The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another. The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny. Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.
Looks at the work of a diverse range of artists and explores the effect of feminist theory on art practice. The book provides a provocative and valuable account of the diversity and revolutionary potential of women's art practice.
Imaging Desire. Cambridge, Mass.: MIT Press, 1996. Kenaan-Kedar, Nurith. Images of Women in Medieval Art. Tel Aviv: Ministry of Defense, 1998 (Hebrew). Klinger, Linda S. Where's the Artist? Feminist Practice and Poststructural Theories ...
The artist, the critic and the academic: feminism's problematic relationship with 'Theory'/ Janet Wolff -- Preaching to the converted?
Looks at the work of a diverse range of artists and explores the effect of feminist theory on art practice. The book provides a provocative and valuable account of the diversity and revolutionary potential of women's art practice.
This new collection of essays focuses on the recent history of, and current discussions within feminist art.
Cassidy Rogers, Laura. 2015. 'Sonia Boyce', in Okwui Enwezor (ed.) Short Guide: All the World's Futures: 56th Edition of La Biennale di Venezia. Venice: Marsilo Editore. Clement, Tracey. 2008. 'Justene Williams: dumpster diva', ...
Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic.
Reflections on Art and Difference Alexandra M. Kokoli ... Gertrude Stein appropriated for a transgressive black women's modernity is to forge a new space in which intellectual and performer, from different places in American culture, ...
To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians?
New York New Wave investigates the relevance of earlier feminist practice for this 'new' generation, asking: Does gender difference still play a role in today's practice?