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Artículos de revistas sobre el tema "Feminism and art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 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”

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2

Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 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 pa

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3

Deepwell, Katy. "The Politics and Aesthetic Choices of Feminist Art Criticism." Arts 12, no. 2 (March 23, 2023): 63. http://dx.doi.org/10.3390/arts12020063.

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This article explores feminist art criticism from the point of view of aesthetics/politics in global contemporary art. It is based on the author’s experience as an art critic and founding editor of n.paradoxa: international feminist art journal (1998–2017). Reading articles published in the previous two decades both for the journal and outside it, it became possible to identify how subjects produce specific objects in art criticism that demonstrate different locations and standpoints in thought and how these align with criticism from broader feminist political theories. This is an exploration

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4

Cui, Shuqin. "Female and feminism." MODOS: Revista de História da Arte 7, no. 2 (June 4, 2023): 301–34. http://dx.doi.org/10.20396/modos.v7i2.8672939.

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The question of “why there have been no great women artists,” initiated by Linda Nochlin in 1971, elicits different responses from art domains in China. In addition, the notions of feminism or feminist art criticism, translated from English and practiced by Chinese artists, create distinct connotations reflective of different gender conditions. Zhu and Xiao, in their Feminisms with Chinese Characteristics, claim that “Chinese feminisms must remain plural because those concepts represent the changing practical consciousness in response to historical and social developments” (Zhu and Xiao, 2021:

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5

Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 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

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6

Kwak, Su-Joung, and Eun-Mi Choi. "A Study on Nail Art Design, Reflecting Symbolic Feminine Elements Expressed in the Film ‘Agassi (The Handmaiden)’." Korean Society of Beauty and Art 23, no. 2 (June 20, 2022): 239–50. http://dx.doi.org/10.18693/jksba.2022.23.2.239.

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In a modern Korean society, feminism which pursues gender equality and targets to secure social equality has emerged as a hot topic across all sectors such as economy, politics, society, art and culture. As a dominant form of popular art & culture, film has a significant influence on people. In terms of the history of movie, descriptions on women have become more elaborate. In modern films, especially, perspectives on women have evolved from sexual consciousness to feminine growth. In feminist films, it not desirable to create a myth which emphasizes women’s tough aspects only or just focu

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7

Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 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 statement

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8

Nwafor, Nkiruka Jane. "Engaging women’s social concerns through the twenty-first century feminist art projects of three Nigerian women artists." UJAH: Unizik Journal of Arts and Humanities 23, no. 1 (August 31, 2022): 134–60. http://dx.doi.org/10.4314/ujah.v23i1.5.

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In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their

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9

Das, Devaleena. "What Transnational Feminism Has Not Disrupted Yet." Meridians 22, no. 2 (October 1, 2023): 240–66. http://dx.doi.org/10.1215/15366936-10637591.

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Abstract Examining the critical genealogy of transnational feminism, this essay proposes a feminist theoretical model called quilted epistemology derived from the Black feminist art of quilting. Aiming to strengthen transnational feminism, quilted epistemology intends to resolve some of the existing limitations of transnational feminism and embrace multiple and incompatible feminist knowledge positions from the Global South to the Global North.

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10

Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 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 b

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11

Ballard, Susan, and Agnieszka Golda. "Feminism And Art." Australian Feminist Studies 30, no. 84 (April 3, 2015): 199–210. http://dx.doi.org/10.1080/08164649.2015.1046713.

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12

Kamran, Sadia Pasha. "WOMEN, ART & POLITICS IN PAKISTAN: RETHINKING FEMINISM THROUGH FEMINIST ART." PEOPLE: International Journal of Social Sciences 5, no. 2 (September 26, 2019): 712–19. http://dx.doi.org/10.20319/pijss.2019.52.712719.

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13

Yu, Jingyi, Yuanhang Zhang, Yaling Zhao, and Jiaying Zeng. "A probe into the Visual elements in female illustrations from the Perspective of Feminism." Highlights in Art and Design 2, no. 2 (April 3, 2023): 83–88. http://dx.doi.org/10.54097/hiaad.v2i2.7031.

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With the rise of the feminist movement in the 1970s, the concept of feminism gradually entered the public's field of vision. Its theory revolves around with the development of society, the wave of feminism continues to deepen and affect all aspects of human life. The improvement of productivity and the change of production relations urge women to re-recognize themselves, and the improvement of productivity and the change of production relations urge women to re-recognize themselves, and women's self-worth and social status are more and more affirmed. The female image, as one of the common subj

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14

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 (November 10, 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 a

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15

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 (January 12, 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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16

Ghodsee, Kristen, Hülya Adak, Elsa Stéphan, Chiara Bonfiglioli, Ivan Stankov, Rumiana Stoilova, Rochelle Goldberg Ruthchild, et al. "Book Reviews." Aspasia 15, no. 1 (August 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

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17

Erofeeva, E. V., and I. A. Obukhova. "Constructing the Image of Feminism in Russian Media: A Corpus Study." SibScript 25, no. 1 (March 14, 2023): 35–46. http://dx.doi.org/10.21603/sibscript-2023-25-1-35-46.

