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Journal articles on the topic 'Feminism and art Art'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

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2

Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

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3

Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 192–239. http://dx.doi.org/10.5604/01.3001.0012.9836.

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Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.

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4

Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

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5

Ballard, Susan, and Agnieszka Golda. "Feminism And Art." Australian Feminist Studies 30, no. 84 (2015): 199–210. http://dx.doi.org/10.1080/08164649.2015.1046713.

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6

Trevisan, Gabriela Simonetti. "A mulher e a arte: a criação feminina nas palavras de Júlia Lopes de Almeida." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (2020): 189–215. http://dx.doi.org/10.22456/2596-0911.103861.

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Este artigo tem como foco uma análise do texto “A mulher e a arte” (sem data), da escritora carioca Júlia Lopes de Almeida (1862-1934). Este escrito, recém-publicado na íntegra pela primeira vez, em revista acadêmica, constitui uma conferência da autora na qual ela expõe suas opiniões sobre o tema da arte de autoria feminina, tecendo uma série de críticas de cunho feminista à desigualdade entre os gêneros no espaço da criação artística. Em seu texto, a literata cita diversos nomes de artistas e intelectuais mulheres, de modo a sustentar seu argumento em defesa da potência criativa feminina e assinalar a importância da transformação da cultura patriarcal. Assim, a partir do olhar historiográfico e embasados pela epistemologia feminista, buscamos ressaltar a conferência como fundamental para o estudo da escrita de autoria feminina e feminista no Brasil entre os séculos XIX e XX.Palavras-chave: Júlia Lopes de Almeida. Literatura. Feminismo. AbstractThis article focuses on an analysis of the text “The woman and the art” (undated), by the writer Júlia Lopes de Almeida (1862-1934), from Rio de Janeiro. This writing, recently published in full for the first time, constitutes a conference in which the author exposes her opinions on the theme of art of female authorship, weaving a series of feminist criticisms of the inequality between genders in the space of artistic creation. In her text, Júlia lists several names of artists and women intellectuals, in order to support her argument in defense of the feminine creative power and point out the importance of the transformation of patriarchal culture. Thus, from the historiographic perspective and based on feminist epistemology, we seek to emphasize the conference as fundamental for the study of female and feminist writing feminists in Brazil between the 19th and 20th centuries.Keywords: Júlia Lopes de Almeida. Literature. Feminism.

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7

Kamran, Sadia Pasha. "WOMEN, ART & POLITICS IN PAKISTAN: RETHINKING FEMINISM THROUGH FEMINIST ART." PEOPLE: International Journal of Social Sciences 5, no. 2 (2019): 712–19. http://dx.doi.org/10.20319/pijss.2019.52.712719.

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8

Sheppard, Alice. "Suffrage Art and Feminism." Hypatia 5, no. 2 (1990): 122–36. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00421.x.

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Suffrage graphics constitute one of the first collective, ideological, artistic expressions by American women. Premised on the popular view of woman's nature as virtuous, responsible, and nurturant, this art nonetheless challenged traditional practices and demanded political change. Interrelationships between feminism, art, and the historical context are explored in this analysis of women's imagery.

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9

Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 194–241. http://dx.doi.org/10.5604/01.3001.0012.9855.

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The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.

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10

Dr.Khalid bin Abdul-Aziz al-Saif, Dr Khalid bin Abdul-Aziz al-Saif. "The Philosophical Foundations of Feminism (Presentation & Criticism) And the Impact of that on Islamic Feminism." journal of king abdulaziz university arts and humanities 26, no. 2 (2018): 45–72. http://dx.doi.org/10.4197/art.26-2.3.

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Feminist movements are one of the most controversial movements, and these movements would not have been around had it not been for philosophical support. In general, their philosophy is based on postmodern philosophies, which are considered general knowledge of the overall pan of what is raised in feminist criticism. The importance of knowing these Western philosophical foundations of feminism comes to light when unveiling them from the joints of Arab feminist thought where it becomes clear to the critic that Arab feminist thought is only an echo of Western feminist thought.

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11

Garber, Elizabeth. "Feminism, Aesthetics, and Art Education." Studies in Art Education 33, no. 4 (1992): 210. http://dx.doi.org/10.2307/1320667.

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12

Forte, Jeanie. "Women's Performance Art: Feminism and Postmodernism." Theatre Journal 40, no. 2 (1988): 217. http://dx.doi.org/10.2307/3207658.

