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Is gender implicated in how art does its work in the world created
by global capital? Is a global imperative exclusive to capital's
planetary expansion or also witnessed in oppositional practices in
art and curating? And what is new in the gendered paradigms of art
after the fall of the Berlin Wall? Angela Dimitrakaki addresses
these questions in an insightful and highly original analysis of
travel as artistic labour, the sexualisation of migration as a
relationship between Eastern and Western Europe, the rise of female
collectives, masculinity and globalisation's 'bad boys', the
emergence of a gendered economic subject that has dethroned
postmodernism, and the need for a renewed materialist feminism. Now
available in paperback, this is a theoretically astute overview of
developments in art and its contexts since the 1990s and the first
study to attempt a critical refocusing of feminist politics in art
history in the wake of globalisation. It will be essential reading
in art history, gender, feminist and globalisation studies,
curatorial theory, cultural studies and beyond. -- .
What happens to art when feminism grips the curatorial imagination?
How do sexual politics become realised as exhibits? Is the struggle
against gender discrimination compatible with the aspirations of
museums led by market values? Beginning with the feminist critique
of the art exhibition in the 1970s and concluding with reflections
on intersectional curating and globalisation after 2000, this
pioneering collection offers an alternative narrative of feminism's
impact on art. The essays provide rigorous accounts of developments
in Scandinavia, Eastern and Southern Europe as well as the UK and
US, framed by an introduction which offers a politically engaging
navigation of historical and current positions. Delivered through
essays, memoirs and interviews, discussion highlights include the
Tate Modern hang, relational aesthetics, the global exhibition,
feminism and technology in the museum, the rise of curatorial
collectivism, and insights into major exhibitions such as Gender
Check on Eastern Europe. Bringing together two generations of
curators, artists and historians to rethink distinct and unresolved
moments in the feminist re-modelling of art contexts, this volume
dares to ask: is there a history of feminist art or one of feminist
presentations of artworks? Contributors include Deborah Cherry, Jo
Anna Isaak, Malin Hedlin Hayden, Lubaina Himid, Amelia Jones, Kati
Kivimaa, Alexandra Kokoli, Kuratorisk Aktion, Suzana Milevska,
Suzanne Lacy, Lucy Lippard, Sue Malvern, Nancy Proctor, Bojana
Pejic, Helena Reckitt, Jessica Sjoeholm Skrubbe, Jeannine Tang and
Catherine Wood.
What happened in art following the consolidation of capitalist
globalisation after 1989? Drawing on work in art history, curating,
critical theory, political economy and sociology, essays in
Economy: Art, Production and the Subject in the 21st Century frame
and substantiate the increasing attendance to economic relations as
a defining trend in contemporary art's history and one that brought
to an end the hegemony of the cultural subject encountered in
postmodern discourse. Contributions include reflections on art in
its relation to property as well as to speculation and finance,
immaterial labour and the avant-garde, the lessons of the past in
pursuing an aesthetics of the economy, the ethics of care and the
role of the art document, queer politics and class, the new
feminist critique of economic subjects, migration, precarity and
empowerment, the ambivalence of the commons, and a range of
perspectives on the possibility of opposition, in the art world and
beyond, to the biopolitical rule of global capital as the arbiter
of human relations. Building on, extending and querying the
curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book
puts forward a proposition that cuts across a number of 'turns' in
the art of the past two decades, including socially engaged
practices, seeking to connect localised approaches with the broader
organisation of production and the unprecedented apparentness of
the economy in the passage from the 20th to the 21st century.
Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie
Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos &
Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano,
Gregory Sholette, Marina Vishmidt. Editors: Angela Dimitrakaki is
Senior Lecturer in Contemporary Art History and Theory at the
University of Edinburgh Kirsten Lloyd is Teaching Fellow in History
of Art at the University of Edinburgh and Associate Curator at
Stills, Edinburgh
Is gender implicated in how art does its work in the world created
by global capital? Is a global imperative exclusive to capital's
planetary expansion or also witnessed in oppositional practices in
art and curating? And what is new in the gendered paradigms of art
after the fall of the Berlin Wall? Angela Dimitrakaki addresses
these questions in an insightful and highly original analysis of
travel as artistic labour, the sexualisation of migration as a
relationship between Eastern and Western Europe, the rise of female
collectives, masculinity and globalisation's 'bad boys', the
emergence of a gendered economic subject that has dethroned
postmodernism, and the need for a renewed materialist feminism.
This is a theoretically astute overview of developments in art and
its contexts since the 1990s and the first study to attempt a
critical refocusing of feminist politics in art history in the wake
of globalisation. It will be essential reading in art history,
gender, feminist and globalisation studies, curatorial theory,
cultural studies and beyond. -- .
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