Feminist Art Research Papers

Monika Weiss employs her own body or choreographs other subjects, particularly women, to navigate the aftermath of violence and sites of trauma. The gendered body does not only become a vehicle of expression, but forms a key site from... more

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- by Katarzyna Falęcka
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- 3
  Performance Art, Video Art, Feminist Art

Once again, women are on the march. And since its inception in the 19th century, the women's movement has harnessed the power of images to transmit messages of social change and equality to the world. From highlighting the posters of the... more

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- by Hilary Robinson
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- 2
  Art History, Feminist Art

This BA thesis defines and differentiates the concepts “feminist artist” and “woman artist” and in this, offers a more comprehensive examination of Francesca Woodman and her oeuvre by resolving whether she was a feminist artist or an... more

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but... more

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.

The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.

Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.

http://www.bloomsbury.com/uk/the-feminist-uncanny-in-theory-and-art-practice-9781472505583/

BOOK LAUNCH -- ICA, 7pm, 16 September 2016: https://www.ica.org.uk/whats-on/book-launch-art-and-feminisms

Book review: Amy Tobin, 'Homesickness', Oxford Art J (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013

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- by Alexandra Kokoli
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- 21
  The Grotesque Body, Sigmund Freud, Abjection, Feminism

Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today... more

Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the 'bad girl' of the Young British Art (yBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves.

In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin's art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin's intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life will interest a broad readership.

Table of contents
Introduction: The Last Great Adventure is Me
Deborah Cherry, University of the Arts London UK and Alexandra Kokoli, Middlesex University, UK

1. Rethinking Tracey Emin: Life into Art
Mark Durden, University of South Wales, UK

2. 'It was just me, Tracey': Strategies of Self-Presentation in the Art of Tracey Emin
Camilla Jalving, National Gallery of Denmark, Denmark

3. A Black Cat Crossed My Path
Glenn Adamson, Yale Center for British Art, USA

4. Twenty Years in the Making: Tracey Emin's My Bed
Deborah Cherry, University of the Arts London UK

5. The Bonfire of the Fallacies (or is it Phalluses?)
Alexandra Kokoli, Middlesex University, UK

6. Early Emin
John White, independent, UK

7. 'I Do Not Expect to be a Mother': Non-Reproduction and Ageing in the Work of Tracey Emin
Joanne Heath, independent, UK

8. Dream and Diaspora: Tracey Emin's Turkish Cypriot Legacy
Alev Adil, indepedent, UK

9. All at Sea: Bad Girls, Hut Myths and Tracey Emin's 'Property by the Sea'
Gill Perry, Open University, UK

Reviews
“Tracey Emin - artist, public figure, legend - remains divisive. In the first significant new scholarship on Emin in a decade, Tracey Emin: Art Into Life treats readers to a collection of critical essays that probes the reaches of her layered performances of identities. With both her enduring provocations and artistic preoccupations analysed here, this volume offers critical insights into Emin's continuing significance to art today.” – August Davis, Associate Professor of Contemporary Art History, University of Texas at Arlington, USA

ISBN: 9781350160606

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- by Alexandra Kokoli and +1
  Camilla Jalving
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- 20
  Diasporas, Contemporary Art, Sexuality, Performativity

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- by Jayne Wark
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- 3
  Performance Art, Canadian art, Feminist Art

Challenges the politics of gender and race underlying the practice of art history. Edited anthology. Contributors: Jennifer Gonzalez, Inderpal Grewal, Caren Kaplan, Aida Mancillas, Francette Pacteau, Ann Pellegrini, Griselda Pollock, Irit... more

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- by Lisa E Bloom
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- 8
  Gender Studies, Art History, Contemporary Art, Race and Ethnicity

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- by William J Simmons
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- 20
  Artificial Intelligence, Art History, Social Media, Women in Art

The first comprehensive history of feminist performance art in North America highlighting the important contributions of women artists.

