During the 1970s, adding 'women's' to 'art' was a powerfully political act. Fuelled by the momentum of the women's liberation movement, artists, art historians, critics and curators began to explore the women's art practice, as distinct from men's, and to challenge its invisibility in the established art world and historical canon. In the 1980s, they continued to creatively critique representations of female sexuality, and in the 1990s, some began to embrace the 'post-feminist' idea of difference and the performance of gender. Throughout this pivotal period, the MAKE magazine offered a unique…mehr
During the 1970s, adding 'women's' to 'art' was a powerfully political act. Fuelled by the momentum of the women's liberation movement, artists, art historians, critics and curators began to explore the women's art practice, as distinct from men's, and to challenge its invisibility in the established art world and historical canon. In the 1980s, they continued to creatively critique representations of female sexuality, and in the 1990s, some began to embrace the 'post-feminist' idea of difference and the performance of gender. Throughout this pivotal period, the MAKE magazine offered a unique platform for academics, artists and arts professionals to critically engage with women's art. Though the need to talk about 'women's art' seemed to lose some of its political urgency in the early 2000s, many artists, art historians and art students are now once again explicitly engaging with feminist art histories and art practices as possible models and precedents for resistance. Now is the time to revisit the past, in order to understand and galvanise the energy of the present.Gathering together the work of eminent writers such as Griselda Pollock and Marina Warner, on celebrated artists such as Helen Chadwick, Sarah Lucas and The Guerrilla Girls, this unparalleled anthology of material from the MAKE archive allows us to trace the lineages and links between then and now.
Mo Throp is Associate Researcher at Chelsea College of Art & Design. She is also an artist and writer. Maria Walsh is Senior Lecturer at Chelsea College of Art & Design. She is also a writer. Both authors co-convene the Subjectivity & Feminisms Research Group at Chelsea College of Art & Design and Mo Throp was Chair of the Trustee Board of the Women's Art Slide Library from 1994-1997.
Inhaltsangabe
CONTENTS: FOREWORD - Althea Greenan LIST OF ILLUSTRATIONS - tbc EDITOR'S INTRODUCTION SECTION 1: Sexuality & the Body CONTENTS: FOREWORD - Althea Greenan LIST OF ILLUSTRATIONS - tbc EDITOR'S INTRODUCTION SECTION 1: Sexuality & the Body INTRODUCTION TO SECTION 1 page no.s Carol Drake MOUSE KATZ: IN SEARCH OF THE FEMORPHIC WOMAN Pennina Barnett IN AN UNSAFE LIGHT Susan Croft & Claire MacDonald PERFORMING POSTURES Kathy Kubicki THE TIME SOMEONE POINTED . Janice Jefferies TEXT, TEXTILE, SEX AND SEXUALITY Emma Cocker interviews Helen Chadwick INDIFFERENCE IN DIFFERENCE Marsha Meskimmon THE MONSTROUS & THE GROTESQUE Simon Ford SUBJECT & (SEX) OBJECT Judith Halberstam THE BODY IN QUESTION SECTION 2: Representation INTRODUCTION TO SECTION 2 Marilyn Crabtree INTERIM page no.s Monica Bohm-Duchen SUSAN HILLER Rebecca Fortnum & Gill Houghton WOMEN AND CONTEMPORARY PAINTING: RE-PRESENTING NON-REPRESENTATION Christine Battersby DIRTY WORDS FOR THE TATE Hilary Robinson BODIES OF KNOWLEDGE Sadie Murdoch TOO MUCH OF A GOOD THING Lorraine Gamman interviews The Guerilla Girls ARE YOU BEING SERVED WITH A MASK? SECTION 3: Discourse INTRODUCTION TO SECTION 3 pg no. Pam Gerrish Nunn THE USES OF THEORY Griselda Pollock FRAMING FEMINISM Deborah Cameron SURVIVAL GUIDE Margaret Whitford WOMAN WITH ATTITUDE Hilary Robinson IRIGARAY'S IMAGININGS Nancy Proctor IS WOMEN'S ART HOMELESS? Griselda Pollock INTO INSIDE THE VISIBLE Paula Smithard & David Burrows ENJOY YOUR ALIENATION! Marsha Meskimmon IN MIND AND BODY SECTION 4: The Technical Image INTRODUCTION TO SECTION 4 pg no. Linda Wilson