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Feminism and art --- Feminist art criticism --- Authorship --- Kelly, Mary, - 1941-

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Feminism in art. --- Feminism --- Feminist art criticism. --- Political aspects.

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"This book, however, comes to the term 'feminist art' from a different direction. As editors, we have approached 'art' as a dynamic set of material and theoretical practices in the realm of culture, and 'feminism' as an equally dynamic set of activist and theoretical practices in the realm of politics. Given that culture and politics constantly intersect and work upon each other, 'feminist art' for us is the space and place - the site - where feminist politics and the domain of art-making intersect"-- "The term 'feminist art' is often misused when viewed as a codification within the discipline of Art History--a codification that includes restrictive definitions of geography, chronology, style, materials, influence, and other definitions inherent to Art Historical and museological classifications. Employing a different approach, A Companion to Feminist Art defines 'art' as a dynamic set of material and theoretical practices in the realm of culture, and 'feminism' as an equally dynamic set of activist and theoretical practices in the realm of politics. Feminist art, therefore, is not a simple classification of a type of art, but rather the space where feminist politics and the domain of art-making intersect. The Companion provides readers with an overview of the developments, concepts, trends, influences, and activities within the space of contemporary feminist art--in different locations, ways of making, and ways of thinking. Newly-commissioned essays focus on the recent history o f and current discussions within feminist art. Diverse in scope and style, these contributions range from essays on the questions and challenges of large sectors of artists, such as configurations of feminism and gender in post-Cold War Europe, to more focused conversations with women artists on Afropean decoloniality. Ranging from discussions of essentialism and feminist aesthetics to examinations of political activism and curatorial practice, the Companion informs and questions readers, introduces new concepts and fresh perspectives, and illustrates just how much more there is to discover within the realm of feminist art. Addresses the intersection between feminist thinking and major theories that have influenced art theory Incorporates diverse voices from around the world to offer viewpoints on global feminisms from scholars who live and work in the regions about which they write Examines how feminist art intersects with considerations of collectivity, war, maternal relationships, d esire, men, and relational aesthetics Explores the myriad ways in which the experience of inhabiting and perceiving aged, raced, and gendered bodies relates to feminist politics in the art world Discusses a range practices in feminism such as activism, language, education, and different ways of making art The intersection of feminist art-making and feminist politics are not merely components of a unified whole, they sometimes diverge and divide. A Companion to Feminist Art is an indispensable resource for artists, critics, scholars, curators, and anyone seeking greater strength on the subject through informed critique and debate."--from back cover

Feminism in art. --- Feminism --- Feminist art criticism. --- Political aspects. --- Feminism in art --- Feminist art criticism --- Political aspects --- Art criticism --- Feminist criticism --- Feminism and art. --- Feminism - Political aspects

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In the late 1880s Gauguin, Van Gogh and Bernard, fledgling members of the subculture we call the avant-garde, abandoned Paris, the capital of modernity, to seek out in rural Brittany, Provence - and later in Tahiti - what Van Gogh called "a purer nature of the countryside". Griselda Pollock challenges art history's usual interpretations of this search for an "art of consolation" in the distant and exotic regions by arguing that these artists were cultural colonizers. They exhibited the modern tourist's attachement to home - modern Paris and its art worlds - while being fascinated by what they imagined was a pre-modern "other". Through a thorough textual and social reading of Gauguin's 1892 painting of his Tahitian wife, Manao Tupapau, the author proposes a new theory about the avant-garde as a series of gambits, a game of reference, deference and difference. This painting refers and defers to Manet's Olympia (1863), a notorious avant-garde image of prostitution in the modern city. Where it was seen to differ was in the colour of the nude : critics named it a "brown Olympia". Careful deconstruction of this epithet allows Professor Pollock to explore the ways in which racist discourse structures art and art history, posing questions of cultural, sexual and ethnic difference in order to make us all self-critical, not only in regard to the gender, but also to the colour of art history.

Women in art --- Avant-garde (Aesthetics) --- Post-impressionism (Art) --- Art and race --- Feminist art criticism

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Includes articles and book reviews; with links to bibliographies of books and magazines on women's art, and to listings of women's art organizations, archives and Internet sites.

Feminism and art --- Feminist art criticism --- Women artists --- Feminism and art. --- Feminist art criticism. --- Women artists. --- Artists, Women --- Women as artists --- Art and feminism --- Artists --- Art criticism --- Feminist criticism --- Art