{"product_id":"feminisms-museums-surveys-isbn-9781119897576","title":"Feminisms\/Museums\/Surveys","description":"\u003cp\u003e\u003cb\u003eThe first anthology of feminist art exhibition essays and museum publications, providing an exciting and valuable overview of recent developments in feminist curation\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003e\u003ci\u003eFeminisms-Museums-Surveys: Exhibition Curating 2005-2022\u003c\/i\u003e brings together works from exhibition catalogs and museum publications to provide a comprehensive and timely view of the modern approach to feminist curating. Offering insights into how curators from around the world engage with different feminisms and select and exhibit feminist art, this one-of-a-kind anthology exemplifies the diversity of feminist thinking and curatorial approaches in the contemporary art museum. \u003c\/p\u003e\u003cp\u003eThis important volume comprises articles and essays drawn from publications which accompanied major curatorial projects from different regions around the globe, and each essay offers a unique critical interpretation of feminist art\u003ci\u003e.\u003c\/i\u003e Organized chronologically, the book presents the essays — the majority in print for the first time since their initial publications and some for the first time in English — with the dates and venues of the exhibition and a brief introduction by the editors. All the artists in the exhibitions and the curators involved are indexed in the supplementary material. Making key examples of feminist curating easily accessible to a wider audience of scholars and students, this unique anthology: \u003c\/p\u003e\u003cul\u003e \u003cli\u003eOffers a transnational perspective on feminist curating, featuring exhibitions from across Europe, Asia, Australia, Africa and the Americas \u003c\/li\u003e \u003cli\u003eHighlights the diverse ways in which curators have attempted to bring feminist theory into the museum exhibition format\u003c\/li\u003e \u003cli\u003eIllustrates how feminist ideas have evolved in diverse ways in the international community of museum professionals\u003c\/li\u003e \u003cli\u003eIncludes an index of artists and curators whose work is represented in the volume \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eOffering deep insights into how curators have approached the documentation and representation of art informed by feminist politics and thinking, \u003ci\u003eFeminisms-Museums-Surveys: Exhibition Curating 2005-2022\u003c\/i\u003e is an ideal resource for courses in feminism and art, curation, LGBTQ art, art and politics, museum studies, art history, cultural studies, feminist and gender studies, and related courses across fine arts and visual arts programs. \u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e \u003cp\u003eAcknowledgements xi\u003c\/p\u003e \u003cp\u003eOn Feminisms, Museums and Surveys: An Introduction 1\u003cbr\u003e \u003ci\u003eHilary Robinson and Lara Perry\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 Life Actually 8\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eLife Actually; the Works of Contemporary Japanese Women – Love and Solitude, and Laughter for\u003c\/p\u003e \u003cp\u003eSurvival in Japan 9\u003cbr\u003e \u003ci\u003eKasahara Michiko\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 La Costilla Maldita 26\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Accursed Rib 27\u003cbr\u003e \u003ci\u003eMargarita Aizpuru\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 Konstfeminism: Strategier Och Effekter I Sverige Från 1970-talet Till Idag 36\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 37\u003cbr\u003e \u003ci\u003eLouise Andersson, Magnus Jensner, Anna Livion Ingvarsson, Anna Nyström, Barbro Werkmäster, and Niclas Östlind\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 The Eighth Square: Gender, Life and Desire in the Arts since 1960 44\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Eighth Square: Observations on an Exhibition Experiment 45\u003cbr\u003e \u003ci\u003eFrank Wagner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 WACK! Art and the Feminist Revolution 60\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eArt and Feminism: An Ideology of Shifting Criteria 61\u003cbr\u003e \u003ci\u003eCornelia Butler\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Global Feminisms 68\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCurators’ Preface 69\u003cbr\u003e \u003ci\u003eMaura Reilly and Linda Nochlin Copyrighted Material\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Kiss Kiss Bang Bang: 45 Years of Art and Feminism 72\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism 73\u003cbr\u003e \u003ci\u003eXabier Arakistain\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Intimate Distance: Indonesian Women Artists 78\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntimate Distance: Tracing Feminist Discourse in Indonesian Art 79\u003cbr\u003e \u003ci\u003eWulan Dirgantoro\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 A Batalla dos