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Informationen zum Autor Hilary Robinson is Dean of the School of Art and Design and Professor of Visual Culture at Middlesex University London, having previously held positions at Carnegie Mellon University, USA, and the University of Ulster, Northern Ireland. She is the author of Reading Art, Reading Irigaray: The Politics of Art by Women (2006), and the editor of Visibly Female: Women and Art Today (1987). Klappentext Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked.* Completely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions* Brings together 88 revealing texts from North America, Europe and Australasia, juxtaposing writings from artists and activists with those of academics* Embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism, to education and aesthetics* Includes many classic texts, but is particularly notable for its inclusion of rare and significant material not reprinted elsewhere* Provides a uniquely flexible resource for study and research due to its scale and structure; each of the seven sections focuses on a specific area of debate, with texts arranged chronologically in order to show how issues and arguments developed over time Zusammenfassung Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, the long-anticipated new edition of Feminism-Art-Theory has been extensively updated and reworked. Inhaltsverzeichnis Preface x Acknowledgements and Sources xii Introduction: Feminism-Art-Theory: Towards a (Political) Historiography 1 1 Overviews 8 Introduction 8 1.1 Gender in/of Culture 12 ¿ Valerie Solanas, 'Scum Manifesto' (1968) 12 ¿ Shulamith Firestone, '(Male) Culture' (1970) 13 ¿ Sherry B. Ortner, 'Is Female to Male as Nature is to Culture?' (1972) 17 ¿ Carolee Schneemann, 'From Tape no. 2 for Kitch's Last Meal'(1973) 26 1.2 Curating Feminisms 28 ¿ Cornelia Butler, 'Art and Feminism: An Ideology of Shifting Criteria' (2007) 28 ¿ Xabier Arakistain, 'Kiss Kiss Bang Bang: 86 Steps in 45 Years of Art and Feminism' (2007) 33 ¿ Mirjam Westen, 'rebelle: Introduction' (2009) 35 2 Activism and Institutions 44 Introduction 44 2.1 Challenging Patriarchal Structures 51 ¿ Women's Ad Hoc Committee/Women Artists in Revolution/WSABAL, 'To the Viewing Public for the 1970 Whitney Annual Exhibition' (1970) 51 ¿ Monica Sjöö, 'Art is a Revolutionary Act' (1980) 52 ¿ Guerrilla Girls, 'The Advantages of Being a Woman Artist' (1988) 54 ¿ Mary Beth Edelson, 'Male Grazing: An Open Letter to Thomas McEvilley' (1989) 54 ¿ Lubaina Himid, 'In the Woodpile: Black Women Artists and the Modern Woman' (1990) 60 ¿ Jerry Saltz, 'Where the Girls Aren't' (2006) 62 ¿ East London Fawcett, 'The Great East London Art Audit' (2013) 64 2.2 Towards Feminist Structures 66 ¿ WEB (West-East Coast Bag), 'Consciousness¿Raising Rules' (1972) 66 ¿ Women's Workshop, 'A Brief History of the Women's Workshop of the Artist's Union 1972-1973' (c. 1973) 67 ¿ Martha Rosler, 'Well, is the Personal Political?' (1980) 68 ¿ Lucy Lippard, 'Trojan Horses: Activist Art and Power' (1984) 69 ¿ Anne Marsh, 'A Theoretical and Political Context' (1985) 79 ¿ Xabier Arakistain et al., ARCO Manifesto: 'Politics of Equality between Men and Women in the Art World' (2005) 85 ¿ Parliament of Spain, 'Article 26: Equality in Artistic and Intellectual Creation and Production' (2007) 86 2.3 Activism in Practice 88 ¿ Mie...
