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190307s2015 mau b 001 0 eng d |
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|a 9781118360606
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|a 1118360605
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|a 9781118360590
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|a 1118360591
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|a (OCoLC)1089397706
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|a (OCoLC)on1089397706
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|a N72.F45
|b F46 2015
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|a Feminism-art-theory :
|b an anthology 1968-2014 /
|c edited by Hilary Robinson.
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|a Feminism art theory :
|b an anthology 1968-2014
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|a 2nd ed.
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|a Malden, MA :
|b John Wiley & Sons :
|b Blackwell,
|c 2015.
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| 300 |
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|a xix, 524 p. ;
|c 26 cm.
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| 504 |
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|a Incluye referencias bibliográficas e índice.
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|a Introduction: Feminism-Art-Theory: Towards a (political) historiography -- 1. Overviews: Introduction -- 1.1. Gender in/of culture: Valerie Solanas, 'Scum Manifesto' (1968) ; Shulamith Firestone, '(Male) Culture' (1970) ; Sherry B. Ortner, 'Is Female to Male as Nature is to Culture?' (1972) ; Carolee Schneeman, 'From Tape no. 2 for Kitch's Last Meal' (1973) -- 1.2. Curating Feminisms: Cornelia Butler, 'Art and Feminism: An Ideology of Shifting Criteria' (2007) ; Xabier Arakistain, 'Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism' (2007) ; Mirjam Western, 'rebelle: Introduction' (2009) -- 2. Activism and Institutions: Introduction -- 2.1. Challenging patriarchal structures: Women's Ad Hoc Committee/Women Artists in Revolution/WSABAL, 'To the Viewing Public for the 1970 Whitney Annual Exhibition' (1970) ; Monica Sjöö, 'Art is a Revolutionary Act' (1980) ; Guerrilla Girls, 'The Advantage of Being a Woman Artist' (1988) ; Mary Beth Edelson, 'Male Grazing: An Open Letter to Thomas McEvilley' (1989) ; Lubaina Himid, 'In the Woodpile: Black Women Artists and the Modern Woman' (1990) ; Jerry Saltz, 'Where the Girls Aren't' (2006) ; East London Fawcett, 'The Great East London Art Audit' (2013) -- 2.2. Towards feminist structures: WEB (West-East Coast Bag), 'Consciousness-Raising Rules' (1972) ; Women's Workshop, 'A Brief History of the Women's Workshop of the Artists' Union 1972-1973' (c. 1973) ; Martha Rosler, 'Well is the Personal Political?' (1980) ; Lucy Lippard, 'Trojan Horses: Activist Art and Power' (1984) ; Anne Marsh, 'A Theoretical and Political Context' (1985) ; Xabier Arakistain et al. ARCO Manifesto: 'Politics of Equality between Men and Women in the Art World' (2005) ; Parliament of Spain, 'Article 26: Equality in Artistic and Intellectual Creation and Production' (2007) -- 2.3. Activism in practice: Mierle Laderman Ukeles, 'Manifesto for Maintenance Art, 19691' (1969) ; Leslie Labowitz-Starus and Suzanne Lacy, 'In Mourning and in Rage ... ' (1978) ; Zoe Leonard, 'I Want a President' (1992) ; Andrea Fraser, 'There's No Place like Home' (2012) ; Nadezhda Tolokonnikova, 'Opening Courtroom Statement by Nadya' (2013) -- 2.4. Education: Miriam Schapiro, 'The Education of Women as Artists: Project Womanhouse' (1972) ; Lisa Tickner, 'Retrospect' (2008) ; Griselda Pollock, 'Opened, Closed, and Opening: Reflections of Feminist Pedagogy in a UK University' (2010) ; Lisa Nyberg and Johanna Guustavsson, 'Radical Pedagogy' (2011) --
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|a 3. Historical and Critical Practices: Introduction -- 3.1. Interrogating 'Art History': Linda Nochlin, 'Why Have There Been No Great Women Artists?' (1971) ; Griselda Pollock, 'Women Art and Ideology: Questions for Feminist Art Historians' (1983) ; Mira Schor, 'Patrilineage' (1991) -- 3.2. Feminist/Writing: Carol Duncan, 'Virility and Domination in Early Twenty Century Vanguard Painting' (1973) ; Joan Borsa, 'Frida Kahlo: Marginalization and the Critical Female Subject' (1990) ; Freida High W. Tesfagiorgis, 'In Search of a Discourse and Critique/s that Center the Art of Black Women Artists' (1993) ; Maureen Connor, 'Working Notes: Conversations with Katy Deepwell' (2002) ; 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) -- 4. Materials, Practices, Choices: Introduction -- 4.1. Aesthetic choice: Judy Chicago, 'Woman as Artist' (1971) ; Marjorie Kramer, 'Some Thoughts on Feminist Art' (1971) ; Pat Mainardi, 'A Feminine Sensibility?' (1972) ; Judith Stein, 'For a Truly Feminist Art' (1972) ; Anne-Marie Sauzeau-Boetti, 'Negative Capability as Practice in Women's Art' (1979) -- 4.2. Craft: Rozsika Parker, 'The Creation of Femininity' (1984) ; Catherine Harper, 