scholarly journals Exposiciones de mujeres y exposiciones feministas en España. Un recorrido por algunos proyectos realizados desde la II República hasta hoy, con acentos puestos en lo autobiográfico = Women’s Exhibitions and Feminist Exhibitions in Spain: A Journey Through some Projects Carried out Since The 2nd Republic until the Present, with some Biographical Highlights

2020 ◽  
pp. 29
Author(s):  
Isabel Tejeda Martín
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Feminist Art ◽  
History Of ◽  
Political Time ◽  
Arte Contemporáneo

Este artículo repasa la historia de las exposiciones de mujeres en España desde los años treinta, como precedente de las primeras exposiciones feministas de los años noventa, contextualizándolas en su momento político. Profundiza en algunos de los proyectos comisariados por la autora, en los que rescata a artistas ignoradas por las historias del arte contemporáneo, especialmente las artistas Pop de los años sesenta, como pioneras del arte feminista.AbstractThis essay examines the history of women’s exhibitions in Spain since the 1930s, considering said shows as a precedent for the first feminist exhibitions in the 1990s, and providing them with a context within their political time. This text delves in some of the projects curated by the author, in which she rescued a number of women artists who had been ignored by the usual histories of contemporary art –especially the female Pop artists from the 1970s– as pioneers of feminist art.

scholarly journals Tergiversar, citar, tropezar: el comisariado como práctica feminista = Shifting, citing, stumbling: curating as a feminist practice

2020 ◽  
pp. 47
Author(s):  
Maite Garbayo-Maeztu
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Critical Reflection ◽  
Political Correctness ◽  
Care Work ◽  
Curatorial Practice ◽  
Feminist Practice ◽  
Feminist Strategy ◽  
Arte Contemporáneo

Este artículo explora las características de la intervención curatorial feminista a partir del análisis de un caso de estudio: la exposición Yo, la peor de todas, comisariada por su autora. Se articula en torno a una reflexión crítica sobre las distintas estrategias que se pusieron en marcha en este proyecto. Primero, tergiversar un encargo inicial de la institución, que pedía una exposición de mujeres artistas para cumplir con la cuota de lo políticamente correcto. Segundo, profundizar en la cita, entendida como encuentro afectivo y como práctica de reconocimiento, pero también como estrategia artística y curatorial feminista. Finalmente, se interroga sobre las propias condiciones de existencia de la práctica curatorial feminista en el contexto del arte contemporáneo, donde predominan formas de trabajo precarizadas y modos neoliberales de entender los afectos que invisibilizan y denostan los trabajos de cuidado. AbstractThis article explores the characteristics of feminist curatorial intervention based on the analysis of a case study: the exhibition Yo, la peor de todas, curated by myself. It begins with a critical reflection on the different strategies that were implemented in this project. First, to shift an initial commission from the institution that asked for an exhibition of women artists to meet the quota of political correctness. Second, to deepen in the notion of cite, understood as an affective encounter and as a practice of recognition and as an artistic and curatorial feminist strategy. Finally, it questions the very conditions of existence of feminist curatorial practice in the context of contemporary art, where precarious forms of work and neoliberal modes of understanding affects predominate, denigrating care work and rendering it invisible.

scholarly journals Heroínas de una Sociedad Misógina. Teresa de Jesús Atrincherada en la Morada. Mística en el Arte Contemporáneo

2017 ◽  
Vol 5 (1) ◽  
pp. 17
Author(s):  
Natividad Navalón Blesa ◽  
Alejandro Mañas García ◽  
Teresa Cháfer Bixquert
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Creative Process ◽  
Creative Work ◽  
Teresa De Jesus ◽  
Selection Of ◽  
Arte Contemporáneo

This article is the first in a series of reflections in which our main objective is the recovery of space that should never lose women. We review those heroines women in a misogynist society, who have been influential thinkers in the creative work of contemporary art. This text is dedicated to Saint Teresa of Jesus, a heroine, in whom many artists have set their sights as a benchmark for empowerment and they have directed their work toward mysticism, creating a connection between art and spirituality. We collect a selection of artists who have used the mystical, pain, purple, silence, visions, and finally, ecstasy, in their creative process, to give voice to a gender problem in this society and to work in the struggle for the recovery of a space that had always belonged to women. Artists who, through their work, claim a place in a society culturally articulated by man. They are a clear example of what we have called heroines women in a misogynist society.

