3 Alternative Spaces for Feminist Art

2015 ◽  
Vol 4 (1) ◽  
pp. 57-80 ◽  
Author(s):  
Jennifer A. Zenovich ◽  
Shane T. Moreman

A third wave feminist approach to feminist oral history, this research essay blends both the visual and the oral as text. We critique a feminist artist's art along with her words so that her representation can be seen and heard. Focusing on three art pieces, we analyze the artist's body to conceptualize agentic ways to understand the meanings of feminist art and feminist oral history. We offer a third wave feminist approach to feminist oral history as method so that feminists can consider adaptive means for recording oral histories and challenging dominant symbolic order.


Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.


2012 ◽  
Vol 38 (1) ◽  
pp. 141-175
Author(s):  
Rebecca Jennison
Keyword(s):  

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Ilenia Caleo

Language "is a place of struggle," says bell hooks. The relationship between art and feminism is complex and stratified, for this reason the definition of "feminist art" is tricky. I attempt here a recognition of theoretical landmarks and epistemologies come forth in the debate that examined the intersection between artistic practices and experiments of feminist policies, from the historical speeches of Nochlin, Pollock, Phelan to the Italian anomaly marked by Carla Lonzi’s eccentric work, up to to the most recent openings. From this scheme, questions active at present appear, relating to the patriarchal myth of authorship, to the status of the work, to the invisibility of material processes and to cultural appropriation. The prospect is one of a thought of practices destabilizing the canon through strategies of decolonization, countercultural practices, "positional geographies" and new epistemologies.


Author(s):  
Arnaud Kurze ◽  
Christopher K. Lamont

Abstract This article offers a critical perspective on emerging and alternative spaces for emancipation within transitional justice studies. Taking into account recent critical literature and postcolonial interventions in transitional justice studies, we argue that barriers to moving our understanding of transitional justice forward are both conceptual and methodological. Conceptual hurdles are visible through narrow justice demands often limited to the context of post-conflict and post-authoritarian settings, thus normalizing injustice in liberal democratic and postcolonial contexts. Methodological impediments exist because transitional justice scholarship operates at a positivist level, or trying to explain certain, and desired, outcomes rather than destabilizing and unsettling unequal power relations. As a result, research practice in the field reflects the perspectives and preferences of elites in transition societies through a legal-technical mechanistic imagining of transitional justice that we refer to as the transitional justice machine. We argue that the needs and voices of marginalized social actors, particularly within states that are largely defined as liberal democratic or postcolonial, have long been ignored due to these practices. Against the backdrop of evolving agency patterns, including widespread global protest and demands to deal with the past across countries, we zoom in on a variety of actors who, until now, have not been at the focus of transitional justice studies. Drawing on a variety of case studies, this article contributes to the critical understanding of transitional justice studies as a Bourdieusian field. First, by expanding the conceptual lens to include racial, socio-economic, and postcolonial injustice, and, second, by advancing a more critical methodological approach that puts at its center unequal power relationships.


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