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13

Ha, Hye-Seok, and A.-Ram Han. "Feminism in the Art of Dance." Journal of the Korean Society for the Philosophy of Sport, Dance, & Martial Arts’ 26, no. 1 (2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.007.

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14

Ha, Hye-Seok, and A.-Ram Han. "Feminism in the Art of Dance." Journal of the Korean Society for the Philosophy of Sport, Dance, & Martial Arts’ 26, no. 1 (2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.85.

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15

Forte, Jeanie. "Rachel Rosenthal: Feminism and performance art." Women & Performance: a journal of feminist theory 2, no. 2 (1985): 27–37. http://dx.doi.org/10.1080/07407708508571083.

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16

Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art." Hypatia: A Journal of Feminist Philosophy 21, no. 3 (2006): 166–89. http://dx.doi.org/10.2979/hyp.2006.21.3.166.

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17

Brand, Peggy Zeglin. "Feminist Art Epistemologies: Understanding Feminist Art." Hypatia 21, no. 3 (2006): 166–89. http://dx.doi.org/10.1353/hyp.2006.0021.

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18

Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art." Hypatia 21, no. 3 (2006): 166–89. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01119.x.

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Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art.

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19

Johnson, Beth. "Art Cinema and The Arbor: Tape-recorded Testimony, Film Art and Feminism." Journal of British Cinema and Television 13, no. 2 (2016): 278–91. http://dx.doi.org/10.3366/jbctv.2016.0313.

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In this article I discuss the award-winning work of artist and film-maker Clio Barnard, specifically focusing on her 2010 docu-fiction film The Arbor. Analysing the verbatim techniques so central to the film (techniques that originated in theatre), this article suggests that Barnard's visual arts background inspired and informed her textual mixing of verbatim, lip-sync, re-enactment and digital imaging, the result of which is a radical and feminist art-film. Focusing on the site-specific location of The Arbor as well as the significance of emotional, textual and temporal layering, this article also suggests that while Barnard's work seeks, on the surface, to question the relationship between representation and the real in the genre of documentary, The Arbor also provokes and invites a radical reimagining of the hitherto male-dominated legacy of British art cinema by bringing the voices and visions of women, past and present, into the contemporary frame.

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20

Korsmeyer, Carolyn, Norma Broude, and Mary D. Garrard. "The Expanding Discourse: Feminism and Art History." Journal of Aesthetics and Art Criticism 51, no. 4 (1993): 628. http://dx.doi.org/10.2307/431898.

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21

Board, Marilynn Lincoln, and Hilary Robinson. "Feminism-Art-Theory, an Anthology 1968-2000." Woman's Art Journal 26, no. 1 (2005): 61. http://dx.doi.org/10.2307/3566544.

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22

Grad, Bonnie. "Framing feminism: Art and the women's movement." Women's Studies International Forum 11, no. 4 (1988): 422–23. http://dx.doi.org/10.1016/0277-5395(88)90103-3.

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23

Aleci, Linda S., Norma Broude, and Mary D. Garrard. "The Expanding Discourse: Feminism and Art History." Woman's Art Journal 16, no. 1 (1995): 47. http://dx.doi.org/10.2307/1358630.

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24

Heath, Joanne. "Negotiating the Maternal: Motherhood, Feminism, and Art." Art Journal 72, no. 4 (2013): 84–86. http://dx.doi.org/10.1080/00043249.2013.10792867.

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25

Evans, Siân. "Art + Feminism: an interview with Siân Evans." Art Libraries Journal 44, no. 2 (2019): 72–77. http://dx.doi.org/10.1017/alj.2019.7.

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How to answer this question? I guess I began my career as a librarian at a party. Newly possessing what I already knew was a useless (in capitalist terms, at least) MA in Art History, I had moved to New York City to be closer to my family, and to stay up all night at MisShapes parties and eat pizza at dawn. I was working in marketing for Forbes Magazine, as you do when you're 24 and need to pay the bills and have no idea what you want to do with your life. It wasn't long after the financial collapse of 2008, when job prospects were very low, that a friend of a friend who had just finished library school at Pratt handed me a drink at a party and said, ‘you like writing and researching, if you don't want to be a teacher, why don't you become a librarian?’

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26

Millner, Jacqueline, Catriona Moore, and Georgina Cole. "Art and Feminism: Twenty-First Century Perspectives." Australian and New Zealand Journal of Art 15, no. 2 (2015): 143–49. http://dx.doi.org/10.1080/14434318.2015.1089816.

