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"Covering artworks from 2002 to 2017, A Time of One's Own maps a revival of feminism in contemporary art that takes up the creative and political implications of disrupted temporalities to activate "a time of one's own." Catherine Grant shifts Virginia Woolf's spatial metaphor of a "room of one's own" into a temporal register in order to bring together different historical moments of feminist thinking. In doing so, Grant positions reenactments of past feminist projects not just as an art practice, but as a model for a queered feminist art history in which discussions of queer temporalities, feminist histories, and definitions of "the contemporary" and "contemporary art" are refined and politicized. Joining political theorizing and creative imagining from Bertolt Brecht, Walter Benjamin, and Virginia Woolf with theories of queer temporalities, feminist time and 'the contemporary' in art, this book narrates an intentionally incomplete feminist art history that joins real and imagined feminist communities across time and place"--

Feminism and art --- Feminism in art --- Homosexuality and art --- Art --- Feminist theory --- Queer theory --- Gender identity --- Feminism --- Feminist philosophy --- Feminist sociology --- Theory of feminism --- Art and politics --- Politics and art --- Art and homosexuality --- Art and feminism --- Political aspects --- Philosophy --- Feminist criticism --- Feminist art --- History --- Homosexuality --- Queer --- Artists --- Art history --- Sexuality --- Book --- Sociology of the family. Sociology of sexuality --- art history --- feminism --- feminists [people] --- Contemporary [style of art]

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What impact do sexual politics and queer identities have on the understanding of 'blackness' as a set of visual, cultural and intellectual concerns? In Queering Post-Black Art, Derek Conrad Murray argues that the rise of female, gay and lesbian artists as legitimate African-American creative voices is essential to the development of black art. He considers iconic works by artists including Glenn Ligon, Kehinde Wiley, Mickalene Thomas and Kalup Linzy, which question whether it is possible for blackness to evade its ideologically overdetermined cultural legibility. In their own unique, often satirical way, a new generation of contemporary African American artists represent the ever-evolving sexual and gender politics that have come to define the highly controversial notion of 'post-black' art. First coined in 2001, the term 'post-black' resonated because it articulated the frustrations of young African-American artists around notions of identity and belonging that they perceived to be stifling, reductive and exclusionary. Since then, these artists have begun to conceive an idea of blackness that is beyond marginalization and sexual discrimination.

Philosophy and psychology of culture --- homosexuality --- civil rights --- art criticism --- gender [sociological concept] --- African American --- #breakthecanon --- kunst --- kunst en politiek --- 7.01 --- Verenigde Staten --- kunsttheorie --- 7.039 --- homoseksualiteit --- gender studies --- Afro-Amerikaanse kunst --- tekenkunst --- videokunst --- video --- film --- installaties --- schilderkunst --- Linzy Kalup --- Thomas Mickalene --- Ligon Glenn --- Wiley Kehinde --- African American art --- African American artists --- Homosexuality and art --- Gender identity in art --- African American gays --- Gay artists --- Afro-American gays --- Afro-American homosexuals --- Gays, African American --- Gays --- Art and homosexuality --- Art --- Afro-American artists --- Artists, African American --- Negro artists --- Artists --- Afro-American art --- Art, African American --- Negro art --- Ethnic art --- History and criticism. --- In art. --- History and criticism --- In art

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The first-ever illustrated history of the iconic designs, symbols, and graphic art representing more than 5 decades of LGBTQ pride and activism--from the evolution of Gilbert Baker's rainbow flag to the NYC Pride typeface launched in 2017 and beyond.0Organized by decade beginning with Pre-Liberation and then spanning the 1970s through the millennium, QUEER X DESIGN will be an empowering, uplifting, and colorful celebration of the hundreds of graphics-from shapes and symbols to flags and iconic posters-that have stood for the powerful and ever-evolving LGBTQ movement over the last five-plus decades. Included in the collection will be everything from Gilbert Baker's original rainbow flag, ACT-UP's Silence = Death poster, the AIDS quilt, and Keith Haring's "Heritage of Pride" logo, as well as the original Lavender Menace t-shirt design, logos such as "The Pleasure Chest," protest buttons such as "Anita Bryant Sucks Oranges," and so much more. Sidebars throughout will cover important visual grouping such as a "Lexicon of Pride Flags," explaining the now more than a dozen flags that represent segments of the community and the evolution of the pink triangle.

Huisstijl --- Symbolen --- Homoseksualiteit --- Logo's --- Symbool --- Logo --- Erotiek --- Sexual minorities in art --- Homosexuality and art --- Signs and symbols --- Sexual minorities --- Universal design --- 754.49 --- LGBTQ+ (lesbian, gay, bisexual, transgender, queer and others) --- gender --- beeldvorming --- beeldcultuur --- homoseksualiteit --- symbolen --- symboliek --- 751 --- Lifespan design --- Design --- Lifetime homes --- Gender minorities --- GLBT people --- GLBTQ people --- Lesbigay people --- LBG people --- LGBT people --- LGBTQ people --- Non-heterosexual people --- Non-heterosexuals --- Sexual dissidents --- Minorities --- Representation, Symbolic --- Semeiotics --- Signs --- Symbolic representation --- Symbols --- Abbreviations --- Omens --- Semiotics --- Sign language --- Symbolism --- Visual communication --- Art and homosexuality --- Art --- History --- grafische vormgeving, volgens thema, overige --- grafische kunst, geschiedenis, algemeen --- Sexual minorities in art / History --- Homosexuality and art / History --- Signs and symbols / History --- Sexual minorities / History --- Universal design / History

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In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.

Applied arts. Arts and crafts --- feminism --- textile materials --- textile art [visual works] --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- United States --- Chile --- Fiberwork --- Art --- Homosexuality and art --- Handicraft --- NAMES Project AIDS Memorial Quilt --- Textile crafts --- Feminism and art --- Art, Modern --- kunst --- textiel --- textielkunst --- twintigste eeuw --- activisme --- politiek --- gender studies --- kunst en politiek --- kunst en activisme --- Verenigde Staten --- Chili --- LGBTQIA+ --- AIDS --- feminisme --- 7.038/039 --- 745.52 --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art and feminism --- Fabric crafts --- Textile arts --- Textile fiber crafts --- Fancy work --- AIDS Memorial Quilt --- NAMES Project Quilt --- Memorials --- Quilts --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Art and homosexuality --- Political aspects --- History --- Vicuña, Cecilia. --- Vicuña Ramírez, Cecilia --- Ramírez, Cecilia Vicuña --- Textielkunst ; theorie --- Kunst en politiek --- Kunst en activisme --- 746.01 --- Fiber work --- Fibers in art --- Textielkunst ; theorie, filosofie, esthetica --- cultuurfilosofie --- United States of America