Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.

First Published in 1997. This book is intended as a resource for anyone interested in the artistic contributions and activities of women in nineteenth-century Britain. It is an index as well as an annotated bibliography and provides sources for information about women well known in their own time and about women who were little known then and are forgotten now

This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.

This new book integrates material drawn from a variety of sources - feminist theory, cultural and literary analysis, sociology and art history - in an original discussion of women's relationship to modern and post-modern culture. The essays in the book challenge the continuing separation of sociological from textual analysis in cultural (and feminist) theory and enquiry. They address critically the question of women's writing, exploring the idea that women may begin to define their own lives and construct their identities in a patriarchal culture through the very process of writing. They also present a cogent defence of a feminist cultural politics, including a politics of the body.

In Postmodern Dilemmas: Outrageous Essays in Art&Art Education and Pun(k) Deconstruction: Experifigural Writings in Art&Art Education, jan jagodzinski presents a series of essays covering a timespan of approximately ten years. These essays chart the theory and practice of art&art education as it relates to issues of postmodernity and poststructuralism concerning representation, identity politics, consumerism, postmodern architecture, ecology, phallocentrism of the artistic canon, pluriculturalism, media and technology, and AIDS. As a former editor of The Journal of Social Theory in Art Education and a founding member for the Caucus on Social Theory in Art Education, the author attempts to deconstruct the current art education paradigm, which is largely based on modernist tenets, and to reorient art education practice to social issues as developed in both media education and cultural studies. Part of the intent in these two volumes is to undertake a sustained critique of the 1982 Art in the Mainstream (A.I.M.) statement, which continues to be considered as the core value for art education. The distinct intention of this critique is to put forward a new value base for art&art education in these postmodern times. Many of the essays raise the need to be attentive to sex/gender issues in art&art education and the need to read the artistic discourse "otherwise." There is a sustained critique of the art programs developed by the Getty Center for the Arts, whose arts curriculum presents the paradigm case of late modernist thinking. Some essays are written in a provocative form that tries to accommodate such content. This is particularly the case in Pun(k) Deconstruction, where architectural discourse is deconstructed, and which includes an "artistic performance" given by the author in 1987. This singular set of volumes combines scholarship in the areas of gender studies, aesthetics, art history, art education, poststructuralism, and cultural studies in a unique blend of theory and practice for rethinking the field of art education.

This volume offers a broad reflection on women's engagement in ritual and liturgy. The Central Theme section opens with a multi-faith dialogue on women and ritual. Denise J.J. Dijk discusses the Feminist Liturgical Movement in the Netherlands and the US. Teresa Berger explores the implications of the ancient axiom "lex orandi, lex credendi" for women's liturgical practice. Brigitte Enzner-Probst considers the role of the body in worship. Annette Esser encourages dynamic dialogue between women artists and women engaged in liturgy. Gabriella Lettini examines the concept of syncretism in the light of the relationship between gospel and culture. The Forum focuses on translation: Judith Hartenstein and Silke Petersen highlight the problems of inclusive-language translation of St John's Gospel, while Caroline Vander Stichele presents recent discussions of the Dutch translation of JHWH. In Women's Traditions, Rosine Lambin traces the adoption of the veiling of women in the early church. Bettina Kratz-Ritter discusses the decline and modern renewal of ancient Jewish women's birth rites intended to protect the newborn child. From the countries, Angela Berlis tracks the evolution of the German Old Catholic 'Women's Sunday' service from 1920 to the present. Charlotte Methuen reflects on issues of power and authority raised by women's presidency at the Eucharist. Finally, the Book Market lists recently-published works as well as reviews.