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As any social movement, feminism finds its reflection in the media. Media are a full-fledged institution capable of shaping public consciousness, targeting particular social groups, setting standards of mass behavior, and determining the main directions of social development. This research featured Russian news about feminism in terms of event structure. It covered news headlines published in Russian media in 2014-2021 and retrieved via the Smi2.ru media aggregator. Feminism-related headlines were automatically extracted from a dataset of 8,954 headlines. The subcorpus was analyzed in the Semo

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18

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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19

Beckmann, Sarah. "Fiber, Art, and Feminism." Hopkins Review 17, no. 1 (January 2024): 137–49. http://dx.doi.org/10.1353/thr.2024.a918458.

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20

Jakubowska, Agata. "Feminist art and art history in state socialist Poland, as seen through all-women exhibitions." MODOS: Revista de História da Arte 7, no. 2 (May 30, 2023): 94–119. http://dx.doi.org/10.20396/modos.v7i2.8672671.

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This essay discusses the relationship between feminism and the art world in state socialist Poland. Contrary to the narrations that are centred around the second-wave feminism developed in the West, this essay concentrates on the significance of the socialist project of the emancipation of women. Its meaning is demonstrated through the study of all-women exhibitions, more precisely of three shows that were organised at those moments when women’s issues were intensively discussed in Poland: Women Fighting for Peace (Cracow, 1952), Women’s Art Festival (Poznań, 1980), and Polish Women Artists (W

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21

Motta, Aline. "Water Is a Time Machine." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 140–44. http://dx.doi.org/10.1525/lavc.2023.5.2.140.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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22

Fajardo-Hill, Cecilia. "Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 81–91. http://dx.doi.org/10.1525/lavc.2023.5.2.81.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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23

Rjeille, Isabella. "Feminist Histories." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 92–107. http://dx.doi.org/10.1525/lavc.2023.5.2.92.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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24

Fernández, María. "Radical Women and Digital Bodies." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 108–16. http://dx.doi.org/10.1525/lavc.2023.5.2.108.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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25

Antivilo, Julia. "Laboratorio curatorial feminista." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 117–29. http://dx.doi.org/10.1525/lavc.2023.5.2.117.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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26

Kalyva, Eve, and Elize Mazadiego. "Introduction to the Dialogues on the Future of Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 72–80. http://dx.doi.org/10.1525/lavc.2023.5.2.72.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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27

Lamoni, Giulia. "Learning from the (Imagined) Archive." Latin American and Latinx Visual Culture 5, no. 2 (April 1, 2023): 130–39. http://dx.doi.org/10.1525/lavc.2023.5.2.130.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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28

Prakarsh Kulahari and Dr. Sanju Choudhary. "UNVEILING CYBER FEMINISM: ADDRESSING GENDER BIAS AND ONLINE HARASSMENT IN THE TECH ERA OF ARTIFICIAL INTELLIGENCE." International Journal of Linguistics Applied Psychology and Technology (IJLAPT) 2, no. 1 (January 10, 2024): 1–12. http://dx.doi.org/10.69889/ijlapt.v2i1.39.

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Cyber-feminism is a branch of feminism and a feminist movement that focuses, investigate and address the intersection of gender, technology, and digital culture. It seeks to promote a more inclusive and equitable online world by challenging patriarchal structures and biases that exist in technology and digital media. Cyber-feminism encompasses a range of activities and practices, including advocating for gender diversity in the tech industry, addressing online harassment and abuse, promoting feminist digital art and culture, and empowering women to take an active role in shaping digital spaces

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29

Xie, Wenqian. "On Chinese feminist art from the perspective of globalization." BCP Education & Psychology 6 (August 25, 2022): 152–63. http://dx.doi.org/10.54691/bcpep.v6i.1784.

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In comparison with the expression of feminist art during the second wave of the feminism movement in the United States, Chinese feminist art embodies similar development paths but with different pursuits. Immigrant countries determine that feminist art in the United States has different aims on account of artists of different races and nationalities, such as black women discussing racial discrimination and immigration; European immigrants criticize patriarchy from the perspective of Western art history; and LGBT people are oppressed by society. However, Chinese feminist art also has its own un

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30

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

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31

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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32

Bryzgel, Amy. "Art and Feminism Unifying Yugoslavia." Art Journal 81, no. 4 (October 2, 2022): 150–52. http://dx.doi.org/10.1080/00043249.2022.2133313.

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33

Erofeeva, Elena, and Irina Obukhova. "Image of feminism in Russian media." SHS Web of Conferences 164 (2023): 00055. http://dx.doi.org/10.1051/shsconf/202316400055.

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The purpose of the paper is to analyze Russian news content about feminism from the point of view of the event structure that is presented in the news. The research material is a corpus of headlines of Russian media publications demonstrated in the media news aggregator smi2.ru from 2014 to 2021. News headlines related to feminism (8,954) are automatically extracted from the entire array of texts to study the representation of feminism in the news agenda. The resulting subcorpus is analyzed in the IS Semograph, which allows carrying out a multilevel classification of content and automatically

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34

Lin, Xuannan. "Feminine Body Writing in Untitled Film Stills." Lecture Notes in Education Psychology and Public Media 3, no. 1 (March 1, 2023): 516–22. http://dx.doi.org/10.54254/2753-7048/3/2022576.