Green ART, SOCIETY AND THE WOMAN PHOTOGRAPHER Rosy Martin I POSE A PARADOX Susan Butler SUBJECT TO CHANGE Anna Douglas CHILDHOOD: A MOLOTOV COCKTAIL FOR OUR TIME Val Williams WHERE WOMEN DARE TO TREAD? Sadie Plant COMING INTO CONTACT Shirley Read GLASS CEILING IN CYBERSPACE? Rachel Armstrong ...WOMAN WITH HEAD... Liz Wells MEMORIES OF DEMOS, DUNGAREES AND BADGES - SO WHERE ARE WE NOW? Catherine Elwes IN VIDEO VERITAS: A FEMINIST PERSPECTIVE ON WOMEN' S VIDEO ACROSS TWO DECADES Yvonne Volkart GENDER MATTERS TO CAPITAL SECTION 5: Race & Ethnicity INTRODUCTION TO SECTION 5 pg no. Chila Burman THERE HAVE ALWAYS BEEN GREAT BLACK WOMEN ARTISTS Carole Enahoro INTIMATE DISTANCE Carole Enahoro THE OTHER STORY Fiona Barber IRISH ART IN LIVERPOOL Janice Cheddie BODYRITES Janice Cheddie STORM DAMAGE Joanna Krysa THE IRRECONCILIBLE PROCESS OF AGEING SECTION 6: Feminist Histories INTRODUCTION TO SECTION 6 pg no. Marina Warner MAKING IT LIKE A WOMAN Griselda Pollock TROUBLE IN THE ARCHIVES Heidi Reitmaier speaks with Laura Cottingham CAN DO Roxane Permar FRAGILE TERRITORIES Lisa Corrin & Mary Jane Aladren WHY KUSAMA AND WHY NOW? Aoife MacNamara CHERCHEZ LA FEMME
CONTENTS: FOREWORD - Althea Greenan LIST OF ILLUSTRATIONS - tbc EDITOR'S INTRODUCTION SECTION 1: Sexuality & the Body CONTENTS: FOREWORD - Althea Greenan LIST OF ILLUSTRATIONS - tbc EDITOR'S INTRODUCTION SECTION 1: Sexuality & the Body INTRODUCTION TO SECTION 1 page no.s Carol Drake MOUSE KATZ: IN SEARCH OF THE FEMORPHIC WOMAN Pennina Barnett IN AN UNSAFE LIGHT Susan Croft & Claire MacDonald PERFORMING POSTURES Kathy Kubicki THE TIME SOMEONE POINTED . Janice Jefferies TEXT, TEXTILE, SEX AND SEXUALITY Emma Cocker interviews Helen Chadwick INDIFFERENCE IN DIFFERENCE Marsha Meskimmon THE MONSTROUS & THE GROTESQUE Simon Ford SUBJECT & (SEX) OBJECT Judith Halberstam THE BODY IN QUESTION SECTION 2: Representation INTRODUCTION TO SECTION 2 Marilyn Crabtree INTERIM page no.s Monica Bohm-Duchen SUSAN HILLER Rebecca Fortnum & Gill Houghton WOMEN AND CONTEMPORARY PAINTING: RE-PRESENTING NON-REPRESENTATION Christine Battersby DIRTY WORDS FOR THE TATE Hilary Robinson BODIES OF KNOWLEDGE Sadie Murdoch TOO MUCH OF A GOOD THING Lorraine Gamman interviews The Guerilla Girls ARE YOU BEING SERVED WITH A MASK? SECTION 3: Discourse INTRODUCTION TO SECTION 3 pg no. Pam Gerrish Nunn THE USES OF THEORY Griselda Pollock FRAMING FEMINISM Deborah Cameron SURVIVAL GUIDE Margaret Whitford WOMAN WITH ATTITUDE Hilary Robinson IRIGARAY'S IMAGININGS Nancy Proctor IS WOMEN'S ART HOMELESS? Griselda Pollock INTO INSIDE THE VISIBLE Paula Smithard & David Burrows ENJOY YOUR ALIENATION! Marsha Meskimmon IN MIND AND BODY SECTION 4: The Technical Image INTRODUCTION TO SECTION 4 pg no. Linda Wilson Green ART, SOCIETY AND THE WOMAN PHOTOGRAPHER Rosy Martin I POSE A PARADOX Susan Butler SUBJECT TO CHANGE Anna Douglas CHILDHOOD: A MOLOTOV COCKTAIL FOR OUR TIME Val Williams WHERE WOMEN DARE TO TREAD? Sadie Plant COMING INTO CONTACT Shirley Read GLASS CEILING IN CYBERSPACE? Rachel Armstrong ...WOMAN WITH HEAD... Liz Wells MEMORIES OF DEMOS, DUNGAREES AND BADGES - SO WHERE ARE WE NOW? Catherine Elwes IN VIDEO VERITAS: A FEMINIST PERSPECTIVE ON WOMEN' S VIDEO ACROSS TWO DECADES Yvonne Volkart GENDER MATTERS TO CAPITAL SECTION 5: Race & Ethnicity INTRODUCTION TO SECTION 5 pg no. Chila Burman THERE HAVE ALWAYS BEEN GREAT BLACK WOMEN ARTISTS Carole Enahoro INTIMATE DISTANCE Carole Enahoro THE OTHER STORY Fiona Barber IRISH ART IN LIVERPOOL Janice Cheddie BODYRITES Janice Cheddie STORM DAMAGE Joanna Krysa THE IRRECONCILIBLE PROCESS OF AGEING SECTION 6: Feminist Histories INTRODUCTION TO SECTION 6 pg no. Marina Warner MAKING IT LIKE A WOMAN Griselda Pollock TROUBLE IN THE ARCHIVES Heidi Reitmaier speaks with Laura Cottingham CAN DO Roxane Permar FRAGILE TERRITORIES Lisa Corrin & Mary Jane Aladren WHY KUSAMA AND WHY NOW? Aoife MacNamara CHERCHEZ LA FEMME
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