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27

Nwanna, Clifford. "Dialectics of African Feminism A Study of the Women's Group in Awka (the Land of Blacksmiths)." Matatu 40, no. 1 (2012): 275–83. http://dx.doi.org/10.1163/18757421-040001019.

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There appears to be a lack of interest from researchers on African art, on feminist related issues. Their researches are devoted to other aspects of African art. This situation has created a gap in both African art and African gender studies. The present essay interrogates the socio-economic and political position of women in Africa from a feminist theoretical viewpoint. Here, the formation and the activities of the women group in Awka was used as a case study, to foreground the fact that feminism is not alien to Africa; rather it has existed in Africa since the ancient times. The women group stands out as true African patriots and protagonists of the African feminist struggle.

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28

Morgan, Ann Lee, Norma Broude, Mary D. Garrard, and Sylvia Moore. "Feminist Art." Art Journal 54, no. 3 (1995): 102. http://dx.doi.org/10.2307/777610.

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29

Ghodsee, Kristen, Hülya Adak, Elsa Stéphan, et al. "Book Reviews." Aspasia 15, no. 1 (2021): 165–207. http://dx.doi.org/10.3167/asp.2021.150111.

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Anna Artwinska and Agnieszka Mrozik, eds., Gender, Generations, and Communism in Central and Eastern Europe and Beyond, New York: Routledge, 2020, 352 pp., £120.00 (hardback), ISBN: 978-0-36742-323-0.Clio: Femmes, Genre, Histoire, 48, no. 2 (2018)Lisa Greenwald, Daughters of 1968: Redefining French Feminism and the Women’s Liberation MovementGal Kirn, The Partisan Counter-Archive: Retracing the Ruptures of Art and Memory in the Yugoslav People’s Liberation StruggleMilena Kirova, Performing Masculinity in the Hebrew BibleAndrea Krizsan and Conny Roggeband, eds., Gendering Democratic Backsliding in Central and Eastern Europe: A Comparative AgendaLudmila Miklashevskaya, Gender and Survival in Soviet Russia: A Life in the Shadow of Stalin’s TerrorBarbara Molony and Jennifer Nelson, eds., Women’s Activism and “Second Wave” Feminism: Transnational HistoriesN. K. Petrova, Zhenskie sud’by voiny (Women’s war fates)Feryal Saygılıgil and Nacide Berber, eds. Feminizm: Modern Türkiye’de Siyasi Düşünce, Cilt 10 (Feminism: Thought in modern Turkey, vol. 10)Marsha Siefert, ed., Labor in State-Socialist Europe, 1945–1989: Contributions to a History of WorkZilka Šiljak Spahić, Sociologija roda: Feministička kritika (Sociology of gender: Feminist critique)Věra Sokolová and Ľubica Kobová, eds., Odvaha nesouhlasit: Feministické myšlení Hany Havelkové a jeho reflexe (The courage to disagree: Hana Havelková’s feminist thought and its reflections)Katarzyna Stańczak-Wiślicz, Piotr Perkowski, Małgorzata Fidelis, Barbara Klich-Kluczewska, Kobiety w Polsce, 1945–1989: Nowoczesność – równouprawnienie – komunizmp (Women in Poland, 1945–1989: Modernity, equality, communism)Vassiliki Theodorou and Despina Karakatsani, Strengthening Young Bodies, Building the Nation: A Social History of Children’s Health and Welfare in Greece (1890–1940) Maria Todorova, The Lost World of Socialists at Europe’s Margins: Imagining Utopia, 1870s–1920s Jessica Zychowicz, Superfluous Women: Art, Feminism and Revolution in Twenty-First-Century Ukraine

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30

LaDuke, Betty. "Inji Efflatoun Art, Feminism, and Politics in Egypt." Art Education 45, no. 2 (1992): 33. http://dx.doi.org/10.2307/3193323.

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31

Cheng, Meiling. "Elia Arce's performance art: Transculturation, feminism, politicized individualism." Text and Performance Quarterly 20, no. 2 (2000): 150–81. http://dx.doi.org/10.1080/10462930009366292.

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32

Robinson, Hilary. "Women, feminism, and art schools: The UK experience." Women's Studies International Forum 85 (March 2021): 102447. http://dx.doi.org/10.1016/j.wsif.2021.102447.