scholarly journals Aportes del Seminario de Historia Rural Andina a la Historia del arte peruano (1978-2015)

2017 ◽  
Vol 1 (1) ◽  
pp. 129
Author(s):  
Omar Gonzalo Esquivel Ortiz
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Rural History ◽  
History Of ◽  
Arte Contemporáneo

<p>SUMILLA:</p><p>El presente artículo está dedicado a identificar los aportes bibliográficos que el Seminario de Historia Rural Andina ha proporcionado a la historia del arte peruano desde sus primeras décadas de actividad, hasta la actualidad. Trazaremos una trayectoria editorial de los perfiles investigativos de los directores más influyentes en esta materia, Pablo Macera y Nanda Leonardini, cuyos continuos progresos y sólidos aportes están encabezados por la novedad académica y la divulgación íntegra de fuentes de primera mano, tanto documentales como artísticas. Estructurado por materias de estudio, repasaremos las contribuciones bibliográficas más representativas de arte popular, arte amazónico, arte del Perú antiguo, arte virreinal, arte republicano y arte contemporáneo, donde destacaremos el papel de las metodologías de análisis plástico de obras, géneros y estilos artísticos, así como los trabajos dedicados a los componentes cruciales del sistema artístico como la crítica y las instituciones de formación artística. Asimismo, trazamos un cuadro clasificatorio y la relación bibliográfica de los 104 títulos dedicados al arte y la historia del arte peruano, a fin de que en el futuro constituya una sección especializada y de consulta en el fondo bibliográfico del SHRA.</p><p><strong>Contributions of the Seminario de Historia Rural Andina to Peruvian Art History (1978-2015)</strong></p><p>ABSTRACT:</p><p>This article present a bibliographical contribution to Peruvian art by scholars of the Seminario de Historia Rural Andina since the decade of 1970, in particular, the influential studies of Pablo Macera and Nanda Leonardini. Outstanding studies include 104 publications concerning pop art, Amazonian, viceroyalty, republican and contemporary art based on particular methodological criteria.</p><p>Keywords: Peruvian art; History of Peruvian art; Seminar of Andean Rural History; Pablo Macera; Nanda Leonardini.</p>

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

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.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

The Fonte Gaia from Renaissance to Modern Times

2017 ◽  
Author(s):  
Chiara E. Scappini ◽  
David Boffa
Keyword(s):  
Nineteenth Century ◽  
Fifteenth Century ◽  
Contemporary Art ◽  
Italian Renaissance ◽  
Art And Politics ◽  
Modern Times ◽  
History Of

The Fonte Gaia from Renaissance to Modern Times examines the history of Siena's famous public fountain, from its fifteenth-century origins to its eventual replacement by a copy in the nineteenth century (and the modern fate of both). The book explores how both the Risorgimento and the Symbolist movements have shaped our perceptions of the Italian Renaissance, as the Quattrocento was filtered through the lens of contemporary art and politics.

The Crown Letter roundtable discussion

2020 ◽  
Vol 9 (2) ◽  
pp. 264-269
Author(s):  
Susan Barnet ◽  
Anne Brunswic ◽  
Michelle Deignan ◽  
Liza Dimbleby ◽  
Ruth Maclennan ◽  
...  
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Global Network ◽  
Roundtable Discussion ◽  
Over Time

Natacha Nisic recognized that the conditions of confinement created by the COVID pandemic and lockdown posed a threat to the visibility, exchange and experience of contemporary art, particularly of the work of women artists. Nisic invited women in her global network to contribute to the project and over time the network has expanded. Over 50 artists have now contributed to the publications and they maintain the online project collectively. As well as weekly publications, since the beginning The Crown Letter has hosted a weekly Salon for its contributors, where the artists exchange experiences, ideas and stories. In these times of confinement, where the effects of systemic inequality are felt across the globe, The Crown Letter harnesses the power of artistic exchange, collective energy, support and dialogue. As it approaches its first anniversary, some of the artists gathered at a salon to reflect on what The Crown Letter means to them.

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