] ' The gender of the art writing genre ' Wendelin (original) (raw)
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an unfinished revolution in art historiography, or how to write a feminist art history
Feminist Review 107 (July/Aug 2014)
The question implied in our title is more a clarion call, an open-ended research enquiry that we have begun thinking about through a series of informal research events. The first workshop, organised by Victoria Horne at the University of Edinburgh, brought together postgraduate and early-career researchers to meet and discuss the epistemological questions raised when 'Writing Feminist Art Histories'. In response to a productive session that touched upon a range of historical and contemporary historiographical concerns, in May 2013, Kuang Vivian Sheng, Catherine Spencer, Kostas Stasinopoulos and Amy Tobin arranged a second event at the University of York. One of the primary aims of these workshops was to reflect upon the merits and obstacles endemic to writing history from a feminist perspective. However, equally important is the potential that these events offer for developing a supportive and critical network of feminist researchers through a series of loosely connected episodes.
s anthologies. Feminism and Art History: Questioning the Litany of 1982 and The Expanding Discourse: Feminism and Art History of ten years later. These collections offered important alternatives to traditional art history textbooks. The articles served as models for our own research both in terms of content as well as methodology. We went on to use them in our classrooms, where they inspire a new generation of students for whom feminism is a historicaland often disturbing -phenomenon. It is important here to contextualize these anthologies within the classroom, now perhaps the primary ground for our rereading of the essays. The articles -written before most of our students were born -can be used today as evidence of how our discipline grew in the last decades of the twentieth century. The two anthologies act as "proof" that women artists and patrons are recent and contested additions to our studies, that images of women and representations of the female form are not mere depictions of beauty, and that the language of art and art history as it has developed in the West is neither neutral nor universal. Our discipline has, indeed, benefited from our frequent return to the contributions made by the many and varied authors in these anthologies.
Feminism AND Art: A Review Essay
Australian Feminist Studies, 2015
Since the revolutions of the 1960s, feminism and art have created spaces for thinking and rethinking the links between gender and creativity. Art has been challenged both within and without the frame, as artists and feminists disrupt and complicate pre-established modes of production and representation. Feminism in turn has been challenged by art that asks: what does a feminist subject look like? What does she read? Think? Feel? Make? Amidst the constant questioning some unexpected encounters occur: art made by women is not necessarily feminist art; patriarchal logics continue to dominate the ongoing boundaries of canon formation; and, it remains necessary to examine gender in all its potentialities. As Susan Best writes, it continues to be our job as feminist artists and art historians to address ‘the refraction of the question of the subject through the lens of gender’ (2013, p.143). Subsequently, this review asks: What do you feel when you encounter feminist art? And, who is art AND feminism for? We pursue these questions through five new or recently updated titles broadly collected under the heading of contemporary feminist art history and theory.
Historical Studies of the Practice and Profession of Women Artists
This chapter has been conceived as a personal approach to the study of different aspects of gender issues in the history of art. Extensive use has been made of historiographical studies considered essential for an understanding of the themes involved; they are works that, without doubt, constitute the backbone of current artistic historiography on this subject. With this in mind, the author’s contribution is in the interpretation and explanation of different questions relative to the aforementioned studies while not forgetting to mention a number of findings and thoughts of a more personal nature. We are therefore dealing with a personal dissertation on the lines of study and research projects that have been undertaken in recent artistic historiography from the perspective of gender.