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This important new book examines contemporary art while
foregrounding the key role feminism has played in enabling current
modes of artmaking, spectatorship and theoretical discourse.
Contemporary Art and Feminism carefully outlines the links between
feminist theory and practice of the past four decades of
contemporary art and offers a radical re-reading of the
contemporary movement. Rather than focus on filling in the gaps of
accepted histories by 'adding' the 'missing' female, queer, First
Nations and women artists of colour, the authors seek to revise
broader understandings of contemporary practice by providing case
studies contextualised in a robust art historical and theoretical
basis. Readers are encouraged to see where art ideas come from and
evaluate past and present art strategies. What strategies,
materials or tropes are less relevant in today's networked,
event-driven art economies? What strategies and themes should we
keep hold of, or develop in new ways? This is a significant and
innovative intervention that is ideal for students in courses on
contemporary art within fine arts, visual studies, history of art,
gender studies and queer studies.
When the body is foregrounded in artwork - as in much contemporary
performance, sculptural installation and video work - so is
gendered and sexualised difference. Feminist Perspectives on Art:
Contemporary Outtakes looks to interactions between art history,
theory, curation, and studio-based practices to theorise the
phenomenological import of this embodied gender difference in
contemporary art. The essays in this collection are rooted in a
wide variety of disciplines, including art-making, curating, and
art history and criticism, with many of the authors combining roles
of curator, artist and writer. This interdisciplinary approach
enables the book to bridge the theory-practice divide and highlight
new perspectives emerging from creative arts research. Fresh
insights are offered on feminist aesthetics, women's embodied
experience, curatorial and art historical method, art world equity,
and intersectional concerns. It engages with epistemological
assertions of 'how the body feels', how the land has creative
agency in Indigenous art, and how the use of emotional or affective
registers may form one's curatorial method. This anthology
represents a significant contribution to a broader resurgence of
feminist thought, methodology, and action in contemporary art,
particularly in creative practice research. It will be of
particular value to students and researchers in art history, visual
culture, cultural studies, and gender studies, in addition to
museum and gallery professionals specialising in contemporary art.
This important new book examines contemporary art while
foregrounding the key role feminism has played in enabling current
modes of artmaking, spectatorship and theoretical discourse.
Contemporary Art and Feminism carefully outlines the links between
feminist theory and practice of the past four decades of
contemporary art and offers a radical re-reading of the
contemporary movement. Rather than focus on filling in the gaps of
accepted histories by 'adding' the 'missing' female, queer, First
Nations and women artists of colour, the authors seek to revise
broader understandings of contemporary practice by providing case
studies contextualised in a robust art historical and theoretical
basis. Readers are encouraged to see where art ideas come from and
evaluate past and present art strategies. What strategies,
materials or tropes are less relevant in today's networked,
event-driven art economies? What strategies and themes should we
keep hold of, or develop in new ways? This is a significant and
innovative intervention that is ideal for students in courses on
contemporary art within fine arts, visual studies, history of art,
gender studies and queer studies.
When the body is foregrounded in artwork - as in much contemporary
performance, sculptural installation and video work - so is
gendered and sexualised difference. Feminist Perspectives on Art:
Contemporary Outtakes looks to interactions between art history,
theory, curation, and studio-based practices to theorise the
phenomenological import of this embodied gender difference in
contemporary art. The essays in this collection are rooted in a
wide variety of disciplines, including art-making, curating, and
art history and criticism, with many of the authors combining roles
of curator, artist and writer. This interdisciplinary approach
enables the book to bridge the theory-practice divide and highlight
new perspectives emerging from creative arts research. Fresh
insights are offered on feminist aesthetics, women's embodied
experience, curatorial and art historical method, art world equity,
and intersectional concerns. It engages with epistemological
assertions of 'how the body feels', how the land has creative
agency in Indigenous art, and how the use of emotional or affective
registers may form one's curatorial method. This anthology
represents a significant contribution to a broader resurgence of
feminist thought, methodology, and action in contemporary art,
particularly in creative practice research. It will be of
particular value to students and researchers in art history, visual
culture, cultural studies, and gender studies, in addition to
museum and gallery professionals specialising in contemporary art.
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