To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians? The significant new research gathered here engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of twenty-first-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Individual chapter analyses focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these studies provide readers with a view of feminist art histories of the past, present and future.
Victoria Horne is Lecturer in Art and Design History at Northumbria University in Newcastle. She has published articles in Feminist Review , Radical Philosophy and Journal of Visual Culture . In 2012 she established the Writing Feminist Art Histories research initiative. Lara Perry is Principal Lecturer in the History of Art and Design programme at the University of Brighton. She is the author of History's Beauties: Women and the National Portrait Gallery, 1856-1900 (2006) and co-editor (with Angela Dimitrakaki) of Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (2013).
Contents List of Illustrations vii Notes on Contributors xi Acknowledgements xvii Introduction: Feminism and Art History Now 1 Victoria Horne and Lara Perry PART I. WRITING | SPEAKING | STORYTELLING 25 1 . An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History 31 Victoria Horne and Amy Tobin 2 . I Want a Dyke for President: Sounding out Zoe Leonard's Manifesto for Art History's Feminist Futures 41 Laura Guy 3 . `Our Stories Are Our Life Blood': Indigenous Feminist Memory and Storytelling as Strategy for Social Change 63 Cherry Smiley PART II. VISIBILITY | INTERVENTION | REFUSAL 83 4 . Making Visible Lee Krasner's Occupation: Feminist Art Historiography and the Pollock-Krasner Studio 87 Andrew Hardman 5 . Challenging Feminist Art History: Carla Lonzi's Divergent Paths 104 Giovanna Zapperi 9781784533250 pi-282.indd v 6/8/2017 3:16:39 PM Contents vi vi 6. Th is Moment: A Dialogue on Participation, Refusal and History Making 124 Angela Dimitrakaki and Lara Perry PART III. SPATIALITY | OCCUPATION | HOME 143 7. Th e Salon Model: Th e Conversational Complex 147 Elke Krasny 8. Los Angeles, 1972/Glasgow, 1990: A Report on Castlemilk Womanhouse 164 Hannah Hamblin 9. I f You Lived Here... : A Case Study on Social Reproduction in Feminist Art History 183 Kirsten Lloyd PART IV. TEMPORALITY | GHOSTS | RETURNS 203 1 0. Temporalities of the `Feminaissance' 207 Francesco Ventrella 1 1. Gestures of Inclusion, Bodily Damage and the Hauntings of Exploitation in Global Feminisms (2007) 230 Kimberly Lamm 1 2. Learning and Playing: Re- enacting Feminist Histories 260 Catherine Grant Index 283