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.

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. -- .