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Books on the topic 'Artista feminista'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Producción artística y teoría feminista del arte: Nuevos debates I = Ekoizpen artistikoa eta artearen teoria feminista : eztabaida berriak I = Artistic production and the feminist theory of art : new debates I. [Vitoria-Gasteizko Udalak?]: Ayuntamiento de Vitoria-Gasteizko Udala, 2008.

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2

1948-, Bachmann Donna G., ed. Women artists: An historical, contemporary, and feminist bibliography. 2nd ed. Metuchen, N.J: Scarecrow Press, 1994.

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3

Schröder, Barbara, Karen J. Kelly, and Ulrike Müller. Herstory inventory: 100 feminist drawings by 100 artists. Brooklyn, NY: Dancing Foxes Press, 2014.

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4

Beyond the flower: The autobiography of a feminist artist. New York, N.Y., U.S.A: Viking, 1996.

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5

Beyond the flower: The autobiography of a feminist artist. New York, N.Y., U.S.A: Penguin Books, 1997.

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6

Trigueros, Ma Teresa Alario. Arte y feminismo. Donostia-San Sebastián: Nerea, 2008.

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7

Trigueros, Ma Teresa Alario. Arte y feminismo. Donostia-San Sebastián: Nerea, 2008.

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8

Arte y feminismo. Donostia-San Sebastián: Nerea, 2008.

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9

Topliss, Helen. Modernism and feminism: Australian women artists, 1900-1940. Roseville East, NSW: Craftsman House, 1996.

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10

The pink glass swan: Selected essays on feminist art. New York: New Press, 1995.

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11

Barbara Leigh Smith Bodichon, 1827-1891: Feminist, artist and rebel. London: Chatto & Windus, 1998.

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12

Imagination without borders: Feminist artist Tomiyama Taeko and social responsibility. Ann Arbor: Center for Japanese Studies, the University of Michigan, 2010.

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13

Women artists and the surrealist movement. London: Thames and Hudson, 2002.

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14

Chadwick, Whitney. Women artists and the surrealist movement. London: Thames & Hudson, 1985.

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15

Women artists and the surrealist movement. Boston, Mass: Little, Brown, 1985.

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16

Everly, Kathryn A. Catalan women writers and artists: Revisionist views from a feminist space. Lewisburg, PA: Bucknell University Press, 2002.

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17

Cutting performances: Collage events, feminist artists, and the American avant-garde. Ann Arbor: University of Michigan Press, 2009.

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18

Catalan women writers and artists: Revisionist views from a feminist space. Lewisburg, [Pa.]: Bucknell University Press, 2003.

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19

Lusty, Natalya. Surrealism, feminism, psychoanalysis. Burlington, VT: Ashgate, 2007.

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20

Kirker, Anne. New Zealand women artists. Auckland: Reed Methuen, 1986.

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21

Farrukh, Niilofur. Pioneering perspectives: Meher Afroz, printmaker, Nahid, feminist painter, Sheherzade, potter. Rawalpindi: Ferozsons, 1998.

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22

Frueh, Joanna, Cassandra L. Langer, and Arlene Raven. Feminist art criticism: An anthology. Ann Arbor, Mich: UMI Research Press, 1988.

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23

Dialogues: Women artists from Ireland. London: I.B. Tauris, 2005.

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24

Burnett, Patricia Hill. True colors: An artist's journey from beauty queen to feminist. Troy, Mich: Momentum Books, 1995.

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25

Beckett, Wendy. Contemporary women artists. New York: Universe Books, 1988.

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26

Fields, Jill. Entering the picture: Judy Chicago, the Fresno Feminist Art Program, and the collective visions of women artists. New York: Routledge, 2011.

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27

Pankhurst, E. Sylvia. The home front: A mirror to life in England during the First World War. London: Cresset Library, 1987.

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28

Jewish identities in American feminist art. Milton Park, Abingdon, Oxon [England]: Routledge, 2006.

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29

Khal, Helen. The woman artist in Lebanon. Beirut, Lebanon: The Institute, 1988.

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30

Arte feminista en los ochenta en México: Una perspectiva de género. México, D.F: Casa Juan Pablos, 2008.

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31

Sánchez, Araceli Barbosa. Arte feminista en los ochenta en México: Una perspectiva de género. México, D.F: Casa Juan Pablos, 2008.

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32

Genealogías feministas en el arte español, 1960-2010. Madrid: This Side Up, 2013.

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33

Langer, Cassandra L. Feminist art criticism: An annotated bibliography. New York, NY: G.K. Hall, 1993.

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34

Mujeres de ojos rojos: Del arte feminista al arte femenino. Gijón, Asturias: Ediciones Trea, 2010.

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35

Levin, Gail. Becoming Judy Chicago: A biography of the artist. New York: Harmony Books, 2007.

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36

Becoming Judy Chicago: A biography of the artist. New York: Harmony Books, 2007.