Xéneros\/Gender Battle 86\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Benefit of Discord: Apropos of Gender Battle 87\u003cbr\u003e \u003ci\u003eJuan Vicente Aliaga\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 elles@centrepompidou: Women Artists in the Collection of the Musée National d’Art Moderne 114\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e“elles@centrepompidou”: Addressing Difference 115\u003cbr\u003e \u003ci\u003eCamille Morineau\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 Rebelle: Art and Feminism 1969–2009 122\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 123\u003cbr\u003e \u003ci\u003eMirjam Westen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Gender Check: Femininity and Masculinity in the Art of Eastern Europe 138\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eProletarians of All Countries, Who Washes Your Socks? Equality, Dominance and Difference in Eastern European Art 139\u003cbr\u003e \u003ci\u003eBojana Pejić\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Modern Women: Women Artists at the Museum of Modern Art 158\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Feminist Present: Women Artists at MoMA 159\u003cbr\u003e \u003ci\u003eCornelia Butler\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 DONNA: Avanguardia Femminista Negli Anni ’70 dalla Sammlung Verbund di Vienna 170\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Feminist Avant-Garde: A Radical Transformation 171\u003cbr\u003e \u003ci\u003eGabriele Schor\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Med Viljann ad Vopni – Endurlit 1970–1980 180\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Will as a Weapon – Review 1970–1980 181\u003cbr\u003e \u003ci\u003eHrafnhildur Schram\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 Žen d’Art: The History of Gender and Art in Post-Soviet Space: 1989–2009 188\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe History of Women’s Art: Archives, Theories and Actual Artistic Practice 189\u003cbr\u003e \u003ci\u003eNataliya Kamenetskaya and Oksana Sarkisyan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17 Dream and Reality: Modern and Contemporary Women Artists from Turkey 194\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDream and Reality: Modern and Contemporary Women Artists from Turkey 195\u003cbr\u003e \u003ci\u003eLevent Çalıkoğlu\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e18 Matronita: Jewish Feminist Art 202\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTzena Ure’ena 203\u003cbr\u003e \u003ci\u003eDvora Liss\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e19 This Will Have Been: Art, Love and Politics in the 1980s 214\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThis Will Have Been: Art, Love \u0026amp; Politics in the 1980s 215\u003cbr\u003e \u003ci\u003eHelen Molesworth\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e20 Contemporary Australia: Women 240\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHere and Now 241\u003cbr\u003e \u003ci\u003eJulie Ewington\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e21 Women Adventurers: Five Eras of Taiwanese Art, 1930–1983 248\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWomen Adventurers: Five Eras of Taiwanese Art, 1930–1983 249\u003cbr\u003e \u003ci\u003eYi-ting Lei\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e22 The Beginning Is Always Today: Contemporary Feminist Art in Scandinavia 266\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Beginning Is Always Today: Contemporary Feminist Art in Scandinavia 267\u003cbr\u003e \u003ci\u003eKarin Hindsbo\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e23 Where We’re At! Other Voices on Gender 278\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eJoining the Ranks of the Invisible Struggle 279\u003cbr\u003e \u003ci\u003eChristine Eyene\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eOur Sister Next Door 284\u003cbr\u003e \u003ci\u003eChristine Eyene\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e24 East Asia Feminism: FANTasia 292\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEast Asia Feminism: FANTasia 293\u003cbr\u003e \u003ci\u003eKim Hong-hee\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e25 All Men Become Sisters 302\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eImagination Machine 303\u003cbr\u003e \u003ci\u003eJoanna Sokołowska\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e26 M\/A\\G\/M\\A: Body and Words in Italian and Lithuanian Women’s Art from 1965 to the Present 316\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMAGMA: A Revolt for Us 317\u003cbr\u003e \u003ci\u003eBenedetta Carpi De Resmini\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eThe Singing Revolution Continues 321\u003cbr\u003e \u003ci\u003eLaima Kreivytė\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e27 We Wanted a Revolution: Black Radical Women, 1965–85 324\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 325\u003cbr\u003e \u003ci\u003eCatherine Morris and Rujeko