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"This book explores the critical significance of the visual arts to transnational feminist thought and activism. This first volume in Marsha Meskimmon's powerful and timely trilogy focuses on some of the central political challenges of our era, including war, migration, ecological destruction, sexual violence and the return of neo-nationalisms. It argues that transnational feminisms and the arts can play a pivotal role in forging the solidarities and epistemic communities needed to create social, economic and ecological justice on a world scale. Transnational feminisms and the arts provide a vital space for knowing, imagining and inhabiting - earthwide and otherwise. The chapters in this book each take their lead from a current matter of political significance that is central to transnational feminist activist organising and has been explored through the arts in ways that permit dialogues across geopolitical borders to take place. Including examples of artwork in full colour, this is essential reading for students and researchers in art history, theory and practice, visual culture studies; feminism, and gender studies, political theory and cultural geography"--

This title is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense.

This is an Open Access Article. It is published by Taylor and Francis under the Creative Commons Attribution 4.0 Unported Licence (CC BY). Full details of this licence are available at: http://creativecommons.org/licenses/by/4.0/ ; The concept of "postmigration", as a non-binary way of understanding the exchange and movement of people and ideas across imaginative and materially-enforced boundaries, is a compelling way to engage with contemporary politics, art and culture. It also has much to say to a contemporary cosmopolitanism that stresses the significance of embodied, responsible and intersubjective agency as the basis of an ethical worldmaking project. This essay deploys an alternative figuration, the denizen, as a means by which to materialise the imaginative force of art beyond the limits of representation and, in so doing, propose it as an active mode of experimental world- making. Arguing with and through a small number of specific case studies, the text brings the insights of feminist corporeal-materialism together with a postcolonial praxis of reading, writing and making within, and yet against, the grain of the exclusive limits of the "nation" and "her citizens". The willful act of the denizen in making herself at home everywhere becomes a way of imagining and materialising creative ecologies of belonging that are neither premised upon an essential call to blood nor an authentic claim to soil. Rather, the postmigration worldmaking explored here posits a radically open cosmos that emerges in mutual exchange with a response-able and responsible polis.

This is an Accepted Manuscript of an article published by Taylor & Francis in Third Text on 17 March 2016, available online: http://www.tandfonline.com/10.1080/09528822.2016.1155327. ; The following text is derived from a presentation given as a dialogue to the annual conference of the Association of Art Historians in London 2014, where our presentation was used to open the session. Our decision to perform an interactive, scripted dialogue against a background of images, was an intentional attempt to explore 'art history' in ways that do not conform to the accepted academic conference conventions of a formal paper, subsequently revised, extended and embellished with references and footnotes to locate the writing as serious 'research' designed for possible publication. Research is generated not only by planned research processes but by informal interactions such as conversation and correspondence. In these processes dialogue is generative: ideas are sketched out, emerge spontaneously in response to questions, or are snatched from insights stimulated by unexpected collisions of spoken or written words.1 Art history offers many examples of fruitful correspondence between thinkers and practitioners. E.H. Gombrich and Quentin Bell explored canons and values in 1979; John Berger corresponded with Leon Kossoff (1996) and with James Elkins (2003-4) about drawing.2 As academics engaged in teaching and research, we talk about our shared interests in feminist histories and theories and our experiences as women now based in Britain, but who lived lives elsewhere - in the United States (Marsha) and southern Africa (Marion). For us the personal has been political; there are commonalities and differences in our experiences of 'home' and re-location. In doing light editing (added footnotes) of our performed dialogue for publication, we maintained the dialogic framework to indicate that the two voices speak from their particular perspectives while also finding a shared space.

Coining the term ""Jugoslovenka"" to designate the unique history of Yugoslav women's resistance to patriarchy during and after socialism, this book shows how Yugoslavia's anti-fascist, transnational and feminist legacies manifest in performance, conceptual, video and activist works