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The 'beauties' - women of note - who were welcomed to the National
Portrait Gallery's early collection were those whose lives and
portraits were recognized as significant to the 'civil,
ecclesiastical and literary history of the nation'. This brief was
interpreted to include figures as diverse as the devout Lady
Margaret Beaufort, and the entertaining Lady Emma Hamilton.
History's Beauties, the first detailed study of this collection,
maps a culture of femininity that reframes the Victorian
fascination with women's domestic and sentimental presence by
locating it within a Parliament-centred 'national' culture.
Including an essay on the Gallery's Trustees, the book traces the
translation of their governors' culture to a public institution
through discussions of three themes in the National Portrait
Gallery's collection of women's portraits: portraits of the Royal
family and the cult of legitimacy in antiquities and in national
identity; the educated woman as model of domestic and national
cultivation; and finally the role of female beauty in defining
social and artistic power in nineteenth-century Britain. The first
monograph study of gender in a major museum, History's Beauties
engages themes of gender, national identity, class cultures, and
aesthetics in Victorian England to interpret the National Portrait
Gallery's fascinating collection.
This book presents over twenty authors' reflections on 'curating
care' - and presents a call to give curatorial attention to the
primacy of care for all life, and for more 'caring curating' that
responds to the social, ecological and political analysis of
curatorial caregiving. Social and ecological struggles for a
different planetary culture based on care and respect for the
dignity of life is reflected in contemporary curatorial practices
that explore human and nonhuman interdependence. The prevalence of
themes of care in curating is a response to a dual crisis: the
crisis of social and ecological care that characterizes global
politics, and the professional crisis of curating under the
pressures of the increasingly commercialized cultural landscape.
Foregrounding that all beings depend on each other for life and
survival, this book collects theoretical essays, methodological
challenges and case studies from curators working in different
global geographies to explore the range of ways in which curatorial
labour is rendered as care. Practicing curators, activists and
theorists situate curatorial labour in the context of today's
general care crisis. This volume answers to the call to more fully
understand how their transformative work allows for imagining the
future of bodily, social, and environmental care and the ethics of
interdependency differently.
Reflecting their own curatorial projects or analyzing
feminist-inspired exhibitions, the authors in this book elaborate
feminist curating as that which is inspired to challenge gender
politics within but also beyond the doors of the museum and
gallery. Connecting their wider feminist politics to their
curatorial practices, the book provides case studies of curatorial
practice that addresses the legacies of racialized and ethnic
violence including colonialism; that seeks to challenges the
state's regulation of citizenship and sexuality; and which realizes
the drive for economic justice in the organizations and roles in
which curators work. The settings in which this work is done range
from university art galleries to artist-run spaces and educational
or activist programmes. This collection will be enjoyed by those
studying and researching curating, exhibitions, socially and
ecologically engaged contemporary art practices, and feminist
transnational movements in diverse geographic contexts. The essays
are of relevance to practicing curators, critical cultural
practitioners and artists.
The 'beauties' - women of note - who were welcomed to the National
Portrait Gallery's early collection were those whose lives and
portraits were recognized as significant to the 'civil,
ecclesiastical and literary history of the nation'. This brief was
interpreted to include figures as diverse as the devout Lady
Margaret Beaufort, and the entertaining Lady Emma Hamilton.
History's Beauties, the first detailed study of this collection,
maps a culture of femininity that reframes the Victorian
fascination with women's domestic and sentimental presence by
locating it within a Parliament-centred 'national' culture.
Including an essay on the Gallery's Trustees, the book traces the
translation of their governors' culture to a public institution
through discussions of three themes in the National Portrait
Gallery's collection of women's portraits: portraits of the Royal
family and the cult of legitimacy in antiquities and in national
identity; the educated woman as model of domestic and national
cultivation; and finally the role of female beauty in defining
social and artistic power in nineteenth-century Britain. The first
monograph study of gender in a major museum, History's Beauties
engages themes of gender, national identity, class cultures, and
aesthetics in Victorian England to interpret the National Portrait
Gallery's fascinating collection.
To what extent have developments in global politics, artworld
institutions, and local cultures reshaped the critical directions
of feminist art historians? The significant new research gathered
here engages with the rich inheritance of feminist historiography
since around 1970, and considers how to maintain the forcefulness
of its critique while addressing contemporary political struggles.
Taking on subjects that reflect the museological, global and
materialist trajectories of twenty-first-century art historical
scholarship, the chapters address the themes of Invisibility,
Temporality, Spatiality and Storytelling. They present new research
on a diversity of topics that span political movements in Italy,
urban gentrification in New York, community art projects in
Scotland and Canada's contemporary indigenous culture. Individual
chapter analyses focus on the art of Lee Krasner, The Emily Davison
Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse.
Together with a synthesising introductory essay, these studies
provide readers with a view of feminist art histories of the past,
present and future.
To what extent have developments in global politics, artworld
institutions and local cultures reshaped the critical directions of
feminist art historians? The significant research gathered in
Feminism and Art History Now engages with the rich inheritance of
feminist historiography since around 1970, and considers how to
maintain the forcefulness of its critique while addressing
contemporary political struggles. Taking on subjects that reflect
the museological, global and materialist trajectories of
21st-century art historical scholarship, the chapters address the
themes of Invisibility, Temporality, Spatiality and Storytelling.
They present new research on a diversity of topics that span
political movements in Italy, urban gentrification in New York,
community art projects in Scotland and Canada's contemporary
indigenous culture. Case studies focus on the art of Lee Krasner,
The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi
and Womanhouse. Together with a synthesising introductory essay,
these case studies provide readers with a view of feminist art
histories of the past, present and future.
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.
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