Hockley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e28 Being Her(e): Meditations on African Femininities 330\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCuratorial Statement 331\u003cbr\u003e \u003ci\u003ePaula Nascimento\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e29 Corpo a Corpo – Body to Body 334\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eBody to Body: What Is Left? 335\u003cbr\u003e \u003ci\u003ePaola Ugolini\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e30 Radical Women: Latin American Art, 1960–1985 346\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 347\u003cbr\u003e \u003ci\u003eCecilia Fajardo-Hill and Andrea Giunta\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e31 Trigger: Gender as a Tool and a Weapon 352\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIrreconcilable Difference 353\u003cbr\u003e \u003ci\u003eJohanna Burton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e32 Women House 360\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFrom The Housewife to the Nana-Maison: Domesticity as a Key Theme for Women Artists 361\u003cbr\u003e \u003ci\u003eCamille Morineau and Lucia Pesapane\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e33 Collective Women: Feminist Art Archives from the 1970s to the 1990s 366\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eTexts from the Auckland Art Gallery 2017 367\u003cbr\u003e \u003ci\u003eClare McIntosh\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e34 Unfinished Business: Perspectives on Art and Feminism 372\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnfinished Business 373\u003cbr\u003e \u003ci\u003eMax Delany\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eBlak Female Futurisms and Yte Feminism Waves 379\u003cbr\u003e \u003ci\u003ePaola Balla\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e35 Bread and Roses: Four Generations of Kazakh Women Artists 382\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGender, Empire and Decolonisation: Four Generations of Kazakh Women Artists 383\u003cbr\u003e \u003ci\u003eDavid Elliott\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e36 Niepodległe: Kobiety A Dyskurs Narodowy 398\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNiepodległe: Women, Independence and National Discourse 399\u003cbr\u003e \u003ci\u003eMagda Lipska\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e37 The Medea Insurrection: Radical Women Artists Behind the Iron Curtain 402\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhy the Insurrection, Medea? 403\u003cbr\u003e \u003ci\u003eSusanne Altmann\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e38 Paint, Also Known as Blood: Women, Affect and Desire in Contemporary Painting 418\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRippers: Women, Affect and Desire, Between Figuration and Abstraction 419\u003cbr\u003e \u003ci\u003eNatalia Sielewicz\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e39 Kiss My Genders 428\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKiss My Genders: A Conversation 429\u003cbr\u003e \u003ci\u003eVincent Honoré with Ajamu, Travis Alabanza, and Victoria Sin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e40 Her Own Way: Female Artists and the Moving Image in Art in Poland: From 1970s to the Present 436\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHer Own Way-Female Artists and the Moving Image in Art in Poland: From 1970s to the Present 437\u003cbr\u003e \u003ci\u003eOkamura Keiko\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e41 Women’s Histories, Feminist Histories 444\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFeminist Histories: Artists After 2000 445\u003cbr\u003e \u003ci\u003eIsabella Rjeille\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e42 Feminnale: 1st Feminnale of Contemporary Art 452\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFeminnale: 1st Feminnale of Contemporary Art 453\u003cbr\u003e \u003ci\u003eBishkek Feminist Initiatives Team\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e43 Masculinities: Liberation Through Photography 456\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePerforming Masculinities 457\u003cbr\u003e \u003ci\u003eAlona Pardo\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e44 Earthkeeping\/Earthshaking: Arte, Feminismos e Ecologia 468\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEarthkeeping\/Earthshaking: Art, Feminisms and Ecology 469\u003ci\u003e\u003cbr\u003e Giulia Lamoni and Vanessa Badagliacca\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e45 Know My Name: Australian Women Artists 1900 to Now 480\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eForeword 481\u003cbr\u003e \u003ci\u003eNick Mitzevich and Natasha Bullock\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eGuiding Principles for Gender Equity 483\u003cbr\u003e \u003ci\u003eNick Mitzevich and Natasha Bullock\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e46 Female Identities in the Global South 484\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eContemporary