The Possibility of Feminist Art Practice in Seonmichon, Jeonju -Focus on the Concept of New Genre Public Art

2021 ◽  
Vol 43 (2) ◽  
pp. 251-272
Author(s):  
Yongbi Kim ◽  
Jina Kim
1979 ◽  
Vol 1 (1) ◽  
pp. 21-35
Author(s):  
Tricia Davis ◽  
Phil Goodall

1979 ◽  
pp. 21
Author(s):  
Tricia Davis ◽  
Phil Goodall

2007 ◽  
Vol 32 (1) ◽  
pp. 5-10 ◽  
Author(s):  
Althea Greenan

When a group of women artists decided to organise their slides to inspire others to document themselves and raise the visibility of women’s art, they could not have known that several decades later those slides would still be together, forming the core of an internationally significant research resource. How did this idea of gathering together images transform a women’s art group – in the 1980s these were almost as common as book groups are today – into the Women’s Art Library/Make collection? Historically rooted in gender politics and the subsequent emergence of a radicalised women’s art practice and feminist art criticism, WAL/Make is an exciting ‘work in progress’. Now based in Goldsmiths, University of London it is being developed as a key special collection by the Library.


2015 ◽  
pp. 225-227
Author(s):  
Cameron Cartiere ◽  
Sophie Hope ◽  
Anthony Schrag ◽  
Elisa Yon ◽  
Martin Zebracki
Keyword(s):  

2020 ◽  
Vol 1 (2) ◽  
pp. 156-162
Author(s):  
С. A. Kartseva ◽  
◽  

Combining educational environment with art has a long tradition within university museums, which are a valuable research resource, responsive to the needs of teaching, research and educational activities. At the same time, today not every school, university or research center has or can afford such museums. The article discusses innovative formats of interaction between educational institutions and artistic practices through public art — contemporary art practice, intended for the unprepared audience and implying the demonstration of art in a public, non-institutional environment. The article reveals the essence of the concept of public art, its evolution from understanding itself as an object to procedural and social practice; indicates the communicative, cultural and symbolic potential of public art in the formation of environments, communities, in the promotion of innovative ideas on the basis of universities or other educational institutions on the example of projects implemented at the National Research University Higher School of Economics, Moscow International University, Skolkovo Innovation Center. The conclusions of the article are the practical recommendations for creating public art projects on the territory of modern educational and research centers, based on communicative, site-specific, socially engaged approach.


Author(s):  
Marissa Grace Willcox ◽  
Anna Catherine Hickey-Moody

Digital community making through a live entanglement of the self and social media, offers up new pathways for thinking through human and nonhuman divides. Queer activism and feminist art on Instagram has made way for a reframing of what constitutes a ‘digital community’ (boyd 2011, Baym 2015, Oakley 2018). This paper thinks through the materiality of this feminist activist art community through the method of ‘Instagram live interviewing’. Drawing from a larger project that aims to understand the ways activist art practice on Instagram subverts heterosexual norms and patriarchal representation, we argue that the ‘live’ nature (Back, 2012) of the Instagram live interview (Hickey-Moody and Willcox, 2019) mobilizes a new type of queer materiality. By applying Karen Barad’s (2007) feminist new materialist theory of ‘intra-action’ to Rosi Braidotti's thinking about posthuman experience as intra-acting with aspects of the world that she classifys as non-human (2013), we reconceptualize some of the literature around digital community making to account for the needs of those often left out of heteronormative and mainstream narratives. This entanglement of liveness and intra-action in our methodology explores the feeling of ‘community’ as being a feeling that is central to human subjectivity and experience. Through a lens of queer materiality, we suggest that community can therefore be produced by more-than-human assemblages, and argue that a more nuanced account of digital community making which accounts for live Instagram intra-actions, and human to nonhuman relationality is needed.


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