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33

Musgrave, L. Ryan. "Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics." Hypatia: A Journal of Feminist Philosophy 18, no. 4 (2003): 214–35. http://dx.doi.org/10.2979/hyp.2003.18.4.214.

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34

Musgrave, L. Ryan. "Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics." Hypatia 18, no. 4 (2003): 214–35. http://dx.doi.org/10.1353/hyp.2003.0087.

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35

Musgrave, L. Ryan. "Liberal Feminism, from Law to Art: The Impact of Feminist Jurisprudence on Feminist Aesthetics." Hypatia 18, no. 4 (2003): 214–35. http://dx.doi.org/10.1111/j.1527-2001.2003.tb01419.x.

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This essay explores how early approaches in feminist aesthetics drew on concepts honed in the field of feminist legal theory, especially conceptions of oppression and equality. I argue that by importing these feminist legal concepts, many early feminist accounts of how art is political depended largely on a distinctly liberal version of politics. I offer a critique of liberal feminist aesthetics, indicating ways recent work in the field also turns toward critical feminist aesthetics as an alternative.

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36

Li, Yong Ri. "“Loose” Feminism: An Introductory Study of Feminist Art of Korean Minority in China." Journal of Basic Design & Art 22, no. 4 (2021): 273–86. http://dx.doi.org/10.47294/ksbda.22.4.20.

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37

Grant, C. "Fans of Feminism: Re-writing Histories of Second-wave Feminism in Contemporary Art." Oxford Art Journal 34, no. 2 (2011): 265–86. http://dx.doi.org/10.1093/oxartj/kcr021.

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38

ZALEWSKI, MARYSIA. "‘I don't even know what gender is’: a discussion of the connections between gender, gender mainstreaming and feminist theory." Review of International Studies 36, no. 1 (2010): 3–27. http://dx.doi.org/10.1017/s0260210509990489.

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AbstractIn this article I discuss some of the connections between gender, gender mainstreaming and feminist theory. As a global initiative, gender mainstreaming is now well established; but the role of feminism and feminists in achieving this success is questionable. Some, including Harvard Law Professor Janet Halley claim that feminists, particularly in the realm of governance feminism, have been extremely successful. Yet despite this success Halley invites us to ‘take a break from feminism’. I consider this political and intellectual invitation in this article in order to shed some light on the relationship between gender mainstreaming and feminism but also to probe what Robyn Wiegman refers to as a ‘critical incomprehension’ around feminism. My discussion includes a brief analysis of the imagery used in documentation relating to the United Kingdom's Gender Equality Duty Legislation; the latter a contemporary example of a legislative attempt to properly mainstream gender. In conclusion I return to the Halley's invitation to ‘take a break from feminism’ and introduce, by way of contrast, Angela McRobbie's recent discussion of post-feminism ultimately suggesting that we might see Halley's call, as well as the popularity (and ‘failures’) of gender mainstreaming as examples of post-feminist practice. Image 1.Pop-art images advertising the ‘Gender Agenda’ on the Internet {http://www.gender-agenda.co.uk/} which is part of the UK's legislation on gender equality produced by the UK's Equality and Human Rights Commission (formerly the Equal Opportunities Commission).If you look around the United States, Canada, the European Union, the human rights establishment, even the World Bank, you see plenty of places where feminism, far from operating underground, is running things.1Any force as powerful as feminism must find itself occasionally looking down at its own bloody hands.2

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39

Caldwell, Lesley, R. Parker, G. Pollock, and R. Betterton. "Framing Feminism: Art and the Women's Movement 1970-1985." Feminist Review, no. 32 (1989): 118. http://dx.doi.org/10.2307/1395367.

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40

Pollock, Griselda. "Feminism, art, the library and the politics of memory." Art Libraries Journal 37, no. 1 (2012): 5–12. http://dx.doi.org/10.1017/s0307472200017284.

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Questions posed in this short paper are based on thinking back over 30 years of feminist studies in the visual arts and museums. Does the library work for its culture, or sometimes against the grain of its own culture’s amnesia or even repressions? What are the politics of memory in relation to art library practices in terms of registering the critical reworking of knowledge that is associated with feminist critique of institutions, language, disciplines, practices, social relations? How are we to ensure libraries survive as keepers of cultural memory in the era of profitability? What will be lost under these economic pressures in terms of our ability in the future to understand our histories?