Female Identities in the Global South 485\u003cbr\u003e \u003ci\u003eBronwyn Law- Viljoen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eLiminal Identities in the Global South 489\u003cbr\u003e \u003ci\u003eClive Kellner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eModernist Identities in the Global South 497\u003cbr\u003e \u003ci\u003eClive Kellner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eHistorical Background 503\u003cbr\u003e \u003ci\u003eClive Kellner\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e47 I Remember Therefore I am. Unwritten Stories: Woman Artist Archives 506\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eI Remember, Therefore I Am 507\u003cbr\u003e \u003ci\u003eAndra Silapētere\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e48 Who Will Write the History of Tears: Artists on Women’s Rights 512\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAbout the Exhibition 513\u003cbr\u003e \u003ci\u003eMagda Lipska, Sebastian Cichocki, and Łukasz Ronduda\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e49 Declaration: A Pacific Feminist Agenda 514\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDeclaration: A Pacific Feminist Agenda 515\u003cbr\u003e \u003ci\u003eAne Tonga\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e50 Empowerment: Art and Feminisms 524\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eEmpowerment: Art and Feminisms – Introduction 525\u003cbr\u003e \u003ci\u003eAndreas Beitin, Katharina Koch, and Uta Ruhkamp\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e51 Women in Revolt! Art, Activism, and the Women’s Movement in the UK 1970–1990 534\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction: The Personal Is Political 535\u003cbr\u003e \u003ci\u003eLinsey Young\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex of Curators 546\u003c\/p\u003e \u003cp\u003eIndex of Artists 549\u003cbr\u003e \u003ci\u003eÁine McKenny and Marlous van Boldrik\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex 588\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eHILARY ROBINSON\u003c\/b\u003e is a Professor of Feminism, Art, and Theory at Loughborough University, UK, where she teaches in art history, feminism, and visual culture. She is the co-editor of \u003ci\u003eA Companion to Feminist Art\u003c\/i\u003e (Wiley Blackwell, 2019) and the editor of \u003ci\u003eFeminism-Art-Theory: An Anthology 1968-2014\u003c\/i\u003e, \u003ci\u003eSecond Edition \u003c\/i\u003e(Wiley Blackwell, 2016). \u003c\/p\u003e\u003cp\u003e\u003cb\u003eLARA PERRY\u003c\/b\u003e is Dean of Humanities and Social Sciences at the University of Brighton, UK where she has taught courses and supervised research in History of Art and Design. She is the co-editor with Elke Krasny of \u003ci\u003eCurating as Feminist Organizing\u003c\/i\u003e (2023) and \u003ci\u003eCurating with Care\u003c\/i\u003e (2023), and the author of \u003ci\u003eHistory’s Beauties: Women and the National Portrait Gallery\u003c\/i\u003e, \u003ci\u003e1856-1900\u003c\/i\u003e (2006). She has published on topics in feminism, curation, 19th century artists, and museum studies.   \u003c\/p\u003e\u003cp\u003eProviding a comprehensive view of feminist curatorial approaches in the modern era, \u003ci\u003eFeminisms\/Museums\/Surveys: An Anthology\u003c\/i\u003e offers deep insights into how curators from around the world select and exhibit art in response to feminist politics. This unique volume brings together previously published articles and excerpts from catalogs for museums’ survey exhibitions of feminist art, offering a transnational perspective on contemporary approaches to feminist curating. \u003c\/p\u003e\u003cp\u003eChronologically organized articles and essays — most reprinted for the first time since their initial publications and some for the first time in English — represent the diversity of feminist thinking and curatorial approaches in the modern art world. Each work includes the dates and venues of the exhibition, the artists exhibited, and a brief introduction. Throughout the book, the editors highlight how curators have attempted to bring feminist theory into traditional methods of exhibition design, how feminist ideas spread through the community of museum professionals, how curators have centered art by artists from underrepresented and marginalized backgrounds, and more. \u003c\/p\u003e\u003cp\u003eMaking works on feminist curating easily accessible to a wide audience of scholars and students, \u003ci\u003eFeminisms\/Museums\/Surveys: An Anthology\u003c\/i\u003e is a must-have resource for courses in feminism and art, curation, LGBTQ+ art, museum studies, art history, feminist and gender studies, and cultural studies.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989202845925,"sku":"NP9781119897576","price":51.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119897576.jpg?v=1761783191","url":"https:\/\/k12savings.com\/es\/products\/feminisms-museums-surveys-isbn-9781119897576","provider":"K12savings","version":"1.0","type":"link"}