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- by Jayne Wark
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- 5
  Feminist Theory, Art, Performance Art, Feminist Art

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- by Julia Skelly
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- 7
  Textiles, Contemporary Art, Feminist Art, Feminist Art History

Πρόγραμμα θεατρικής παράστασης του "Εργαστηρίου Πολυτροπικών Δραστηριοτήτων" του Οργανισμού Φεστιβάλ Ολύμπου στο Αρχαίο Θέατρο του Δίου την Κυριακή 25 Αυγούστου 2019. Η παράσταση αποτελεί σύνθεση παλαιότερων και σύγχρονων θεατρικών... more

The chapter as a whole illustrates some of the possibilities and problems currently haunting the area of Jewish participation in the making and the history of feminist art in the United States.The signficance that gender, class,... more

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- by Maria Elena Buszek
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- 2
  Contemporary Art, Feminist Art

Translation from the French by Anna Knight

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- by Vanina Gere
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- 3
  Political Art, Feminist Art, Art and Activism

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- by Kalliopi Minioudaki
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- 4
  Pop Art, Feminist Art, Women Artists, Feminist Art History

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- by Meg Linton
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- 3
  Feminism, Feminist Art, Feminist Art History

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- by Barbara Franchi
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- 4
  Contemporary Art, Feminism, Julia Kristeva, Feminist Art

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- by William J Simmons
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- 19
  Photographs, Photogrammetry, Photography, Digital Photography

Is the concept of a retrospective antithetical to feminist-aligned politics and histories? How can a retrospective effectively account for the achievements of an artist whose practice was indelibly interwoven with feminist collectives?... more

I theorize Rosha Yaghmai's 2019 installation "Miraclegrow" through the lenses of monstrosity and abjection, concluding that the installation undermines modes of belonging in the body and the nation state based on naturalness and... more

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- by Daniel Thomas
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- 8
  Gender Studies, Art History, Contemporary Art, Feminist Art

A review of Ruth Asawa exhibition at David zwirner

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- by John Yau
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- 6
  Asian American Studies, Sculpture, Feminist Art, Abstract Sculpture

Elke Smodics-Kuscher und Nora Sternfeld trafo.K Flic Flac* – Feministische Materialien für den Kunstunterricht. Mit Flic Flac* versuchen Elke Smodics-Kuscher und Nora Sternfeld vom Büro trafo.K sich den Kodierungen, Fallstricken und... more

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- by Nora Sternfeld
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- 17
  Queer Studies, Feminist Theory, Queer Theory, Public Art

The Ana Cha Collective is a coalition of feminist scholars, artists, and filmmakers formed to interrogate the cultural world through a feminist lens and engage in a creative practice that deconstructs violent power structures. This... more

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- by Hankyeol Song
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- 17
  Women's Studies, Feminist activism, Feminist Art, Feminist Art History

Czy używamy wrzeciona czy aerografu, narzędzia są dla nas kognitywnymi protezami wyciągającymi nasze działania w świat, badającymi jego kształt. Sarah Browne, Niewidzialna kończyna Idea siostrzeństwa -jako feministyczny projekt... more

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- by Monika Borys
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- 7
  Gender Studies, Contemporary Art, Feminist Art, Feminizm

not really happy with how this work came out... I think this essay is too superficial... I need to read and study more about Francesca; go deeper in what she's dealing with... anyways, I hope this text might help you somehow

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- by Alexandre Alagôa
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- 26
  Photography, Performance Studies, Performance Art, Performance

in association with Lund Humphries, 2012, pp. 169-177.] this, of course, is an intrinsically feminist question. The quality of this exhibition's dialogic bridges are reminiscent of what Griselda Pollock terms "the virtual feminist... more

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- by Alexandra Kokoli
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- 8
  Feminist Theory, Feminist Art, Women Artists, Feminist Art History

This paper discusses the ancient form of belly dance as an example to speak more in depth about the public spaces of Istanbul, where the female body is constantly under surveillance by the male gaze. Over thousands of years, the ancient... more

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- by Dr. Isil Egrikavuk
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- 7
  Gender Studies, Women's Studies, Contemporary Art, Performance

For those whose concept of contemporary Chinese art is the pop-inspired Cultural Revolution imagery of the first generation of post-Mao artists to make an impact on Western art audiences the work of younger artists can be perplexing.... more

In this paper I will discuss some concerns that the creative team of Umbilical , a collaborative multimedia arts project of which I am conceptual director, faced regarding the portrayal of female sexual identity through the embodied and... more

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- by Dr Tina Kinsella
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- 21
  Gender Studies, Ethics, Performing Arts, Sex and Gender

A special issue of Women: A Cultural Review. With essays by Laura Guy, Catherine Grant, Catherine Spencer, Amy Tobin, Althea Greenan and my own contribution, 'The Feminist Art of Self-Education'.

