Feminism Art Theory

Informationen zum Autor 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). Klappentext 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. Zusammenfassung 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 Inhaltsverzeichnis Preface xAcknowledgements and Sources xiiIntroduction: Feminism-Art-Theory: Towards a (Political) Historiography 11 Overviews 8Introduction 81.1 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) 261.2 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) 352 Activism and Institutions 44Introduction 442.1 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) 6...

Autorentext
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).

Klappentext
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.

Inhalt
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…

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