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With the rise of postmodernism in the Western world, the development of feminism has gradually revealed the characteristics of postmodernism. Among them, feminine body writing is a good example. However, the academia does not pay much attention to body writing in photography art, which gives some research space for this paper. Therefore, this paper studies Cindy Shermans Untitled Film Stills and uses the theory of feminine body writing which is proposed by Hlne Cixous in The Laugh of the Medusa to explore what Sherman wants to suggest about feminism in Untitled Film Stills. The study has shown

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35

Nwanna, Clifford. "Dialectics of African Feminism A Study of the Women's Group in Awka (the Land of Blacksmiths)." Matatu 40, no. 1 (December 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

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36

Hurst, Cameron. "Doing Feminism: Women’s Art and Feminist Criticism in Australia." Australian and New Zealand Journal of Art 22, no. 2 (July 3, 2022): 218–23. http://dx.doi.org/10.1080/14434318.2022.2143761.

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37

Rahayu, Sukesi, Katrhryn Emerson, and Phakkharawat Sittiprapaporn. "Feminism in song of jineman kenya ndesa laras slendro pathet sanga." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 154–58. http://dx.doi.org/10.33153/glr.v19i2.3558.

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AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting source

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38

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 (March 31, 2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.007.

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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 (March 31, 2018): 85–93. http://dx.doi.org/10.31694/pm.2018.03.26.1.85.

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

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

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42

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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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 (October 2003): 214–35. http://dx.doi.org/10.2979/hyp.2003.18.4.214.

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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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Sekartaji Suminto, RA. "Art, Ideality, and Reality: A Feminist Review through Griselda Pollock's Lens." IJVCDC (Indonesian Journal of Visual Culture, Design, and Cinema) 2, no. 2 (October 31, 2023): 161–71. http://dx.doi.org/10.21512/ijvcdc.v2i2.10751.

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This article explores the intricate connection between art, ideality, and reality from a feminist perspective, focusing on the influential insights of Griselda Pollock, a renowned art historian, and feminist scholar. By critically analyzing Pollock's work, this study uncovers the complexities of feminism within the art realm and its intersections with idealized notions and tangible realities. The article begins by contextualizing Pollock's contributions to feminist art theory and her approach to understanding artistic practices. It highlights how Pollock challenges patriarchal frameworks and a

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Đurić, Dubravka. "Gender Critique of The Scientific and Medical Construction of the Female Body in Women’s Artworks." AM Journal of Art and Media Studies, no. 32 (October 15, 2023): 29–40. http://dx.doi.org/10.25038/am.v0i28.579.

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In this paper I will develop a gender critique of scientific and medical idealizations of the human body and its health, which was performed out of gender and feminist studies, pointing also to women’s art. In the discourses of medicine, healthy and beautiful human – and especially the female human – body is revealed as an ideological construction, an affective agent and a biopolitical ideal that controls and regulates gender differences. My intention is to demonstrate that the discourses of medicine, feminism, and art are in a dialogue historically in relation to these topics. Following Tasha

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Fisher, Anna Watkins. "Like a Girl's Name." TDR/The Drama Review 56, no. 1 (March 2012): 48–76. http://dx.doi.org/10.1162/dram_a_00143.

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What if the future of feminist art lay not in images of self-mastery, dignity, and maturity but rather in performances of teen regression? Adolescent drag designates a performance of irony, awkwardness, and equivocality that expands the identificatory repertoire available to a generation of women who are said to have inherited from Western feminism.

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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 (January 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

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Zhang, Bingqin, and Miao Long. "The expression of feminism in photography after the 1970s." Frontiers in Humanities and Social Sciences 4, no. 5 (May 27, 2024): 22–29. http://dx.doi.org/10.54691/na7mbh52.

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This article examines the impact of second and third wave feminism on photography, highlighting the shift towards a mature and open expression within the medium facilitated by the integration of feminist perspectives. The analysis focuses on key photographic projects from the 1970s to the 2010s by Duane Michals, Laurie Simmons, Shirin Neshat, Carrie Mae Weems, and John Dugdale. These projects are explored in the context of their response to feminist ideologies and their reflection of social issues. The article traces the evolution from the second wave’s critique of systemic gender biases to th

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Cvetkovich, Ann. "Artists in the Archives." GLQ: A Journal of Lesbian and Gay Studies 29, no. 2 (April 1, 2023): 183–214. http://dx.doi.org/10.1215/10642684-10308493.

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Ulrike Müller's Herstory Inventory (HI) is a collection of over one hundred works on paper by “feminist” artists who were given “drawing assignments” that began with textual prompts taken from an archival list of T-shirts that Müller discovered in the collections of the Lesbian Herstory Archives (LHA). HI has also had multiple incarnations as a staged reading/live performance, audio installation, collective art project, art exhibition, and book, and its relay across media participates in a fascination with the archive that has pervaded LGBTQ culture, resulting in a proliferation of new archive

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