Beyond the Static Image: Tee Corinne's Roles as a Pioneering Lesbian Artist and Art Historian (original) (raw)
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Queer Possibilities: Lesbian Feminist Abstract Painting in the 1970s and After
Discussion of examples of queer abstraction by lesbian feminist artists in the 1970s, with a focus on single works by Louise Fishman, Joan Snyder, and Harmony Hammond (along with brief accounts of more recent abstracting paintings by Amy Sillman and Christina Quarles). In Katy Siegel and Mark Godfrey, eds., 'Making Their Mark: Art by Women in the Shah Garg Collection' (New York: Gregory R. Miller & Co, 2023), 70-79.
A Time of One's Own: Histories of Feminism in Contemporary Art
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In A Time of One’s Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists’ engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.
Female St. Sebastian: Parallel lines in the radical lesbian art of Gina Pane and Catherine Opie
InterAlia, 2010
This paper is a comparative analysis of works by two contemporary artists: Gina Pane, an Italian, and Catherine Opie, an American. Both use performance and autobiography and raise the subject of lesbian identity. Moreover, both share themes of suffering, pain and relationships between women. They were active in various cultural contexts, however. Pane worked in Western Europe during the moral revolution of the 1960s and '70s. Opie has been active in American art from the beginning of the '90s and she has been participating in political changes from the AIDS crisis and the radical queer movement to the present day assimilation of the LGBTQ community. The tradition and symbolism associated with St. Sebastian serves as the historical background the for the analysis in this paper, as both artists used the iconography of this male homoerotic idol in their subversive depictions of femininity and sexual dissimilarity. The works of the two artists are subjected to a comparative interpretation considering various contexts, similarities and differences, and evaluated in terms of contemporary artistic and political challenges of queer culture.
Australian Lesbian Artists of the Early Twentieth Century
Out Here: Gay and Lesbian Perspectives VI. Edited by Yorick Smaal and Graham Willett, 2011
Women were virtually invisible in Australian art in the nineteenth century but went on to become leaders in the Australian Modern Art movement between the wars. Here, we shall look at some of the changing social conditions and events that enabled women, who were mostly from the upper classes and unmarried, to forge successful artistic careers. These women had the ability or inclination to avoid the traditional female role in society and this chapter proposes one method of examination which reveals that lesbians were disproportionately represented in this cohort of successful artists. The women artists examined more closely are: Agnes Goodsir, Janet Cumbrae Stuart, Margaret Preston, Mary Cockburn Mercer, Grace Crowley, and Kathleen O'Connor.
CAAreviews.org (http://www.caareviews.org/reviews/3426#.WocHXGaZPex), 2018
On the heels of the recent publication of their books _Otherwise: Imagining Queer Feminist Art Histories_ and _Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender_, Amelia Jones and David Getsy initiated a conversation about these books and the current state of and future directions for art history's engagements with gender and sexuality. The following dialogue was conducted by email over the course of the summer of 2017, and it is presented by caa.reviews as part of its commitment to engage with new ideas in art-historical and art-critical writing. Published open access at http://www.caareviews.org/reviews/3426#.WocHXGaZPex