'I Need Tracey Emin Like I Need God' (2004) ; Stephanie Syjuco, 'Anti-Factory' (2008) -- 4.3. Painting: Katy Deepwell, 'Paint Stripping' (1994) ; Alison Rowley, 'Plan: Large Woman or Large Canvas? ; A Confusion of Size with Scale' (1996) ; Amy Sillman, 'AbEx and Disco Balls: In Defense of Abstract Expressionism II' (2011) -- 4.4. New Media: Mitra Tabrizian, 'The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble' (1987) ; Faith Wilding, 'Where is the Feminism in Cyberfeminism?' (1998) ; Elisabeth Subrin, 'Trashing "Shulie": Remnants from Some Abandoned Feminist History' (2006) ; Alla Mitrofanova, 'Cyberfeminism in History, Practice and Theory' (2010) ; Stéphanie Jeanjean, 'Disobedient Video in the 1970s: Video Production by Women's Collectives' (2011) --
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|a 5. Representing Women: Introduction -- 5.1. Between image and representation: John Berger, Chapter 3 of Ways of Seeing (1972) ; Laura Mulvey, 'Visual Pleasure and Narrative Cinema' (1975) ; Mary Kelly, Preface to Post-Partum Document (1983) ; Judith Williamson, 'Images of "Woman": The Photography of Cindy Sherman' (1983) ; Elizabeth Grosz, 'Inscriptions and Body-Maps: Representations and the Corporeal' (1990) ; Lynda Nead, 'Framing the Female Body' (1992) ; Nelly Richard, 'Politics and Aesthetics of the Sign' (2004) -- 5.2. The artist's body in the artwork: Lucy Lippard, 'The Pains and Pleasures of Rebirth: European and American Women's Body Art' (1976) ; Mary Duffy, 'Disability, Differentness, Identity' (1987) ; VALIE EXPORT, 'Aspects of Feminist Actionism' (1989) ; Orlan, 'Intervention d'Orlan' (1995) ; Amelia Jones, 'Yayoi Kusama' (1998) -- 6. Sex, Sexuality, Image: Introduction -- 6.1. Sexuality and the sexual body: Barbara Rose, 'Vaginal Iconology (1974) ; Suzanne Santoro, 'Towards New Expression' (1974) ; Joanna Frueh, 'Feminism' (1989) ; Buseje Bailey, 'I Don't Have to Expose my Genitalia' (1993) ; 'Interview with Betty Tompkins' (2006) ; Chris Kraus, 'May '69' (2011) -- 6.2. Lesbian and queer practices: Monique Wittig, 'The Straight Mind' (1980) ; Jan Zita Grover, 'Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs' (1991) ; Shonagh Adelman, 'Desire in the Politics of Representation' (1993) ; Ridykeulous, 'Advantages of Being a Woman(word lined out) Lesbian Artist' (2006) Zanele Muholi, 'Ngiyopha: A Photo-biographical Project' (2009) ; Catherine Lord, 'Wonder Waif Meets Super Neuter' (2010) -- 7. Identity, Geography, Citizenship: Introduction -- 7.1. Projections: Kass Banning, 'The Ties That Bind: Here We Go Again' (1987) ; Adrian Piper, 'The Triple Negation of Colored Women Artists' (1990) ; Diane Losche, 'Reinventing the Nude: Fiona Foley's Museology' (1999) ; Jieun Rhee, 'Performing the Other: Yoko Ono's Cut Piece' (2005) -- 7.2. Political violence: Jill Bennett, 'Art, Affect, and the "Bad Death": Strategies for Communicating the Sense Memory of Loss' (2002) ; 'Regina José Galindo', interview by Francisco Goldman (2006) ; 'Between the Monument and the Ruin', interview with Lida Abdul by Candice Hopkins (2007) -- 7.3. Global citizens: Tracey Rose, 'The Cant Show' (2007) ; Tanja Ostojić, 'Crossing Borders Series' (2009) ; Shirin Neshat, 'Art in Exile' (2010).
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|a "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, Edurope and Australasia, and elsewhere. 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 provacative web of ideas. Some of the texts are now regarded as classic, but the anthology is particulary notable for its inclusion of rare and significant material not reprinted elsewhere. The scale and structure of the volume make it a uniqauely 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." --Contratapa.
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| 650 |
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0 |
|a Feminism and art.
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| 650 |
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0 |
|a Feminist art criticism.
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| 650 |
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0 |
|a Art, Modern
|y 20th century.
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| 650 |
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0 |
|a Art, Modern
|y 21st century.
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| 650 |
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7 |
|a Feminismo y arte.
|2 UDESA
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| 650 |
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7 |
|a Arte
|x Crítica feminista.
|2 UDESA
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| 650 |
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7 |
|a Arte moderno
|y Siglo XX.
|2 UDESA
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| 650 |
|
7 |
|a Arte moderno
|y Siglo XXI.
|2 UDESA
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| 700 |
1 |
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|a Robinson, Hilary,
|d 1956-
|e ed.
|