The first sustained analysis of the relationship between women's contemporary painting and feminism. This international collection of specially commissioned pieces brings together writing both by theorists engaged with the process and practice of painting and practitioners engaged in theory, to bring into question what has been a neglected area within feminist literature on visual culture. Looking at gender, subjectivity, spectatorship, the gendered audience and maternal subjectivity and painting, Unframed encourages reflexivity about the practice and includes in its scope a range of processes including drawing, printing, collage and installation. The process of painting and the materiality of paint, haptic vision and the contemporary sublime are all discussed. Lavishly illustrated in black and white, Unframed will be of interest to practitioners and students of fine art, art history and women's studies.
Rosemary Betterton is Reader in WomenA's Studies, Lancaster University. Her books include 'Intimate Distance: Women, Artists and the Body'.
List of figures Notes on contributors Acknowledgements Introduction Unframing women's painting Rosemary Betterton Chapter 1 'Before her time?' Lily Briscoe and painting now Alison Rowley Chapter 2 Painting is not a representational practice Barb Bolt Chapter 3 Walking with Judy Watson: Painting, politics and intercorporeality Marsh Meskimmon Chapter 4 Susan Hiller's painted work: Bodies aesthetics and feminism Rosemary Betterton Chapter 5 The self portrait and the I/eye Partou Chapter 6 Threads: Dialogues with Jo Bruton, Beth Harland, Nicky May and Katie Pratt Rosa Lee Chapter 7 Seeing and feeling Rebecca Fortnum Chapter 8 Restretching the canvas Pam Skelton Chapter 9 Inside the visible: Painting histories Lubaina Himid Chapter 10 Revisiting Ann Harbuz: Inside community, outside convention John Borsa Bibliography Index