Feminism And Art History Now: Radical Critiques Of Theory And Practice (international Library Of Modern And Contemporary Art)

To What Extent Have Developments In Global Politics, Artworld Institutions, And Local Cultures Reshaped The Critical Directions Of Feminist Art Historians? The Significant New Research Gathered Here Engages With The Rich Inheritance Of Feminist Historiography Since Around 1970, And Considers How To Maintain The Forcefulness Of Its Critique While Addressing Contemporary Political Struggles. Taking On Subjects That Reflect The Museological, Global And Materialist Trajectories Of Twenty-first-century Art Historical Scholarship, The Chapters Address The Themes Of Invisibility, Temporality, Spatiality And Storytelling. They Present New Research On A Diversity Of Topics That Span Political Movements In Italy, Urban Gentrification In New York, Community Art Projects In Scotland And Canada's Contemporary Indigenous Culture. Individual Chapter Analyses Focus On The Art Of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi And Womanhouse. Together With A Synthesising Introductory Essay, These Studies Provide Readers With A View Of Feminist Art Histories Of The Past, Present And Future. An Unfinished Revolution In Art Historiography, Or How To Write A Feminist Art History / Victoria Horne And Amy Tobin -- I Want A Dyke For President : Sounding Out Zoe Leonard's Manifesto For Art History's Feminist Futures / Laura Guy -- 'our Stories Are Our Life Blood' : Indigenous Feminist Memory And Storytelling As Strategy For Social Change / Cherry Smiley -- Making Visible Lee Krasner's Occupation : Feminist Art Historiography And The Pollock-krasner Studio / Andrew Hardman -- Challenging Feminist Art History : Carla Lonzi's Divergent Paths / Giovanna Zapperi -- This Moment : A Dialogue On Participation, Refusal And History Making / Angela Dimitrakaki And Lara Perry -- The Salon Model : The Conversational Complex / Elke Krasny -- Los Angeles, 1972/glasgow, 1990 : A Report On Castlemilk Womanhouse / Hannah Hamblin -- If You Lived Here... : A Case Study On Social Reproduction In Feminist Art History / Kirsten Lloyd -- Temporalities Of The 'feminaissance' / Francesco Ventrella -- Gestures Of Inclusion, Bodily Damage And The Hauntings Of Exploitation In Global Feminisms (2007) / Kimberly Lamm -- Learning And Playing : Re-enacting Feminist Histories / Catherine Grant. Edited By Victoria Horne And Lara Perry. Includes Bibliographical References And Index. Cover......Page 1 Author Bio......Page 3 Endorsement......Page 4 Title page......Page 5 Copyright information......Page 6 Table of Contents......Page 7 List of Illustrations......Page 9 Notes on Contributors......Page 13 Acknowledgements......Page 19 Introduction......Page 21 Making and Maintaining the Past......Page 27 Notes......Page 38 Part I Writing | Speaking | Storytelling......Page 45 1 An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History......Page 51 The Problematic: Writing Feminist Art Histories......Page 52 The Model: Collective Knowledge Production......Page 54 Writing Feminist Art Histories: 2010s......Page 57 Notes......Page 59 2 I Want a Dyke for President: Sounding out Zoe Leonard’s Manifesto for Art History’s Feminist Futures......Page 61 The Time of the Manifesto......Page 63 And I Want to Know Why This Isn’t Possible.........Page 67 Read My Lips, Again......Page 70 Notes......Page 79 3 ‘Our Stories Are Our Life Blood’: Indigenous Feminist Memory and Storytelling as Strategy for Social Change......Page 83 Memory......Page 86 Storytelling......Page 90 Social Change......Page 95 Conclusion......Page 97 Notes......Page 99 Part II Visibility | Intervention | Refusal......Page 103 4 Making Visible Lee Krasner’s Occupation: Feminist Art Historiography and the PollockKrasner Studio......Page 107 Notes......Page 121 From Art Criticism to Feminism......Page 124 Critique of Knowledge......Page 128 Male Creativity and Female Expression......Page 132 Lonzi’s Withdrawal......Page 135 Notes......Page 141 6 This Moment: A Dialogue on Participation, Refusal and History Making......Page 144 Notes......Page 159 Part III Spatiality | Occupation | Home......Page 163 7 The Salon Model: The Conversational Complex......Page 