, The Dinner Party honors 1,038 women in Western history, 39 of whom are represented at the table itself by elaborate needlework runners and ceramic plates with centralized, often vulvar, motifs. When the piece was first shown, at the San Francisco Museum of Modern Art in 1979, it drew the largest audience in that museum's history. Although it was praised by many feminists, it also engendered vehemently negative responses, from mainstream art critics and feminist commentators alike.


The essays in this volume, which is published in conjunction with an exhibition organized by UCLA at the Armand Hammer Museum of Art and Cultural Center, provide a major reevaluation of The Dinner Party and the debates that it has prompted, placing it within the broader context of art history and theory. Presenting works dating from the early 1960s to the present by other feminist artists, the book explores important issues raised in feminist art history and practice over the last thirty-five years. The works included make clear that The Dinner Party was produced within, and takes its meanings from, a historical matrix in which explorations of female sexuality, ideals of beauty, domesticity, violence against women, the questioning of male authority, the diversity of female experience, and other concerns have served as means of addressing issues of identity, oppression, and personal and social power.


Through its examination of the reception of The Dinner Party, both in the United States and abroad, Sexual Politics also traces the development of feminist art theory.


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The Dinner Party, gecreëerd tussen 1974 en 1979, door Judy Chicago kan worden beschouwd als een 'ikoon' van de amerikaanse vrouwenbeweging van de jaren '70. Het blijft één van de meest ambitieuse, controversiéle en zichtbare uitingen van de spirit en stuwende krachten die de vrouwenbeweging in de vroege jaren '70 bezielde en inspireerde. Dit boek geeft als tentoonstellingscatalogus uiteraard een overzicht van de ten toon gestelde werken en bevat tevens een aantal essays van de hand van: Amelia Jones, Laura Meyer, Nancy Ring, Anette Kubitza, Susan Kandel en Laura Cottingham. Het werk wordt afgesloten met een uitgebreide index.

Art --- United States --- feminism --- vrouw in de kunst --- gender issues --- vrouwelijke kunstenaar --- gender --- United States of America --- Feminist art --- Tentoonstellingscatalogus --- Book

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Der Band befragt die Videokunst der frühen 1970er Jahre hinsichtlich ihrer Interventionen in Körper- und Mediendiskurse bzw. Subjektdiskurse der Zeit. Im Anschluss an Walter Benjamin entwickelt die Studie hierfür ein operatives Bildverständnis und arbeitet »den wachen Sinn für die Signatur der Zeit« aus den Praktiken und Diskursen der Videokunst heraus. Analysen zu Videowerken von Eleanor Antin, Lynda Benglis, Lili Dujourie, Sanja Ivecoviç, Martha Rosler, Lisa Steele, Hannah Wilke und anderen Künstlern und Künstlerinnen belegen einen repräsentationskritischen Einsatz des Mediums, der die Arbeit an, mit und in Bildern als eine ebenso ästhetische wie politische Argumentation lesbar macht.

Art forms --- Art History of the 20th Century. --- Fine Arts. --- Media Art. --- Video. --- Repräsentationskritik; Videokunst; Body Art; Feminist Art; Kunst der 1970er Jahre; Kunst; Medienkunst; Kunstgeschichte des 20. Jahrhunderts; Video; Kunstwissenschaft; Arts; Media Art; Art History of the 20th Century; Fine Arts

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Dorothea Olkowski's exploration of the philosophy of Gilles Deleuze clarifies the gifted French thinker's writings for specialists and nonspecialists alike. Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only in philosophy and feminism but wherever creation is at stake.The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art.

Deleuze, Gilles --- Kelly, Mary --- Psychoanalysis and art. --- Feminism and art --- Psychoanalysis and art --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Art and psychoanalysis --- Art and feminism --- Art --- Deleuze, Gilles, --- Kelly, Mary, --- Deleuze, G. --- Delëz, Zhilʹ, --- Dūlūz, Jīl, --- دولوز، جيل --- Criticism and interpretation. --- Feminism and art. --- Delezi, Jier, --- art. --- artist. --- artistic. --- change. --- creation. --- creative. --- feminism. --- feminist art. --- feminist politics. --- feminist studies. --- feminist. --- french philosopher. --- french thinker. --- government. --- great thinkers. --- hierarchic. --- hierarchy. --- illustrated. --- law and order. --- philosopher. --- philosophy of difference. --- philosophy. --- political. --- politics. --- representation. --- social change. --- social history. --- social studies. --- KELLY (MARY), 1941 --- -FEMINISME ET ART --- PSYCHANALYSE ET ART --- DELEUZE (GILLES), PHILOSOPHE FRANCAIS, 1925 --- -CONTRIBUTION A LA LOGIQUE

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This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.

Sociology of the family. Sociology of sexuality --- Painting --- Graphic arts --- patronage --- women [female humans] --- anno 1500-1599 --- anno 1600-1699 --- Netherlands --- Flanders --- Women artists --- Women art patrons --- Art --- Women --- Human females --- Wimmin --- Woman --- Womon --- Womyn --- Females --- Human beings --- Femininity --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art patrons --- Women benefactors --- Artists, Women --- Women as artists --- Artists --- History. --- women artists, feminist art history, Netherlandish art, Dutch art. --- patronage. --- women [female humans]. --- beeldende kunst. --- 71.31 sexes and their interrelations. --- 20.30 history of art: general. --- 20.10 art and society: general. --- Women art patrons. --- Women artists. --- Frau. --- Künstlerin. --- Kunst. --- Mäzenin. --- History --- 1500-1799. --- Netherlands. --- Niederlande. --- Femmes artistes --- Femmes mécènes --- Art, Primitive --- vrouwelijke kunstenaars --- persoon die de kunsten ondersteunt; kunstliefhebber, connaisseur, mecenas, beschermheer --- van Hemessen, Catharina --- Amalia van Solms-Braunfels (prinses van Oranje) --- Hollandine, Louise --- Verhulst, Mayken --- Diericx, Volcxken --- 16de eeuw --- 17de eeuw --- 18de eeuw --- Noordelijke Nederlanden --- vrouwelijke kunstenaars. --- persoon die de kunsten ondersteunt; kunstliefhebber, connaisseur, mecenas, beschermheer. --- van Hemessen, Catharina. --- Amalia van Solms-Braunfels (prinses van Oranje). --- Hollandine, Louise. --- Verhulst, Mayken. --- Diericx, Volcxken. --- 16de eeuw. --- 17de eeuw. --- 18de eeuw. --- Noordelijke Nederlanden. --- vrouwelijke kunstenaar --- vrouwengeschiedenis