Draft of chapter interrogating the feminisation of labour in the art field in connection with broader developments. Originally presented in Barcelona in 2013, a final version of this essay is included in A. M. Guasch and N. Gimenez del... more

This chapter explores the intersection of art, race and sexual politics in Pittsburgh, PA, USA, where artists of colour have generally been all but invisible to the overwhelmingly white arts establishment. The focus is on artist Vanessa... more

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- by Hilary Robinson
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- 6
  Contemporary Art, Feminist Art, History of Pittsburgh, Stuart Hall

While locative media art is well-documented in its overt social and political aims, investigations into the role of intersectional feminism and locative art practices on social media have yet to receive much scholarly attention. Social... more

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- by Ruth Wallen
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- 15
  Gender Studies, Feminist Theory, Contemporary Art, Visual Culture

Short paper. July 2015, ICA London. Event: Women working collectively, what is your value? Organised by The Temporary Separatists.

Příspěvek se zabývá rolí kresby a ilustrace v rámci přímého i nepřímého vizuálního aktivismu současné doby. Důraz je kladen především na témata a oblasti, která se v souvislosti s angažovanou ilustrativní kresbou objevují nově – konkrétně... more

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- by Barbora Müllerová
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- 16
  Visual Studies, Illustrations, Visual Culture, Comics Studies

Exhibition catalogue for BACKFLIP: Feminism and Humour in Contemporary Art, held at Margaret Lawrence Gallery, Victorian College of the Arts (VCA), Melbourne, 27 April to 25 May 2013. Artists: Catherine Bell, Melanie Bonajo, Brown... more

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- by Laura Castagnini
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- 6
  Contemporary Art, Feminism, Feminist Art, Feminist Art History

This chapter explores some tensions in both textile theories and practices informed by the feminist 1970s. While tracing the lines between radical and reformist approaches to women's textiles, it pinpoints moments of intersection and... more

Статья была опубликована в блоке «Тревога с перформативом» журнала «Гендерные исследования» (№22, 2017 ).

Brief look at the controversies around The Dinner Party and how its original inclusive curatorial design is now overlooked. Preview of two exhibitions around The Dinner Party's creation at Brooklyn Museum and National Museum of Women in... more

In an earlier essay ‘Sanja Iveković: Becoming Woman Artist’ (Calvert 22, 2012) I posited Iveković's 1976 solo exhibition ‘Documents 1949- 1976’ at Zagreb Gallery of Contemporary Art as the first feminist intervention into patriarchal art... more

In an earlier essay ‘Sanja Iveković: Becoming Woman Artist’ (Calvert 22, 2012) I posited Iveković's 1976 solo exhibition ‘Documents 1949- 1976’ at Zagreb Gallery of Contemporary Art as the first feminist intervention into patriarchal art world structures in socialist Yugoslavia, seeing it in sync with international coalitions between feminism and art in the 1960s and 1970s. Works in this exhibition appropriated images of women from mainstream media, including women’s magazines, in order to enact a transformation from woman as object of representation to autonomous artistic subject. I argued that in this exhibition Iveković exposes and rejects guilt as a mechanism for disciplining and safeguarding the borders of ‘femaleness’ and ‘femininity’: "she is both the artist presenting a solo show, a woman using make-up and reading women’s magazines, a girlfriend of a male artist, a painter who uses dirty cosmetic cotton pads as painting material, a Hollywood star with insecurities, headaches and bliss, and an astute critic disclosing the analogies between image and violence, history and the gaze.” Building on that essay, here I examine more closely the social, historical and political implications of the artistic and political gesture of the rejection of (female) guilt, which manifests itself not necessarily as the theme but as the subtext and precondition of Iveković’s work from the 1970s to the present in the context of Yugoslavia and its subsequent dissolution.
The imposition of guilt is most evident in moments of social crisis when the fragility of the existing order tentatively resurfaces, and when the origins and implications of a crisis are not fully grasped but are obscured and displaced onto a construed ‘woman problem’. In these circumstances, a certain kind of ‘woman’ or ‘female behaviour’ becomes a sign, a bearer, if not the very cause of crisis. In Iveković’s ‘Documents 1949- 1976’ exhibition images of women from the popular press, mostly fashion models and celebrities, represented one such sign. The ‘crises’ and ‘fragilities’ it pointed to can be read from three different perspectives: that of the art world, of feminist art theory, and of Yugoslav socialism.

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- by Ivana Bago
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- 7
  Cultural History, Feminist Theory, Feminist Art, Yugoslavia (History)

The exhaustion of Abstract Expressionism was a result of the compromise of its ideologies due to its inability to completely liberate itself from social constraints ... This constant to-and-fro, or as Nietzsche put it, the ‘transvaluation... more

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- by Juliette Furio
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- 6
  Postmodernism, Feminist Art, Abstract Expressionism, Clement Greenberg

Feminist Art

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