Feminisms is Still Our Name. Seven Essays on Historiography and Curatorial Practices
2013; Taylor & Francis; Volume: 82; Issue: 2 Linguagem: Inglês
10.1080/00233609.2012.759620
ISSN1651-2294
Autores Tópico(s)Historical Gender and Feminism Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1. Made in collaboration with Jean Tinguely and P-O Ultvedt. 2. Rozsika Parker & Griselda Pollock, Old Mistresses. Women, Art and Ideology London 1981, p. 3. 3. Mira Schor, «Patrilineage« in Wet. On Painting, Feminism and Art Culture Duke University Press, Durham 1997 (originally published in Art Journal 50, n. 2 Summer 1991) 4. The book title Feminisms is Still Our Name obviously somehow refers to Denise Riley's classical question «Am I That Name?« from 1988 but unfortunately it remains unclear exactly how. See Denise Riley, «Am I That Name?« Feminism and the Category of «Women« in History London 1988. The 2008 conference was initiated and arranged by Malin Hedlin Hayden and Jessica Sjöholm Skrubbe together with Anna Lundström. Key note speakers at the conference; Renee Baert, Mary Kelly, Lolita Jablonskiene, Amelia Jones and Griselda Pollock also wrote essays for Feminisms is Still our Name 5. Malin Hedlin Hayden and Jessica Sjöholm Skrubbe, »Preface« in Malin Hedlin Hayden & Jessica Sjöholm Skrubbe (eds.), Feminisms is Still Our Name. Seven Essays on Historiography and Curatorial Practices, Cambridge 2010, p. xiv. 6. Malin Hedlin Hayden and Jessica Sjöholm Skrubbe, »Preface« in Malin Hedlin Hayden & Jessica Sjöholm Skrubbe (eds.), Feminisms is Still Our Name. Seven Essays on Historiography and Curatorial Practices, Cambridge 2010, p. xiii. 7. Malin Hedlin Hayden and Jessica Sjöholm Skrubbe, »Preface« in Malin Hedlin Hayden & Jessica Sjöholm Skrubbe (eds.), Feminisms is Still Our Name. Seven Essays on Historiography and Curatorial Practices, Cambridge 2010, p. xiii. 8. See for example Anna Lena Lindberg, En mamsell i akademien. Ulrica Fredrica Pasch och 1700-talets konstvärld Stockholm 2010, pp. 9–22 or Tamar Garb, Bodies of Modernity. Figure and Flesh in Fin-de-siècle France London 1998 or Tamar Garb, «Gender and Representation« in Modernity and Modernism. French Painting in the Nineteenth Century (eds. Francis Frascina, Nigel Blake, Briony Fer, Tamar Garb, Charles Harrison) The Open University 1993. 9. As many as 87 artists were represented in the show Global Feminisms which was produced by the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, New York. 10. Malin Hedlin Hayden, «Women Artists versus Feminist Artists: Definitions by Ideology, Rhetoric or Mere Habit?« in Hedlin Hayden & Sjöholm Skrubbe 2010, p. 68. 11. See Lea Vergine, L'altra metà dell'avanguardia 1910–1940. Pittrici e scultrici nei movimenti delle avanguardie storiche Milano 1980 and, in Swedish, Andra hälften av avantgardet 1910–1940. Kvinnliga målare och skulptörer inom de tidiga avantgardistiska rörelserna Stockholm 1981. Kulturhuset, Stockholm hosted the exhibition in 1981. 12. Marsha Meskimmon, «Chronology through Cartography: Mapping 1970s Feminist Art Globally« in Lisa Gabrielle Mark (ed.), WACK! Art and the Feminist Revolution Los Angeles, Cambridge, Mass. & London 2007. 13. Jessica Sjöholm Skrubbe, «Centripetal Discourse and Heteroglot Feminisms« in Hedlin Hayden & Sjöholm Skrubbe 2010, p. 96. 14. The tour began in Spain 2011 (at Centro Cultural Montehermoso, Vitoria-Gasteiz) and continued to Croatia (Galerija Miroslav Kraljevic, Zagreb), then Poland (Wyspa Institute for Art, Danzig) and Denmark (Museum of Contemporary Art, Roskilde) and Estonia (Tallinn Art Hall), then once more in Spain (Fundació Antoni Tàpies, Barcelona) and finally stops in Germany (Akademie der Künste, Berlin) June 21st - August 18th. See www.reactfeminism.org 15. Mary Kelly, «On Fidelity: Art, Politics, Passion and Event« in Hedlin Hayden & Sjöholm Skrubbe 2010, p. 1 16. Jo Anna Isaak, Feminism and Contemporary Art. The Revolutionary Power of Women's Laughter Routledge 1996, p. 4. Isaak also, like Sjöholm Skrubbe, draws on Mikhail Bakhtin. 17. Guest curated by the art historian and critic Thomas Millroth. 18. Gill Perry, «Introduction. Gender, Modernism and Feminist Art History« in Gill Perry (ed.), Gender and Art New Haven & London 1999, p. 198. 19. The quote, however, reads «integrate more women into these galleries is not only a failure of the imagination and moral emergency« (my emphasis) and not, as Pollock writes in her essay: «integrate women into these galleries is not only a failure of the imagination and more urgency« Griselda Pollock, «Encounters in the Virtual Feminist Museum« in Hedlin Hayden & Sjöholm Skrubbe 2010, p. 136. For Sweden, see Anna Tellgren & Jeff Werner (red.), Regionalitet och representativitet. Genusstrukturer i fyra svenska konstmuseisamlingar Stockholm 2011 20. Catherine Grant, «Fans of Feminism. Re-writing Histories of Second-wave Feminism in Contemporary Art« in Oxford Art Journal vol. 34 issue 2, 2011 pp. 265–86. (I am thankful to Katarina Wadstein MacLeod for drawing my attention to this article.) 21. Catherine Grant, «Fans of Feminism. Re-writing Histories of Second-wave Feminism in Contemporary Art« in Oxford Art Journal vol. 34 issue 2, 2011 pp. 265–86. (I am thankful to Katarina Wadstein MacLeod for drawing my attention to this article.) 22. Catherine Grant, «Fans of Feminism. Re-writing Histories of Second-wave Feminism in Contemporary Art« in Oxford Art Journal vol. 34 issue 2, 2011 pp. 265–86. (I am thankful to Katarina Wadstein MacLeod for drawing my attention to this article.). See also Claudia Lindén, «Ur led är feminismens tid. Om tidsmetaforer, otidsenlighet och gengångare i feministisk historieskrivning« in Tidskrift för genusvetenskap 2012:3. 23. Catherine Grant, «Fans of Feminism. Re-writing Histories of Second-wave Feminism in Contemporary Art« in Oxford Art Journal vol. 34 issue 2, 2011 pp. 265–86. (I am thankful to Katarina Wadstein MacLeod for drawing my attention to this article.). See also Claudia Lindén, «Ur led är feminismens tid. Om tidsmetaforer, otidsenlighet och gengångare i feministisk historieskrivning« in Tidskrift för genusvetenskap 2012:3. 24. Curator was Joa Ljungberg at Moderna Museet Malmö.
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