Great collection from for top feminist art historians and thinkers Includes Griselda Pollock and Mieke Bal International perspective focusing on gender and race

In Generations and Geographies in the Visual Achallenge of Arts: Feminist Readings the challenge of contemporary feminist theory encounters the provocation of the visual arts made by women in the twentieth century. The major issue is difference: sexual, cultural and social. The book points to the singularity of each artist's creative negotiation of time and historical and political circumstance. Griselda Pollock calls attention to the significance of place, location and cultural diversity, connecting issues of sexuality to those of nationality, imperialism, migration, diaspora and genocide.

This book provides the first sustained critical exploration, and celebration, of the relationship between Geography and the contemporary Visual Arts. With the growth of research in the Geohumanities and the Spatial Humanities, there is an imperative to extend and deepen considerations of the form and import of geography-art relations. Such reflections are increasingly important as geography-art intersections come to encompass not only relationships built through interpretation, but also those built through shared practices, wherein geographers work as and with artists, curators and other creative practitioners. For Creative Geographies features seven diverse case studies of artists’ works and exhibitions made towards the end of the twentieth and the beginning of the twentieth-first century. Organized into three analytic sections, the volume explores the role of art in the making of geographical knowledge; the growth of geographical perspectives as art world analytics; and shared explorations of the territory of the body, In doing so, Hawkins proposes an analytic framework for exploring questions of the geographical “work” art does, the value of geographical analytics in exploring the production and consumption of art, and the different forms of encounter that artworks develop, whether this be with their audiences, or their makers.

The past decade has witnessed a remarkable resurgence in the intellectual interplay between geography and the humanities in both academic and public circles. The metaphors and concepts of geography now permeate literature, philosophy and the arts. Concepts such as space, place, landscape, mapping and territory have become pervasive as conceptual frameworks and core metaphors in recent publications by humanities scholars and well-known writers. Envisioning Landscapes, Making Worlds contains over twenty-five contributions from leading scholars who have engaged this vital intellectual project from various perspectives, both inside and outside of the field of geography. The book is divided into four sections representing different modes of examining the depth and complexity of human meaning invested in maps, attached to landscapes, and embedded in the spaces and places of modern life. The topics covered range widely and include interpretations of space, place, and landscape in literature and the visual arts, philosophical reflections on geographical knowledge, cultural imagination in scientific exploration and travel accounts, and expanded geographical understanding through digital and participatory methodologies. The clashing and blending of cultures caused by globalization and the new technologies that profoundly alter human environmental experience suggest new geographical narratives and representations that are explored here by a multidisciplinary group of authors. This book is essential reading for students, scholars, and interested general readers seeking to understand the new synergies and creative interplay emerging from this broad intellectual engagement with meaning and geographic experience.

How have issues of place and identity, of belonging and exclusion, been represented in visual culture? Irit Rogoff uses the work of contemporary artists to explore how art in the twentieth century has confronted issues of identity and belonging.

Feminism Reframed: Reflections on Art and Difference addresses the on-going dialogue between feminism, art history and visual culture from contemporary scholarly perspectives. Over the past thirty years, the critical interventions of feminist art historians in the academy, the press and the art world have not only politicised and transformed the themes, methods and conceptual tools of art history, but have also contributed to the emergence of new interdisciplinary areas of investigation, including notably that of visual culture. Although the impact of such fruitful transformations is indisputable, their exact contribution to contemporary scholarship remains a matter for debate, not least because feminism itself has changed significantly since the Women’s Liberation Movement. Feminism Reframed reviews and revises existing feminist art histories but also reasserts the need for continuous feminist interventions in the academy, the art world and beyond. With contributions by Anthea Behm, Alisia Grace Chase, Jennifer G. Germann, Catherine Grant, Joanne Heath, Ruth Hemus, Alexandra Kokoli, Beth Anne Lauritis, Griselda Pollock, Karen Roulstone, Anne Swartz and Sue Tate. “Coming at the moment when contemporary art practices are themselves involved in re-cycling, re-evaluating and re-enacting the past, this collection asks how feminism’s own ‘troubled’ histories can be reframed productively in the present. The questions that feminism raised in the 1970s and 80s are still pertinent, and are addressed in a number of original essays: What does gender equality mean in the arts? How can women’s subjectivities be articulated or performed differently in art practices? Can attention to gender enable us to engage with complex differences of race, sexuality and class, of age and generation? Do we need new interpretative and conceptual models for writing about art? Alexandra Kokoli’s thoughtful and illuminating introduction reminds us that reframing is a risky but exciting business if it makes us ask these questions anew, with attention to the politics and aesthetics of the present.” —Rosemary Betterton, Lancaster University