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.

A renowned art critic of the 1960s, Carla Lonzi abandoned the art world in 1970 to found Rivolta Femminile, a pioneering feminist collective in Italy. Rather than separating the art world luminary from the activist, however, this book looks at the two together. It demonstrates that even as Lonzi refused art, she articulated how feminist spaces and communities drew strength from creativity. The eleven essays in this book document the artistic and feminist circles of postwar Italy, a time characterised both by radical protest and avant-garde aesthetics, using primary and archival sources never before translated into English. They map Lonzi's deep connections to the influential Italian Arte Povera movement, and explore her complicated relationship with female artists of the time, such as Carla Accardi and Suzanne Santoro. Carla Lonzi's written work and activism represents a crucial, but previously overlooked, feminist intervention in traditional art history from beyond the Anglo-American canon. This book is a timely and urgent addition to our understanding of radical politics, separatist feminism and art criticism in the postwar period.

This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style. As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History. This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research. Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a range of subjects within Art & Design practice.

This book provides a thorough interdisciplinary analysis of the ways in which artists have engaged with political and feminist grassroots movements to characterise a new direction in the production of feminist art. The authors conceptualise feminist art in Turkey through the lens of feminist philosophy by offering a historical analysis of how feminism and art interacts, analysing emerging feminist artwork and exploring the ways in which feminist art as a form opens alternative political spaces of social collectivities and dissent, to address epistemic injustices. The book also explores how the global art and feminist movements (particularly in Europe) have manifested themselves in the art scenery of Turkey and argues that feminist art has transformed into a form of political and protest art which challenges the hegemonic masculinity dominating the aesthetic debates and political sphere. It is an invaluable reading for students and scholars of sociology of art, gender studies and political sociology.

In this book, contributors identify and explore a range of iconic works – "Mistress-Pieces" – that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison d’être, its contributors interpret a "Mistress-Piece" as a work that has proved influential in a particular context because of its distinctiveness and relevance. Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known – those by Natalia LL, Tanja Ostojić, Swoon, Clara Menéres, Diane Victor, Usha Seejarim, Ilse Fusková, Phaptawan Suwannakudt □and Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused on gender. The book will be of interest to scholars working in art history, visual studies and gender studies.

Featuring a new package and an additional 60 pages of material, this revised edition of The Art of Feminism covers an even more impressive range of artworks, artists, movements, and perspectives. Since the debut of the original volume in 2018, The Art of Feminism has offered readers an in-depth examination of its subject that is still unparalleled in scope. The comprehensive survey traces the ways in which feminists—from the suffragettes and World War II–era workers through twentieth-century icons like Judy Chicago and Carrie Mae Weems to the contemporary cutting-edge figures Zanele Muholi and Andrea Bowers—have employed visual arts in transmitting their messages. With more than 350 images of art, illustration, photography, and graphic design, this stunning volume showcases the vibrancy of the feminist aesthetic over two centuries. The new, updated edition of the book features revised and expanded material in each of the book's original sections, as well as entirely new material dedicated to the art pieces that have shifted the landscape of feminist art today. This new material includes: women artists of the Bauhaus; grassroots and experimental curatorial efforts; a broader range of performance artists; and recent art shows and works, such as Kara Walker's Fons Americanus, which debuted at London's Tate Modern museum in 2020. UNIQUE IN SCOPE: The breadth and inclusiveness of this volume sets it apart and makes it the definitive book on international feminist art. The new edition brings the book into the current moment, ensuring that this groundbreaking volume remains relevant and fresh. It features an astonishing roster of artists, including: Barbara Kruger Sophie Calle Marina Abramovic Judy Chicago Faith Ringgold Cindy Sherman Ana Mendieta Zanele Muholi Mickalene Thomas Louise Bourgeois Shirin Neshat Andrea Bowers Pina Bausch JEB Amrita Sher-Gil Luchita Hurtado Ayana Jackson Patrisse Cullors EXPERT AUTHORS: Lead author Helena Reckitt has assembled a team of experts who are superbly qualified to unpack the rich history, power, and symbolism of feminist art for a new modern-day audience. UPDATED AND INCLUSIVE: This edition of the book features an even more diverse array of artists and artworks than the original, from the beautiful figurative paintings of Hungarian-Indian artist Amrita Sher-Gil to the thoroughly researched and extravagantly costumed self-portraits of American photographer Ayana Jackson. Perfect for: Feminists and activists Art history lovers College and graduate students

A survey of feminist art from suffrage posters to The Dinner Party and beyond: “Lavishly produced images . . . indispensable to scholars, critics and artists.” —Art Monthly Once again, women are on the march. And since its inception in the nineteenth century, the women’s movement has harnessed the power of images to transmit messages of social change and equality to the world. From highlighting the posters of the Suffrage Atelier, through the radical art of Judy Chicago and Carrie Mae Weems, to the cutting-edge work of Sethembile Msezane and Andrea Bowers, this comprehensive international survey traces the way feminists have shaped visual arts and media throughout history. Featuring more than 350 works of art, illustration, photography, performance, and graphic design—along with essays examining the legacy of the radical canon—this rich volume showcases the vibrancy of the feminist aesthetic over the past century and a half.

A Short Guide to Writing About Art, Seventh Edition, the best-selling text of its kind, equips students to analyze pictures (drawings, paintings, photographs), sculpture, and architecture, and prepares them with the tools they need to present their ideas in effective writing. This concise yet thorough guide to "seeing and saying" addresses a wealth of fundamental matters, such as distinguishing between description and analysis, writing a comparison, using peer review, documenting sources, and editing the final essay. This text is a perfect complement to any art course where writing is involved.