167 Notes......Page 180 8 Los Angeles, 1972/ Glasgow, 1990: A Report on Castlemilk Womanhouse......Page 184 Reclaiming History: Castlemilk Womanhouse and Womanhouse, Los Angeles......Page 185 Classing Womanhouse......Page 190 Feminist Resonances: Collaboration and Separatism 1972/90......Page 194 Notes......Page 199 From Housework to Housing......Page 203 Social Reproduction and the Feminisation of Survival......Page 206 Home Truths: in and around the City......Page 209 Relational Documents......Page 211 Bringing it Back Home: Life at the Frontier......Page 214 Notes......Page 217 Part IV Temporality | Ghosts | Returns......Page 223 Returns and Revivals......Page 227 On Not Translating ‘Feminist Art’......Page 230 The Political Grammar of Curating 1: Venice, 2005......Page 233 The Political Grammar of Curating 2: Rome, 2010......Page 236 The Political Grammar of Curating 3: Bologna, 2013......Page 240 Conclusion......Page 244 Notes......Page 245 11 Gestures of Inclusion, Bodily Damage and the Hauntings of Exploitation in......Page 250 A Striking Juxtaposition......Page 252 Seeing Progress......Page 260 Feminist Globalisation......Page 264 The Affective Labour of the Image......Page 268 The Haunting of Feminism......Page 272 Conclusion......Page 275 Notes......Page 276 12 Learning and Playing: Reenacting Feminist Histories......Page 280 The Learning Play......Page 283 The Emily Davison Lodge......Page 287 Women and Work......Page 289 A Time of One’s Own......Page 290 Notes......Page 297 Index......Page 303 Cover 1 Author Bio 3 Endorsement 4 Title page 5 Copyright information 6 Table of Contents 7 List of Illustrations 9 Notes on Contributors 13 Acknowledgements 19 Introduction 21 Making and Maintaining the Past 27 Notes 38 Part I Writing | Speaking | Storytelling 45 1 An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History 51 The Problematic: Writing Feminist Art Histories 52 The Model: Collective Knowledge Production 54 Writing Feminist Art Histories: 2010s 57 Notes 59 2 I Want a Dyke for President: Sounding out Zoe Leonard’s Manifesto for Art History’s Feminist Futures 61 The Time of the Manifesto 63 And I Want to Know Why This Isn’t Possible... 67 Read My Lips, Again 70 Notes 79 3 ‘Our Stories Are Our Life Blood’: Indigenous Feminist Memory and Storytelling as Strategy for Social Change 83 Memory 86 Storytelling 90 Social Change 95 Conclusion 97 Notes 99 Part II Visibility | Intervention | Refusal 103 4 Making Visible Lee Krasner’s Occupation: Feminist Art Historiography and the PollockKrasner Studio 107 Notes 121 5 Challenging Feminist Art History: Carla Lonzi’s Divergent Paths 124 From Art Criticism to Feminism 124 Critique of Knowledge 128 Male Creativity and Female Expression 132 Lonzi’s Withdrawal 135 Notes 141 6 This Moment: A Dialogue on Participation, Refusal and History Making 144 Notes 159 Part III Spatiality | Occupation | Home 163 7 The Salon Model: The Conversational Complex 167 Notes 180 8 Los Angeles, 1972/ Glasgow, 1990: A Report on Castlemilk Womanhouse 184 Reclaiming History: Castlemilk Womanhouse and Womanhouse, Los Angeles 185 Classing Womanhouse 190 Feminist Resonances: Collaboration and Separatism 1972/90 194 Notes 199 9 A Case Study on Social Reproduction in Feminist Art History 203 From Housework to Housing 203 Social Reproduction and the Feminisation of Survival 206 Home Truths: in and around the City 209 Relational Documents 211 Bringing it Back Home: Life at the Frontier 214 Notes 217 Part IV Temporality | Ghosts | Returns 223 10 Temporalities of the ‘Feminaissance’ 227 Returns and Revivals 227 On Not Translating ‘Feminist Art’ 230 The Political Grammar of Curating 1: Venice, 2005 233 The Political Grammar of Curating 2: Rome, 2010 236 The Political Grammar of Curating 3: Bologna, 2013 240 Conclusion 244 Notes 245 11 Gestures of Inclusion, Bodily Damage and the Hauntings of Exploitation in 250 A Striking Juxtaposition 252 Seeing Progress 260 Feminist Globalisation 264 The Affective Labour of the Image 268 The Haunting of Feminism 272 Conclusion 275 Notes 276 12 Learning and Playing: Reenacting Feminist Histories 280 The Learning Play 283 The Emily Davison Lodge 287 Women and Work 289 A Time of One’s Own 290 Notes 297 Index 303