Suchergebnisse

Intro -- Half Title -- Title Page -- Copyright -- Contents -- Foreword, by Amy E. Keller and Zac Bleicher -- Introduction -- PART I: CHICAGO IN THE NINETEENTH CENTURY: A CULTURAL BACKWATER STRIVING TO CATCH UP -- 1. The Arts in Chicago Before the Fair -- 2. The World's Columbian Exposition Puts Chicago on the Cultural Map -- PART II: ARTIST COLONIES OF THE CHICAGO AREA -- 3. What Is an Artist Colony? -- 4. Keeping the Artists in Chicago: The First-Generation Artist Colonies -- 5. Summering Away: The Bucolic Artist Colonies -- 6. Towertown: Chicago's Left Bank -- 7. The Houses that Sol and Edgar Built: The Old Town Artist Colonies -- Conclusion -- Notes -- Bibliography -- About the Author.

Ulrike Müller's Herstory Inventory (HI) is a collection of over one hundred works on paper by "feminist" artists who were given "drawing assignments" that began with textual prompts taken from an archival list of T-shirts that Müller discovered in the collections of the Lesbian Herstory Archives (LHA). HI has also had multiple incarnations as a staged reading/live performance, audio installation, collective art project, art exhibition, and book, and its relay across media participates in a fascination with the archive that has pervaded LGBTQ culture, resulting in a proliferation of new archives that is one manifestation of the "archival turn." This essay focuses on how Müller's HI uses the LHA as a point of departure for a creative practice that not only opens lesbian feminist archives to new visibility and new publics but also creates a transgenerational dialogue around lesbian feminist politics and representation — both honoring and reviving its history and subjecting it to critique. HI's engagement with the LHA's lesbian feminist commitment to archival autonomy provides an interesting case history for radical archival politics, as tensions between counterarchives and archival critique get played out through the tensions between lesbian and queer feminisms. Returning to the politics of representation and visibility that have been so central and vexing in lesbian feminism, HI puts art practices in conversation with archival ones. The project approaches the archive through abstraction and drawing, both practices of representation that resist the realisms of documentary media such as film and photography, to enact a queer politics of visibility.

AbstractUsing comprehensive data from German visual artists, we provide strong empirical evidence of a gender gap in revenues. We find that female artists have significantly lower revenues from the art market and are about ten percentage points less likely to remain in the top category over three years. This gap persists in the most prominent art forms and is more pronounced for younger artists. Only 30 to 40% of these gaps can be explained by differences in observable characteristics. We also find differences in the networking behaviour of the artists of different genders: females are connecting more, whereas males tend to create tighter links, suggesting the importance of the latter for the art market.

RésuméL'Union des artistes a conclu des dizaines d'ententes collectives avec des producteurs dans le cadre de la Loi S-32.1. En vertu des Règlements généraux de l'Union, il est interdit aux membres d'accepter un contrat de travail en marge de ces ententes sous peine de sanction disciplinaire. Pour l'artiste rarement sollicité, soit la grande majorité des membres, ces offres de travail posent un dilemme : privilégier son intérêt individuel à court terme ou respecter la collectivité. Dans ce contexte, le discours des artistes est marqué par une certaine ambivalence dans leur sentiment de solidarité. Le présent article tente de dépeindre cette ambivalence par le biais d'un monologue théâtral qui étaye ce vécu. Après avoir exposé le contexte juridique et la méthodologie retenue, inspirée de la création, l'article présente un monologue afin de faire vivre au lecteur ce que les artistes ont exprimé et leurs émotions telles que la chercheure les a interprétées.