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37

Elliott, Bridget Jane. Dangerous goods: Feminist visual art practices. Edmonton: Edmonton Art Gallery, 1990.

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38

Feminist art and the maternal. Minneapolis: University of Minnesota Press, 2009.

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39

Women as artists in contemporary Zimbabwe. Eckersdorf, Germany: Pia Thielmann & Eckhard Breitinger, 2007.

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40

Kokoli, Alexandra-Marianthi. Undoing "homeliness" in feminist art: Feministo : portrait of the artist as a housewife (1975-7). 2004.

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41

Máximo, Matías, ed. Que el mundo tiemble. Editorial de la Universidad Nacional de La Plata (EDULP), 2016. http://dx.doi.org/10.35537/10915/57876.

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Effy Beth se apoyó en el arte performático para construir su afirmación identitaria transexual. Estudió cine, artes, guión, escribió, pintó y realizó intervenciones públicas disruptivas frente al binomio heterosexual, donde la fórmula obra/espectador se disputaba y la comodidad no era lo corriente. Pasó su infancia en Israel y vivió hasta su muerte, a los 25 años, en Buenos Aires, lugar en el que se centraron sus performances y reclamos, que fueron compartidos en varias partes del mundo. “Artista conceptual, performática y feminista queer”, se dijo Effy. A lo largo de sus producciones se puede ver una y otra vez el paso al acto, casi sin filtro, de una obra chocante, donde la literalidad de los sentidos es excusa para dar respuestas muchas veces incómodas. Entonces, la vemos en una habitación llena de globos para decir que se siente asfixiada, mezclando su menstruación de mujer trans con cera y depilándose, cortándose los brazos, raspándose la panza, corriendo desnuda por la universidad, ofreciendo sexo oral y dando en cambio historias de mujeres ultrajadas. Este libro reúne obras y fotos de su archivo, además de textos y fotografías de personas que la acompañaron en su intenso camino de producción.

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42

Devereaux, Mary. Feminist Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0038.

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This article provides a critical survey of English-language feminist work in aesthetics since the early 1970s. The aim is to focus on those areas of feminist inquiry that have most significantly affected philosophical aesthetics in the analytic tradition. Feminist aesthetics starts from the assumption that the historical domain of art and the aesthetic is itself patriarchal. At one level, it simply extends the analysis of patriarchy to the practices of art institutions, in particular to the treatment of women in and by these institutions (e.g. demotions in the status of female-authored artworks previously believed to be the work of male artists).

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43

O'Connor, Elizabeth Foley. Pamela Colman Smith: Artist, Feminist, and Mystic. Clemson University Press, 2020.

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44

Women artists and modernism. Manchester: Manchester University Press, 1998.

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45

Faxneld, Per. Witches as Rebels against Patriarchy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664473.003.0006.

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Chapter 6 provides a reading of how the subversive potential of the figure of the witch was utilized to attack the oppression of women. It commences with a discussion of Jules Michelet’s La Sorcière (1862), then considers how medical discourse on historical witches as hysterics was conflated with slander of feminists as hysterical and caricatures of them as witches. After that follows a treatment of American feminist Matilda Joslyn Gage, who presented the early modern witch cult as a Satanic rebellion against patriarchal injustice, and folklorist Charles Leland, who drew approbatory parallels between witches and the feminism of his day. The chapter demonstrates how Gage borrowed from both Michelet and Blavatsky in her texts. Finally, visual representations of the witch are discussed, focusing on how she was a symbol of female strength in both positive and negative ways in the sculptures and paintings of male as well as female artists.

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46

Feminist aesthetics. Boston: Beacon Press, 1986.

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47

Erreakzioa-Reaccion, ed. Sólo para tus ojos: El factor feminista en relación a las artes visuales = Zure begietarako bakarrik : feminismo faktorea arte bisualak direla eta = For your eyes only : the feminist factor in relation with the visual arts. Donostia: Arteleku Kristobaldegi, 1997.

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48

Barbara Leigh Smith Bodichon: Feminist, Artist and Rebel. Pimlico, 1999.

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49

Del Socorro Castañeda-Liles, María. Why Do They Paint Her This Way? She Is Our Mother. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190280390.003.0009.

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Chicana feminist interpretations of Our Lady of Guadalupe tend to depart from traditional representations and have caused controversy. This chapter examines the responses of three different groups of women of different ages and backgrounds to some of these feminist artistic representations of Our Lady of Guadalupe in order to explore how the women articulate feminism and how their own definitions relate to their understanding of this sacred figure. The chapter analyzes how Las Damas, Las Madres, and Las Mujeres’ understanding of La Virgen informs their responses, revealing much about their understanding of feminism and the workings of lived religion in their Mexican Catholic imagination.

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50

Reynolds, Lucy, ed. Women Artists, Feminism and the Moving Image. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781350124295.

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