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Lee, Wendy Lynne, and Laura M. Dow. "Queering Ecological Feminism: Erotophobia, Commodification, Art, and Lesbian Identity." Ethics & the Environment 6, no. 2 (2001): 1–21. http://dx.doi.org/10.1353/een.2001.0015.

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Caldwell, Lesley. "Framing Feminism: Art and the Women's Movement 1970–1985." Feminist Review 32, no. 1 (1989): 118–21. http://dx.doi.org/10.1057/fr.1989.23.

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Spackman, Helen. "radical gestures: feminism and performance art in North America." Feminist Review 95, no. 1 (2010): e6-e8. http://dx.doi.org/10.1057/fr.2010.7.

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CLEGG, S. "Framing Feminism: Art and the Women's Movement 1970 1985." Journal of Design History 1, no. 2 (1988): 149. http://dx.doi.org/10.1093/jdh/1.2.149.

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Čakardić, Ankica. "Down the Neoliberal Path: The Rise of Free Choice Feminism." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 33. http://dx.doi.org/10.25038/am.v0i14.215.

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The free choice ideology dictates that any time a woman makes a choice it is an act of feminism. The idea that personal choice presupposes the faraway horizons of freedom and its guarantee, as well as the undoubted potentials of women’s empowerment, makes up the central position of the critique in this essay. Our text is divided into two parts. In the first part of the paper we are going to outline the basic assumptions of neoliberalism, in order to use them as foundations for the argument about its feminist affirmation. We will illustrate the relationship between neoliberalism and feminism by using the example of women's entrepreneurship, which is usually interpreted as a strategy of undeniable emancipation. In the second part of the essay, as a concrete response to ‘neoliberal feminism’, we are going to point to the progressive potential of social reproduction theory and socialist-feminist practice to be further developed out of it. Given the intention of this text is not to exhibit a detailed historical-comparative analysis of feminism, we are merely going to use concrete examples to illustrate the link between feminism and neoliberalism, and to map the shift from early second-wave feminism to identity politics and the cultural turn that swallows up the critique of political economy. Article received: June 2, 2017; Article accepted: June 16, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Čakardić, Ankica. "Down the Neoliberal Path: The Rise of Free Choice Feminism." AM Journal of Art and Media Studies 14 (2017): 33-44. doi: 10.25038/am.v0i14.215

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Hillary Chute. "Feminist Graphic Art." Feminist Studies 44, no. 1 (2018): 153. http://dx.doi.org/10.15767/feministstudies.44.1.0153.

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Frueh, Joanna, and Arlene Raven. "Feminist Art Criticism." Art Journal 50, no. 2 (1991): 6–10. http://dx.doi.org/10.1080/00043249.1991.10791436.

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Langer, Cassandra L. "Feminist Art Criticism." Art Journal 50, no. 2 (1991): 21–28. http://dx.doi.org/10.1080/00043249.1991.10791440.

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Hayes, Shannan L. "Wanting More." differences 31, no. 1 (2020): 64–97. http://dx.doi.org/10.1215/10407391-8218774.

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This essay interrogates the forms of feminist political desire and subject formation being reproduced under the heading of contemporary feminist art. The author considers two recent exhibitions, similarly organized around the theme of intersectionality, that took place over two consecutive summers in New York City: Simone Leigh’s The Waiting Room at the New Museum (2016), and the group exhibit We Wanted a Revolution at the Brooklyn Museum (2017). While both exhibitions promote the work of black women artists at the center of their institutional program-building initiatives, each exhibition forwards a notably distinct version of what counts as “revolutionary” feminist politics. Hayes argues ultimately for an interpretation of Leigh’s work as a prefigurative, utopian feminism that demands more—for example, than mere inclusion—from progressive institutions and feminist art.

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Andrews, Julia F. "Women Artists in Twentieth-Century China." positions: asia critique 28, no. 1 (2020): 19–64. http://dx.doi.org/10.1215/10679847-7913041.

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This article is a reflection on two intersecting themes, the rise of women as artists and as female subjects for art, in the context of the evolving status of women in twentieth-century China. Set in the context of the nascent modern education for women and the emergence of feminism, the two phenomena, like the art world itself, are primarily urban. After surveying the accelerating progress made between 1910 and 1940, it interrogates, in light of contemporary art world patterns and current definitions of feminism, the slowing and even regression in recognition of women as artists in subsequent years.

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