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.

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

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

Featuring sixty-seven illustrations, and providing an important reckoning and visualization of the previously hidden Jewish 'ghosts' within US art, Jewish Identities in American Feminist Art addresses the veiled role of Jewishness in the understanding of feminist art in the United States. From New York city to Southern California, Lisa E. Bloom situates the art practices of Jewish feminist artists from the 1970s to the present in relation to wider cultural and historical issues. Key themes are examined in depth through the work of contemporary Jewish artists including: Eleanor Antin Judy Chicago Deborah Kass Rhonda Lieberman Martha Rosler and many others. Crucial in any study of art, visual studies, women's studies and cultural studies, this is a new and lively exploration into a vital component of US art.

This book provides a thorough interdisciplinary analysis of the ways in which artists have engaged with political and feminist grassroots movements to characterise a new direction in the production of feminist art. The authors conceptualise feminist art in Turkey through the lens of feminist philosophy by offering a historical analysis of how feminism and art interacts, analysing emerging feminist artwork and exploring the ways in which feminist art as a form opens alternative political spaces of social collectivities and dissent, to address epistemic injustices. The book also explores how the global art and feminist movements (particularly in Europe) have manifested themselves in the art scenery of Turkey and argues that feminist art has transformed into a form of political and protest art which challenges the hegemonic masculinity dominating the aesthetic debates and political sphere. It is an invaluable reading for students and scholars of sociology of art, gender studies and political sociology.

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.