Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Feminism and Contemporary Art
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
The Artist's Joke
Jokes and humor in avant-garde and contemporary art, as discussed by writers and artists ranging from Freud and Picasso to Andrea Fraser, Guerilla Girls, and Slavoj Zizek.
Notes in Time
Artwork by Leon Golub, Nancy Spero. Edited by Maurice Berger. Text by Jo Anna Isaak.
Otherworlds
A collection of essays exploring the work of US artists Nancy Spero and Kiki Smith.
Feminism and Contemporary Art
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Black Sphinx
Edited and with introduction by John C. Welchman. Text by Jessica Chalmers, Janet Whitmore, Simon Critchley.
Jeanne Silverthorne
None
Renee Cox
Catalog of an exhibition held Oct. 10-Nov. 10, 2001.
Renegotiating the Body
What makes art 'feminist art'? There can be no essential feminist aesthetic, argues Kathy Battista in this exciting new art history, although feminist artists do have a unique aesthetic. Domesticity, the body, its traces, and sexuality have become prominent strands in contemporary feminist practice but where did these preoccupations begin and how did they come to signify a particular type of art? Kathy Battista's (re- ) engagement with the founding generation of female practitioners centres on 1970s London as the cultural hub from which a new art practice arose. Emphasizing the importance of artists including Bobby Baker, Anne Bean, Catherine Elwes, Rose English, Alexis Hunter, Hannah O'Shea and Kate Walker, and examining works such as Mary Kelly's "Post-Partum Document", Judy Clark's 1973 exhibition Issues and Cosey Fanni Tutti's "Prostitution", shown in 1976, Kathy Battista investigates some of the most controversial and provocative art from the era.
Sexual Politics
The essays in this volume, which is published in conjunction with an exhibition organized by UCLA at the Armand Hammer Museum of Art and Cultural Center, provide a major reevaluation of The Dinner Party and the debates that it has prompted, placing it within the broader context of art history and theory. Presenting works dating from the early 1960s to the present by other feminist artists, the book explores important issues raised in feminist art history and practice over the last thirty-five years. The works included make clear that The Dinner Party was produced within, and takes its meanings from, a historical matrix in which explorations of female sexuality, ideals of beauty, domesticity, violence against women, the questioning of male authority, the diversity of female experience, and other concerns have served as means of addressing issues of identity, oppression, and personal and social power.
