{"product_id":"feminism-art-theory-isbn-9781118360606","title":"Feminism Art Theory","description":"\u003cp\u003eCharting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of \u003ci\u003eFeminism-Art-Theory\u003c\/i\u003e has been extensively updated and reworked\u003ci\u003e.\u003c\/i\u003e \u003c\/p\u003e \u003cul\u003e \u003cli\u003eCompletely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions\u003c\/li\u003e \u003cli\u003eBrings together 88 revealing texts from North America, Europe and Australasia, juxtaposing writings from artists and activists with those of academics\u003c\/li\u003e \u003cli\u003eEmbraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism, to education and aesthetics\u003c\/li\u003e \u003cli\u003eIncludes many classic texts, but is particularly notable for its inclusion of rare and significant material not reprinted elsewhere\u003c\/li\u003e \u003cli\u003eProvides a uniquely flexible resource for study and research due to its scale and structure; each of the seven sections focuses on a specific area of debate, with texts arranged chronologically in order to show how issues and arguments developed over time\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003ePreface x\u003c\/p\u003e \u003cp\u003eAcknowledgements and Sources xii\u003c\/p\u003e \u003cp\u003eIntroduction: Feminism–Art–Theory: Towards a (Political) Historiography 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Overviews 8\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 8\u003c\/p\u003e \u003cp\u003e1.1 Gender in\/of Culture 12\u003c\/p\u003e \u003cp\u003eValerie Solanas, ‘Scum Manifesto’ (1968) 12\u003c\/p\u003e \u003cp\u003eShulamith Firestone, ‘(Male) Culture’ (1970) 13\u003c\/p\u003e \u003cp\u003eSherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17\u003c\/p\u003e \u003cp\u003eCarolee Schneemann, ‘From Tape no. 2 for \u003ci\u003eKitch’s Last Meal’ \u003c\/i\u003e(1973) 26\u003c\/p\u003e \u003cp\u003e1.2 Curating Feminisms 28\u003c\/p\u003e \u003cp\u003eCornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28\u003c\/p\u003e \u003cp\u003eXabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33\u003c\/p\u003e \u003cp\u003eMirjam Westen, ‘rebelle: Introduction’ (2009) 35\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Activism and Institutions 44\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 44\u003c\/p\u003e \u003cp\u003e2.1 Challenging Patriarchal Structures 51\u003c\/p\u003e \u003cp\u003eWomen’s Ad Hoc Committee\/Women Artists in Revolution\/WSABAL, ‘To the Viewing Public for the 1970 Whitney Annual Exhibition’ (1970) 51\u003c\/p\u003e \u003cp\u003eMonica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52\u003c\/p\u003e \u003cp\u003eGuerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54\u003c\/p\u003e \u003cp\u003eMary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54\u003c\/p\u003e \u003cp\u003eLubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60\u003c\/p\u003e \u003cp\u003eJerry Saltz, ‘Where the Girls Aren’t’ (2006) 62\u003c\/p\u003e \u003cp\u003eEast London Fawcett, ‘The Great East London Art Audit’ (2013) 64\u003c\/p\u003e \u003cp\u003e2.2 Towards Feminist Structures 66\u003c\/p\u003e \u003cp\u003eWEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66\u003c\/p\u003e \u003cp\u003eWomen’s Workshop, ‘A Brief History of the Women’s Workshop of the Artist’s Union 1972–1973’ (\u003ci\u003ec. \u003c\/i\u003e1973) 67\u003c\/p\u003e \u003cp\u003eMartha Rosler, ‘Well, \u003ci\u003eis \u003c\/i\u003ethe Personal Political?’ (1980) 68\u003c\/p\u003e \u003cp\u003eLucy Lippard, ‘Trojan Horses: Activist Art and Power’ (1984) 69\u003c\/p\u003e \u003cp\u003eAnne Marsh, ‘A Theoretical and Political Context’ (1985) 79\u003c\/p\u003e \u003cp\u003eXabier Arakistain et al., ARCO Manifesto: ‘Politics of Equality between Men and Women in the Art World’ (2005) 85\u003c\/p\u003e \u003cp\u003eParliament of Spain, ‘Article 26: Equality in Artistic and Intellectual Creation and Production’ (2007) 86\u003c\/p\u003e \u003cp\u003e2.3 Activism in Practice 88\u003c\/p\u003e \u003cp\u003eMierle Laderman Ukeles, ‘Manifesto for Maintenance Art, 1969!’ (1969) 88\u003c\/p\u003e \u003cp\u003eLeslie Labowitz‐Starus and Suzanne Lacy, ‘In Mourning and in Rage …’ (1978) 91\u003c\/p\u003e \u003cp\u003eZoe Leonard, ‘I Want a President’ (1992) 95\u003c\/p\u003e \u003cp\u003eAndrea Fraser, ‘There’s No Place like Home’ (2012) 96\u003c\/p\u003e \u003cp\u003eNadezhda Tolokonnikova, ‘Opening Courtroom Statement by Nadya’ (2013) 102\u003c\/p\u003e \u003cp\u003e2.4 Education 106\u003c\/p\u003e \u003cp\u003eMiriam Schapiro, ‘The Education of Women as Artists: Project Womanhouse’ (1972) 106\u003c\/p\u003e \u003cp\u003eLisa Tickner, ‘Retrospect’ (2008) 107\u003c\/p\u003e \u003cp\u003eGriselda Pollock, ‘Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University’ (2010) 114\u003c\/p\u003e \u003cp\u003eLisa Nyberg and Johanna Gustavsson, ‘Radical Pedagogy’ (2011) 124\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Historical and Critical Practices 129\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 129\u003c\/p\u003e \u003cp\u003e3.1 Interrogating ‘Art History’ 134\u003c\/p\u003e \u003cp\u003eLinda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971) 134\u003c\/p\u003e \u003cp\u003eGriselda Pollock, ‘Women, Art and Ideology: Questions for Feminist Art Historians’ (1983) 149\u003c\/p\u003e \u003cp\u003eMira Schor, ‘Patrilineage’ (1991) 159\u003c\/p\u003e \u003cp\u003e3.2 Feminist\/Writing 165\u003c\/p\u003e \u003cp\u003eCarol Duncan, ‘Virility and Domination in Early Twentieth Century Vanguard Painting’ (1973) 165\u003c\/p\u003e \u003cp\u003eJoan Borsa, ‘Frida Kahlo: Marginalization and the Critical Female Subject’ (1990) 169\u003c\/p\u003e \u003cp\u003eFreida High W. Tesfagiorgis, ‘In Search of a Discourse and Critique\/s that Center the Art of Black Women Artists’ (1993) 185\u003c\/p\u003e \u003cp\u003eMaureen Connor, ‘Working Notes: Conversation with Katy Deepwell’ (2002) 198\u003c\/p\u003e \u003cp\u003eMartina Pachmanová, ‘In? Out? In Between? Some Notes on the Invisibility of a Nascent Eastern European Feminist and Gender Discourse in Contemporary Art Theory’ (2009) 203\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Materials, Practices, Choices 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 217\u003c\/p\u003e \u003cp\u003e4.1 Aesthetic Choice 223\u003c\/p\u003e \u003cp\u003eJudy Chicago, ‘Woman as Artist’ (1971) 223\u003c\/p\u003e \u003cp\u003eMarjorie Kramer, ‘Some Thoughts on Feminist Art’ (1971) 225\u003c\/p\u003e \u003cp\u003ePat Mainardi, ‘A Feminine Sensibility?’ (1972) 227\u003c\/p\u003e \u003cp\u003eJudith Stein, ‘For a Truly Feminist Art’ (1972) 228\u003c\/p\u003e \u003cp\u003eAnne‐Marie Sauzeau‐Boetti, ‘Negative Capability as Practice in Women’s Art’ (1979) 229\u003c\/p\u003e \u003cp\u003e4.2 Craft 233\u003c\/p\u003e \u003cp\u003eRozsika Parker, ‘The Creation of Femininity’ (1984) 233\u003c\/p\u003e \u003cp\u003eCatherine Harper, ‘I Need Tracey Emin Like I Need God’ (2004) 237\u003c\/p\u003e \u003cp\u003eStephanie Syjuco, ‘Anti‐Factory’ (2008) 240\u003c\/p\u003e \u003cp\u003e4.3 Painting 241\u003c\/p\u003e \u003cp\u003eKaty Deepwell, ‘Paint Stripping’ (1994) 241\u003c\/p\u003e \u003cp\u003eAlison Rowley, ‘\u003ci\u003ePlan\u003c\/i\u003e: Large Woman or Large Canvas? A Confusion of Size with Scale’ (1996) 246\u003c\/p\u003e \u003cp\u003eAmy Sillman, ‘AbEx and Disco Balls: In Defense of Abstract Expressionism II’ (2011) 250\u003c\/p\u003e \u003cp\u003e4.4 New Media 255\u003c\/p\u003e \u003cp\u003eMitra Tabrizian, ‘The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble’ (1987) 255\u003c\/p\u003e \u003cp\u003eFaith Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998) 260\u003c\/p\u003e \u003cp\u003eElisabeth Subrin, ‘Trashing “Shulie”: Remnants from Some Abandoned Feminist History’ (2006) 266\u003c\/p\u003e \u003cp\u003eAlla Mitrofanova, ‘Cyberfeminism in History, Practice and Theory’ (2010) 271\u003c\/p\u003e \u003cp\u003eStéphanie Jeanjean, ‘Disobedient Video in the 1970s: Video Production by Women’s Collectives’ (2011) 279\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Representing Women 288\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 288\u003c\/p\u003e \u003cp\u003e5.1 Between Image and Representation 293\u003c\/p\u003e \u003cp\u003eJohn Berger, Chapter 3 of \u003ci\u003eWays of Seeing \u003c\/i\u003e(1972) 293\u003c\/p\u003e \u003cp\u003eLaura Mulvey, ‘Visual Pleasure and Narrative Cinema’ (1975) 300\u003c\/p\u003e \u003cp\u003eMary Kelly, Preface to \u003ci\u003ePost‐Partum Document \u003c\/i\u003e(1983) 310\u003c\/p\u003e \u003cp\u003eJudith Williamson, ‘Images of “Woman”: The Photography of Cindy Sherman’ (1983) 314\u003c\/p\u003e \u003cp\u003eElizabeth Grosz, ‘Inscriptions and Body‐Maps: Representations and the Corporeal’ (1990) 320\u003c\/p\u003e \u003cp\u003eLynda Nead, ‘Framing the Female Body’ (1992) 322\u003c\/p\u003e \u003cp\u003eNelly Richard, ‘Politics and Aesthetics of the Sign’ (2004) 329\u003c\/p\u003e \u003cp\u003e5.2 The Artist’s Body in the Artwork 340\u003c\/p\u003e \u003cp\u003eLucy Lippard, ‘The Pains and Pleasures of Rebirth: European and American Women’s Body Art’ (1976) 340\u003c\/p\u003e \u003cp\u003eMary Duffy, ‘Disability, Differentness, Identity’ (1987) 343\u003c\/p\u003e \u003cp\u003eVALIE EXPORT, ‘Aspects of Feminist Actionism’ (1989) 345\u003c\/p\u003e \u003cp\u003eOrlan, ‘Intervention d’Orlan’ (1995) 361\u003c\/p\u003e \u003cp\u003eAmelia Jones, ‘Yayoi Kusama’ (1998) 367\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Sex, Sexuality, Image 372\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 372\u003c\/p\u003e \u003cp\u003e6.1 Sexuality and the Sexual Body 376\u003c\/p\u003e \u003cp\u003eBarbara Rose, ‘Vaginal Iconology’ (1974) 376\u003c\/p\u003e \u003cp\u003eSuzanne Santoro, ‘Towards New Expression’ (1974) 378\u003c\/p\u003e \u003cp\u003eJoanna Frueh, ‘Feminism’ (1989) 379\u003c\/p\u003e \u003cp\u003eBuseje Bailey, ‘I Don’t Have to Expose my Genitalia’ (1993) 385\u003c\/p\u003e \u003cp\u003e‘Interview with Betty Tompkins’ (2006) 388\u003c\/p\u003e \u003cp\u003eChris Kraus, ‘May ’69’ (2011) 393\u003c\/p\u003e \u003cp\u003e\u003ci\u003e6.2 Lesbian and Queer Practices \u003c\/i\u003e398\u003c\/p\u003e \u003cp\u003eMonique Wittig, ‘The Straight Mind’ (1980) 398\u003c\/p\u003e \u003cp\u003eJan Zita Grover, ‘Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs’ (1991) 402\u003c\/p\u003e \u003cp\u003eShonagh Adelman, ‘Desire in the Politics of Representation’ (1993) 408\u003c\/p\u003e \u003cp\u003eRidykeulous, ‘Advantages of Being a Woman \u003ci\u003eLesbian \u003c\/i\u003eArtist’ (2006) 410\u003c\/p\u003e \u003cp\u003eZanele Muholi, ‘Ngiyopha: A Photo‐biographical Project’ (2009) 410\u003c\/p\u003e \u003cp\u003eCatherine Lord, ‘Wonder Waif Meets Super Neuter’ (2010) 414\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Identity, Geography, Citizenship 435\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 435\u003c\/p\u003e \u003cp\u003e7.1 Projections 440\u003c\/p\u003e \u003cp\u003eKass Banning, ‘The Ties That Bind: Here We Go Again’ (1987) 440\u003c\/p\u003e \u003cp\u003eAdrian Piper, ‘The Triple Negation of Colored Women Artists’ (1990) 444\u003c\/p\u003e \u003cp\u003eDiane Losche, ‘Reinventing the Nude: Fiona Foley’s Museology’ (1999) 455\u003c\/p\u003e \u003cp\u003eJieun Rhee, ‘Performing the Other: Yoko Ono’s \u003ci\u003eCut Piece\u003c\/i\u003e’ (2005) 461\u003c\/p\u003e \u003cp\u003e7.2 Political Violence 471\u003c\/p\u003e \u003cp\u003eJill Bennett, ‘Art, Affect, and the “Bad Death”: Strategies for Communicating the Sense Memory of Loss’ (2002) 471\u003c\/p\u003e \u003cp\u003e‘Regina José Galindo’, interview by Francisco Goldman (2006) 477\u003c\/p\u003e \u003cp\u003e‘Between the Monument and the Ruin’, interview with Lida Abdul by Candice Hopkins (2007) 482\u003c\/p\u003e \u003cp\u003e7.3 Global Citizens 486\u003c\/p\u003e \u003cp\u003eTracey Rose, ‘The Cant Show’ (2007) 486\u003c\/p\u003e \u003cp\u003eTanja Ostojić, ‘Crossing Borders Series’ (2009) 488\u003c\/p\u003e \u003cp\u003eShirin Neshat, ‘Art in Exile’ (2010) 491\u003c\/p\u003e \u003cp\u003eIndex 494\u003c\/p\u003e \u003cb\u003eHilary Robinson\u003c\/b\u003e is Dean of the School of Art and Design and Professor of Visual Culture at Middlesex University London, having previously held positions at Carnegie Mellon University, USA, and the University of Ulster, Northern Ireland. She is the author of \u003ci\u003eReading Art, Reading Irigaray: The Politics of Art by Women\u003c\/i\u003e (2006), and the editor of \u003ci\u003eVisibly Female: Women and Art Today\u003c\/i\u003e (1987). Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, this archival anthology gathers together 88 indicative texts from North America, Europe and Australasia.\u003cbr style=\"font-family: Arial; font-size: 13px;\"\u003e\u003cbr style=\"font-family: Arial; font-size: 13px;\"\u003eThe volume embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism to education and aesthetics. The writings of artists and activists are juxtaposed with those of academics, creating an entertaining and provocative web of ideas. Some of the texts are now regarded as classic, but the anthology is particularly notable for its inclusion of rare and significant material not reprinted elsewhere.\u003cbr style=\"font-family: Arial; font-size: 13px;\"\u003e\u003cbr style=\"font-family: Arial; font-size: 13px;\"\u003eThe scale and structure of the volume make it a uniquely flexible resource for study and research. Each of the seven sections focuses on a specific area of debate and is introduced by a descriptive summary. The texts within each chapter are then presented in chronological order, indexing differing positions as they developed over time. The second edition is completely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions.  \u003cp\u003ePraise for the first edition\u003cbr\u003e \"Robinson's anthology of feminist writing on, in and around art from the last 30 years does fill a very tangible gap and will be of immense use to anybody who spends their time looking at and thinking about art.\" \u003ci\u003eArt Monthly\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003e “Since the first edition appeared in early 2001, Feminism-Art-Theory has proven a vital resource. Substantially revised, this second edition and Robinson’s thoughtful, nuanced yet demotic framing of the issues responds forcefully to the renewed currency of feminism as a living theory and praxis.”\u003cbr\u003e Judith Rodenbeck, Sarah Lawrence College \u003c\/p\u003e \u003cp\u003e\"Hilary Robinson’s editorial enterprise has become indispensible to an adequate understanding of feminist art as, always, a deeply felt and passionately political practice, and, increasingly, a thoroughly theorized one.\"\u003cbr\u003e  Terrance Smith, University of Pittsburgh\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989202682085,"sku":"NP9781118360606","price":108.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781118360606.jpg?v=1761783190","url":"https:\/\/k12savings.com\/es\/products\/feminism-art-theory-isbn-9781118360606","provider":"K12savings","version":"1.0","type":"link"}