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Rape Culture on Campus
Rape Culture on Campus explores how existing responses to sexual violence on college and university campuses fail to address religious and cultural dynamics that make rape appear normal, dynamics imbedded in social expectations around race, class, gender, sexuality, and disability. Rather than dealing with these complex dynamics, responses to sexual violence on college campuses focus on implementing changes in one-time workshops. As an alternative to quick solutions, this book argues that long-term classroom interventions are necessary in order to understand religious and cultural complexities and effectively respond to this crisis. Written for educators, administrators, activists, and students, Rape Culture on Campus provides an accessible cultural studies approach to rape culture that complements existing social science approaches, an intersectional and interdisciplinary analysis of rape culture, and offers practical, classroom-based interventions.
Art, Feminism, and Community
"How do artists, communities, and art connect with one another? How might multiple feminist views be used to interpret art? Art, Feminism, and Community: Feminist Art Histories from Turkey, 1973-1998 examines the lives and communities of artists and their works from Turkey. It suggests that feminisms shape artists' relationships and practices. It analyses seven major case studies and details rarely seen paintings, installations, photographs, drawings, batik, and performance art from 1973 to 1998. The work brings together twenty artists and cultural figures in a world of multifaceted relationships that influence the creation of new art. Uncovering familial, professional, and friendship links, it recreates transnational networks, intellectual collectives, political alliances, and ethnic communities. It demonstrates how artists have analysed their own experiences in their works, reflecting the effects of their communities and lives, even though these themes have been mostly overlooked in Turkish art history."--
Transnational Perspectives on Feminism and Art, 1960-1985
Transnational Perspecives on Feminism and Art, 1960–1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s. The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book’s central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today. The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.
Contemporary Art and Feminism
This important new book examines contemporary art while foregrounding the key role feminism has played in enabling current modes of artmaking, spectatorship and theoretical discourse. Contemporary Art and Feminism carefully outlines the links between feminist theory and practice of the past four decades of contemporary art and offers a radical re-reading of the contemporary movement. Rather than focus on filling in the gaps of accepted histories by ‘adding’ the ‘missing’ female, queer, First Nations and women artists of colour, the authors seek to revise broader understandings of contemporary practice by providing case studies contextualised in a robust art historical and theoretical basis. Readers are encouraged to see where art ideas come from and evaluate past and present art strategies. What strategies, materials or tropes are less relevant in today’s networked, event-driven art economies? What strategies and themes should we keep hold of, or develop in new ways? This is a significant and innovative intervention that is ideal for students in courses on contemporary art within fine arts, visual studies, history of art, gender studies and queer studies.
In and Out of View
In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, labor, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.
Iconic Works of Art by Feminists and Gender Activists
In this book, contributors identify and explore a range of iconic works – "Mistress-Pieces" – that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison d’être, its contributors interpret a "Mistress-Piece" as a work that has proved influential in a particular context because of its distinctiveness and relevance. Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known – those by Natalia LL, Tanja Ostojić, Swoon, Clara Menéres, Diane Victor, Usha Seejarim, Ilse Fusková, Phaptawan Suwannakudt □and Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused on gender. The book will be of interest to scholars working in art history, visual studies and gender studies.
French Women Orientalist Artists, 1861–1956
This book is the first full-length study dedicated to French women Orientalist artists. Mary Kelly has gathered primary documentation relating to seventy-two women artists whose works of art can be placed in the canon of French Orientalism between 1861 and 1956. Bringing these artists together for the first time and presenting close contextual analyses of works of art, attention is given to artists’ cross-cultural interactions with painted/sculpted representations of the Maghreb particularly in Algeria, Tunisia and Morocco. Using an interdisciplinary ‘open platform of discussion’ approach, Kelly builds on established theory which places emphases on the gendered gaze. This entails a dis...
The Force of Witness
In The Force of Witness Rosa-Linda Fregoso examines the contra feminicide movement in Mexico and other feminist efforts to eradicate gender violence. Drawing on interviews, art, documentaries, and her years of activism, Fregoso traces the micro and macro scales of misogyny and the patterns of state complicity with gender violence. She shows how different forms of witnessing—from activist-mothers’ bearing witness to the memories of their daughters and expert witnesses in court cases to communal witnessing and a scholar-activist-citizen witnessing her own actions—are key to resisting feminicidal violence. Fregoso situates these forms of witness in the histories, contexts, structures, bodies, and intersectional struggles they emerge from. By outlining the complexities of feminicidal violence in relation to witnessing processes, Fregoso challenges the notion of witness as an individual or autonomous subject inscribed solely in the legal or religious arenas. Rather, she theorizes witness as a force of collectivity and a constellation of multiple social locations and intersectional practices that work together to abolish feminicidal violence.
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A Companion to Contemporary Art in a Global Framework
A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions....
