{"product_id":"feminism-art-theory-9781118360590","title":"Feminism Art Theory","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\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 a\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\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\u003e• Valerie Solanas, ‘Scum Manifesto’ (1968) 12\u003c\/p\u003e \u003cp\u003e• Shulamith Firestone, ‘(Male) Culture’ (1970) 13\u003c\/p\u003e \u003cp\u003e• Sherry B. Ortner, ‘Is Female to Male as Nature is to Culture?’ (1972) 17\u003c\/p\u003e \u003cp\u003e• Carolee Schneemann, ‘From Tape no. 2 for Kitch’s Last Meal’(1973) 26\u003c\/p\u003e \u003cp\u003e1.2 Curating Feminisms 28\u003c\/p\u003e \u003cp\u003e• Cornelia Butler, ‘Art and Feminism: An Ideology of Shifting Criteria’ (2007) 28\u003c\/p\u003e \u003cp\u003e• Xabier Arakistain, ‘Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism’ (2007) 33\u003c\/p\u003e \u003cp\u003e• Mirjam 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\u003e• Women’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\u003e• Monica Sjöö, ‘Art is a Revolutionary Act’ (1980) 52\u003c\/p\u003e \u003cp\u003e• Guerrilla Girls, ‘The Advantages of Being a Woman Artist’ (1988) 54\u003c\/p\u003e \u003cp\u003e• Mary Beth Edelson, ‘Male Grazing: An Open Letter to Thomas McEvilley’ (1989) 54\u003c\/p\u003e \u003cp\u003e• Lubaina Himid, ‘In the Woodpile: Black Women Artists and the Modern Woman’ (1990) 60\u003c\/p\u003e \u003cp\u003e• Jerry Saltz, ‘Where the Girls Aren’t’ (2006) 62\u003c\/p\u003e \u003cp\u003e• East London Fawcett, ‘The Great East London Art Audit’ (2013) 64\u003c\/p\u003e \u003cp\u003e2.2 Towards Feminist Structures 66\u003c\/p\u003e \u003cp\u003e• WEB (West–East Coast Bag), ‘Consciousness‐Raising Rules’ (1972) 66\u003c\/p\u003e \u003cp\u003e• Women’s Workshop, ‘A Brief History of the Women’s Workshop of the Artist’s Union 1972–1973’ (c. 1973) 67\u003c\/p\u003e \u003cp\u003e• Martha Rosler, ‘Well, is the Personal Political?’ (1980) 68\u003c\/p\u003e \u003cp\u003e• Lucy Lippard, ‘Trojan Horses: Activist Art and Power’ (1984) 69\u003c\/p\u003e \u003cp\u003e• Anne Marsh, ‘A Theoretical and Political Context’ (1985) 79\u003c\/p\u003e \u003cp\u003e• Xabier Arakistain et al., ARCO Manifesto: ‘Politics of Equality between Men and Women in the Art World’ (2005) 85\u003c\/p\u003e \u003cp\u003e• Parliament 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\u003e• Mierle Laderman Ukeles, ‘Manifesto for Maintenance Art, 1969!’ (1969) 88\u003c\/p\u003e \u003cp\u003e• Leslie Labowitz‐Starus and Suzanne Lacy, ‘In Mourning and in Rage …’ (1978) 91\u003c\/p\u003e \u003cp\u003e• Zoe Leonard, ‘I Want a President’ (1992) 95\u003c\/p\u003e \u003cp\u003e• Andrea Fraser, ‘There’s No Place like Home’ (2012) 96\u003c\/p\u003e \u003cp\u003e• Nadezhda Tolokonnikova, ‘Opening Courtroom Statement by Nadya’ (2013) 102\u003c\/p\u003e \u003cp\u003e2.4 Education 106\u003c\/p\u003e \u003cp\u003e• Miriam Schapiro, ‘The Education of Women as Artists: Project Womanhouse’ (1972) 106\u003c\/p\u003e \u003cp\u003e• Lisa Tickner, ‘Retrospect’ (2008) 107\u003c\/p\u003e \u003cp\u003e• Griselda Pollock, ‘Opened, Closed and Opening: Reflections on Feminist Pedagogy in a UK University’ (2010) 114\u003c\/p\u003e \u003cp\u003e• Lisa 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\u003e• Linda Nochlin, ‘Why Have There Been No Great Women Artists?’ (1971) 134\u003c\/p\u003e \u003cp\u003e• Griselda Pollock, ‘Women, Art and Ideology: Questions for Feminist Art Historians’ (1983) 149\u003c\/p\u003e \u003cp\u003e• Mira Schor, ‘Patrilineage’ (1991) 159\u003c\/p\u003e \u003cp\u003e3.2 Feminist\/Writing 165\u003c\/p\u003e \u003cp\u003e• Carol Duncan, ‘Virility and Domination in Early Twentieth Century Vanguard Painting’ (1973) 165\u003c\/p\u003e \u003cp\u003e• Joan Borsa, ‘Frida Kahlo: Marginalization and the Critical Female Subject’ (1990) 169\u003c\/p\u003e \u003cp\u003e• Freida 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\u003e• Maureen Connor, ‘Working Notes: Conversation with Katy Deepwell’ (2002) 198\u003c\/p\u003e \u003cp\u003e• Martina 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\u003e• Judy Chicago, ‘Woman as Artist’ (1971) 223\u003c\/p\u003e \u003cp\u003e• Marjorie Kramer, ‘Some Thoughts on Feminist Art’ (1971) 225\u003c\/p\u003e \u003cp\u003e• Pat Mainardi, ‘A Feminine Sensibility?’ (1972) 227\u003c\/p\u003e \u003cp\u003e• Judith Stein, ‘For a Truly Feminist Art’ (1972) 228\u003c\/p\u003e \u003cp\u003e• Anne‐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\u003e• Rozsika Parker, ‘The Creation of Femininity’ (1984) 233\u003c\/p\u003e \u003cp\u003e• Catherine Harper, ‘I Need Tracey Emin Like I Need God’ (2004) 237\u003c\/p\u003e \u003cp\u003e• Stephanie Syjuco, ‘Anti‐Factory’ (2008) 240\u003c\/p\u003e \u003cp\u003e4.3 Painting 241\u003c\/p\u003e \u003cp\u003e• Katy Deepwell, ‘Paint Stripping’ (1994) 241\u003c\/p\u003e \u003cp\u003e• Alison Rowley, ‘Plan: Large Woman or Large Canvas? A Confusion of Size with Scale’ (1996) 246\u003c\/p\u003e \u003cp\u003e• Amy 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\u003e• Mitra Tabrizian, ‘The Blues: An Interview with Mitra Tabrizian Discussing her Latest Work with Alex Noble’ (1987) 255\u003c\/p\u003e \u003cp\u003e• Faith Wilding, ‘Where is the Feminism in Cyberfeminism?’ (1998) 260\u003c\/p\u003e \u003cp\u003e• Elisabeth Subrin, ‘Trashing “Shulie”: Remnants from Some Abandoned Feminist History’ (2006) 266\u003c\/p\u003e \u003cp\u003e• Alla Mitrofanova, ‘Cyberfeminism in History, Practice and Theory’ (2010) 271\u003c\/p\u003e \u003cp\u003e• Stéphanie 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\u003e• John Berger, Chapter 3 of Ways of Seeing (1972) 293\u003c\/p\u003e \u003cp\u003e• Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’ (1975) 300\u003c\/p\u003e \u003cp\u003e• Mary Kelly, Preface to Post‐Partum Document (1983) 310\u003c\/p\u003e \u003cp\u003e• Judith Williamson, ‘Images of “Woman”: The Photography of Cindy Sherman’ (1983) 314\u003c\/p\u003e \u003cp\u003e• Elizabeth Grosz, ‘Inscriptions and Body‐Maps: Representations and the Corporeal’ (1990) 320\u003c\/p\u003e \u003cp\u003e• Lynda Nead, ‘Framing the Female Body’ (1992) 322\u003c\/p\u003e \u003cp\u003e• Nelly 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\u003e• Lucy Lippard, ‘The Pains and Pleasures of Rebirth: European and American Women’s Body Art’ (1976) 340\u003c\/p\u003e \u003cp\u003e• Mary Duffy, ‘Disability, Differentness, Identity’ (1987) 343\u003c\/p\u003e \u003cp\u003e• VALIE EXPORT, ‘Aspects of Feminist Actionism’ (1989) 345\u003c\/p\u003e \u003cp\u003e• Orlan, ‘Intervention d’Orlan’ (1995) 361\u003c\/p\u003e \u003cp\u003e• Amelia 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\u003e• Barbara Rose, ‘Vaginal Iconology’ (1974) 376\u003c\/p\u003e \u003cp\u003e• Suzanne Santoro, ‘Towards New Expression’ (1974) 378\u003c\/p\u003e \u003cp\u003e• Joanna Frueh, ‘Feminism’ (1989) 379\u003c\/p\u003e \u003cp\u003e• Buseje 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\u003e• Chris Kraus, ‘May ’69’ (2011) 393\u003c\/p\u003e \u003cp\u003e6.2 Lesbian and Queer Practices 398\u003c\/p\u003e \u003cp\u003e• Monique Wittig, ‘The Straight Mind’ (1980) 398\u003c\/p\u003e \u003cp\u003e• Jan Zita Grover, ‘Framing the Questions: Positive Imaging and Scarcity in Lesbian Photographs’ (1991) 402\u003c\/p\u003e \u003cp\u003e• Shonagh Adelman, ‘Desire in the Politics of Representation’ (1993) 408\u003c\/p\u003e \u003cp\u003e• Ridykeulous, ‘Advantages of Being a Woman Lesbian Artist’ (2006) 410\u003c\/p\u003e \u003cp\u003e• Zanele Muholi, ‘Ngiyopha: A Photo‐biographical Project’ (2009) 410\u003c\/p\u003e \u003cp\u003e• Catherine 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\u003e• Kass Banning, ‘The Ties That Bind: Here We Go Again’ (1987) 440\u003c\/p\u003e \u003cp\u003e• Adrian Piper, ‘The Triple Negation of Colored Women Artists’ (1990) 444\u003c\/p\u003e \u003cp\u003e• Diane Losche, ‘Reinventing the Nude: Fiona Foley’s Museology’ (1999) 455\u003c\/p\u003e \u003cp\u003e• Jieun Rhee, ‘Performing the Other: Yoko Ono’s Cut Piece’ (2005) 461\u003c\/p\u003e \u003cp\u003e7.2 Political Violence 471\u003c\/p\u003e \u003cp\u003e• Jill 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\u003e• Tracey Rose, ‘The Cant Show’ (2007) 486\u003c\/p\u003e \u003cp\u003e• Tanja Ostojić, ‘Crossing Borders Series’ (2009) 488\u003c\/p\u003e \u003cp\u003e• Shirin Neshat, ‘Art in Exile’ (2010) 491\u003c\/p\u003e \u003cp\u003eIndex 494\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default 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