When the body is foregrounded in artwork – as in much contemporary performance, sculptural installation and video work – so is gendered and sexualised difference. Feminist Perspectives on Art: Contemporary Outtakes looks to interactions between art history, theory, curation, and studio-based practices to theorise the phenomenological import of this embodied gender difference in contemporary art.
The essays in this collection are rooted in a wide variety of disciplines, including art-making, curating, and art history and criticism, with many of the authors combining roles of curator, artist and writer. This interdisciplinary approach enables the book to bridge the theory–practice divide and highlight new perspectives emerging from creative arts research. Fresh insights are offered on feminist aesthetics, women’s embodied experience, curatorial and art historical method, art world equity, and intersectional concerns. It engages with epistemological assertions of ‘how the body feels’, how the land has creative agency in Indigenous art, and how the use of emotional or affective registers may form one’s curatorial method.
This anthology represents a significant contribution to a broader resurgence of feminist thought, methodology, and action in contemporary art, particularly in creative practice research. It will be of particular value to students and researchers in art history, visual culture, cultural studies, and gender studies, in addition to museum and gallery professionals specialising in contemporary art.
Author(s): Jacqueline Millner and Catriona Moore
Publisher: Routledge
Year: 2018
Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of figures
Notes on contributors
Introduction
Notes
Chapter 1: A feminist curator walks into a gallery…
Introduction
Suffragist legacy
Curating autonomous art platforms
The aesthetics of listening: a two-way track
Rethinking ‘equal opportunity’ politics
Notes
Further reading
Chapter 2: The value of maturity
Notes
Chapter 3: Women in the cross-cultural studio: Invisible tracks in the Indigenous artist’s archive
Constant gardeners
Artistic waves: the patrilineal line
Go West, young woman
Borderland action
‘…akin to singing or dancing’
Notes
Chapter 4: The Pearl Gibbs ‘Gambanyi’ Kangaroo Cloak
Introduction: Lynette Riley’s Pearl Gibbs ‘Gambanyi’ Kangaroo Cloak
Appendix Pearl Gibbs ‘Gambanyi’ Kangaroo Cloak: information
Notes
Chapter 5: Still in my mind: Gurindji location, experience and visuality
Introduction
Retrac(k)ing country and (s)kin: walking the wave hill walk-off track (and other sites of cultural contestation)
Home/lands
Notes
Further reading
Chapter 6: The practice of remaining perpetually contingent
Notes
Chapter 7: Curating grief
Preface
Introduction
Time
Home
Loved
Conclusion
Notes
Chapter 8: The intimate monument: Memorialising from a feminist perspective
Introduction
Feminist anti-monuments: materiality and scale
The proper name
Matrilineage and women’s experience
Memorialising, postmemory and cloth
Conclusion
Notes
Further reading
Chapter 9: Florina Prefecture: Women in the shadow of ‘The Magnificent Empire’ 1900–1922 and 2017: A feminist interpretation of Greek-Australian identity as explored in contemporary art
Introduction: looking for something
Macedonia, the fiery furnace of the Balkans
A history of massacres and atrocities: the perpetuation and creation of inherited loss
Survivor memory/refugee memory/migrant memory/my memory
Fitting the memory fragments together: intergenerational diaspora in a child’s psyche
Florina – an Oriental town
Girls in our Town: source photographs and photographers
Gender identification with FLORINA PREFECTURE
Yesterday was just a hundred years ago
Notes
Chapter 10: Feeling seeing: Image, sound and touch in the video installations of Angelica Mesiti
Introduction
Feminist perspectives on vision and sense perception
Getting back into the world
Angelica Mesiti
Conclusion
Notes
Chapter 11: Materialising the interval: Relationality as a feminist art practice
Introduction
Sexual difference, what is it good for?
Irigaray’s interval as a conceptual framework for artmaking
The interval as the object
Relationships between matter and form
Participatory relations
Conclusion
Notes
Further reading
Chapter 12: Heave, ho, ha: Disgust, humour and failure in contemporary feminist art
Introduction
Feeling funny
Discussing disgust
Such sweet vile relief
Feeling failing
Notes
Chapter13: Slim evidence of fat fortunes: Towards a gendered history of fat acceptance
Introduction
Fat and feminism
How fat becomes a weighty art-historical question
Four reasons against received wisdom
The swelling vocabulary of fat in ancient Greece
Fat inside the body and outside the body
Neurotic signs of fat as unstable
Fat as immoral
Fat as charm and joviality
Fat and gender inverted
Fat from seduction to reason
The pictorial virtue of fat in composition
Conclusion
Notes
Index
