Suchergebnisse

This unique anthology contains the original manifestos of 50 women artists/feminist groups/feminist protests from 1965 to 2021 and from many countries. Introductory essay by Katy Deepwell, with notes on each manifesto. Print version available from KT press.

This essay offers a close reading of Verdi Yahooda's work Photo Booth Classic (1974–present), its presentation as artists' pages in n.paradoxa: international feminist art journal, 17, January 2006, and in the exhibitions Said (London: Camberwell Space, 2008) and Now! Now! In more than one place (London: Cookhouse and Triangle Space, Chelsea College of Art and Design, 2016) organized by the Black Arts and Modernism project. The differences in format and presentation over time, as well as the making of this work, as an action performed by the artist in monthly cycles over forty years, are considered in relation to other artworks, the use of documentation as medium, and questions about feminism, ethnicity and Jewishness. The aim is to move beyond the ready identification of this work as simply another example of a woman artist's performance made as if self-to-camera, or as identity politics.

In this talk, I want to examine the place of art in women and gender studies, and how these areas draw upon the interdisciplinary promise of feminist theory when considering cultural production. Art history has been part of women's studies and the work of women artists is studied, but in the pre-dominant switch to gender, sexuality and representation in course structures, I want to draw attention to areas of enquiry that are missing from debates about feminisms in relation to contemporary art. I will refer back to different understandings of the role of art within the women's movement in the 1970s and to the situation of women artists in the art world then and now which are contributing to this situation. Artists and artworks have produced a visual language for feminist protest and produced works which are strongly issue-based and politically engaged with regard to feminist issues, but visual art itself is marginal in most women and gender studies by comparison with research on mass media, film and literature. Studying gender, sexuality and representation (the dominant course, where feminism appears in arts curricula and visual arts in gender studies), art emerges again as a key area of interest, but this provides a very specific focus on certain types of visual representation and I will argue, as a result, other formulations of the relations between aesthetics and politics are not at the centre of these debates.

This article reviews 40 years of feminist art manifestos and those collected in the publication by the author, Feminist Art Manifestos: An Anthology.

Katy DeepwellEqual but different: Questions about Rights, Statistics, and Feminist Strategies for Change One of the central paradoxes in feminist theory is the apparently double (and simultaneous) claim of feminism(s) for both equality and difference. How can women be both different and equal? How can we measure when, where, and how "equality" has been achieved: Is it a question of how we discuss rights, how we compile statistics, or the methods we apply to assess differences among women and between men and women? These seemingly simple questions about equality and difference appear to pull feminism in different directions, but they actually represent some of the more complex politics, aims, and strategies at work within feminist debates. This essay explores how these debates are manifest in assessments of the current position of women artists, attempts to measure their progress, and what constitutes a certain "avant-garde" contemporary feminist art (although this author takes it as a given that not all art produced by women today is feminist).

The first volume in the new "Plural" series, this publication seeks to critically dissect the term "activism", which today seems to have become a catchword for any woman's empowerment through the arts, and reveal the diversity of practices and realities that it comprises. Presenting a range of critical insights, perspectives, and practices from artists, activists, and academics, it reflects on the role of feminist interventions in the field of contemporary art, the public sphere, and politics. In the process, it touches upon broader questions of cultural difference, history, class, economic standing, ecological issues, and sexual orientation, as well as the ways in which these intersect