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Working with Feminism: Curating and Exhibitions in Eastern Europe
This edited collection, bringing together art historians and curators working both in the ‘East’ and the ‘West’ of Europe, is a result of a growing interest in the theorisation and historical analysis of feminist curating as a distinct practice with its own transnational history and politics. In most former state-socialist countries of Eastern Europe, the emergence and public visibility of feminist curating and exhibitions usually dates back to the 1990s and is associated with the radical transformation of art practices, ideologies and art systems as well as with wider socio-political and intellectual changes, and challenges, of post-socialist transition. This history, and its legacy...
Before Tito
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I Luoghi Nostri
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Gender Check
Gender Check is the first comprehensive exhibition featuring art from Eastern Europe since the 1960s based on the theme of gender roles. 20 years after the fall of the Berlin Wall, the curator Bojana Peji?, along with a team of experts from 24 different countries, has put together a selection of over 400 works including paintings, sculpture, installations, photography, posters, films and videos. With over 200 artists, the exhibition paints an exceptionally diverse picture of a chapter in art history that until recently had been largely unknown and that could also act as an important addition to contemporary gender discourse. Published on the occasion of the exhibition in 2009/10 at Museum Moderner Kunst Stiftung Ludwig, Vienna, and at Zacheta National Gallery of Art, Warsaw. English text.
Encounters in the Virtual Feminist Museum
Continuing her feminist reconceptualisation of the ways we can experience and study the visual arts, world renowned art historian and cultural analyst, Griselda Pollock proposes a series of new encounters through virtual exhibitions with art made by women over the twentieth century. Challenging the dominant museum models of art and history that have been so exclusive of women's artistic contributions to the twentieth century, the virtual feminist museum stages some of the complex relations between femininity, modernity and representation. Griselda Pollock draws on the models of both Aby Warburg's Mnemosyne Atlas and Freud's private museum of antiquities as well as Ettinger's concept of subjectivity as encounter to propose a differencing journey through time, space and archive. Featuring studies of Canova 's Three Graces and women artist's modernist reclamations of the female body, the book traverses the rupture of fascism and the Holocaust and ponders the significance of painting and drawing in their aftermath. Artists featured include: Georgia O'Keeffe, Josephine Baker, Gluck, Charlotte Salomon, Bracha Ettinger and Christine Taylor Patten.
Baltic Suicide Paradox
“Connecting Paradigms of Motor Behaviour to Sport and Physical Education” presents recent articles that examine theoretical and empirical research on the learning and teaching of motor skills. The development of the book is based on the effect of synergism – a phenomenon whereby the cooperative interaction of multiple psychological, pedagogical, and biological ideas, drawn from the systemic model, produces an outcome that is superior to that which could be expected from knowledge derived from the independent contributions of these disciplines. For students, researchers and teachers working in the fields of sports and physical education, this book should promote a deeper understanding of previous knowledge, and provide exposure to ideas that frame new perspectives related to the acquisition of skills and motor learning.
Private Views
This richly illustrated work offers a compelling account of contemporary art, culture, gender, and difference in the changing geographies of Europe. Writers from Britain and Estonia draw on art history, geography, social history, and cultural studies to engage current debates about the production and reception of new art across cultural frames.
Feminisms is Still Our Name
Feminisms have played a crucial part in art historical and curatorial practices over the last 40 years. From a variety of perspectives, the editors and contributors to this book initiate a much-needed debate about possible strategies for a renewal of feminisms in art history and curating.
