Review of: Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi, Francesco Ventrella and Giovanna Zapperi (eds) (2020) London: Bloomsbury Publishing, 296 pp., ISBN 978-1-78453-732-6, h/bk, £95.00.

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. (...) Forward by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

이 연구는 포스트휴먼 시대의 예술과 윤리를 고찰하되, 포스트휴먼 페미니즘 윤리의 맥락을 확장해간 포스트휴머니즘의 관점에서 포스트휴머니즘 기술성의 예술과 이타성을 윤리를 해명하고자 한다. 사이보그 담론을 비롯한 대부분의 포스트휴먼 담론들은 비인간적 요소를 통해 다시 인간을 사유하는 방식을 취하며, 인간 이외의 존재들과 공존하는 윤리적 지평에 대한 설명으로 작용한다. 이러한 윤리적 지평에서 비판적 포스트휴먼 페미니즘은 인간중심적 사고인 휴머니즘을 비판하며, 기존 서사인간의 서사를 해체하면서 기술성을 미학을 추구한다. 이런 비판적 포스트휴먼 페미니즘의 주창자들은 먼저 우리가 ‘포스트휴먼 시대’에 살고 있음을 인정하고, 휴머니즘의 지속적인 해체를 통해서 다중접속 이타성의 윤리를 구현한다. (...) 결국 이 연구는 이런 포스트휴먼 페미니즘과 이를 확대계승한 포스트휴머니즘이 어떻게 다중접속 ‘기술성’의 미학을 구현하면서도 인간이 아닌 다른 타자를 인정하며, 공존을 추구하는 다중접속 이타성의 윤리로 미래적 가치를 열어가는지, 그 한계는 무엇인지를 살펴보고자 한다. (shrink)

Describes what the author sees as a suppression of the feminine in Western culture, technology, and philosophy and opens a feminist postmodern space from which fresh differences may emerge. This title explores underdeveloped themes in American and Canadian feminism. It offers a deconstruction of the phallocentric dichotomies of nature and culture.

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

Abstract:“Feminist Graphic Art” reviews recent feminist scholarly work on comics alongside several new feminist comics titles themselves, suggesting through a focus on theory and practice that the medium of comics is an expanding realm of possibility for feminist expression, particularly around issues of subjectivity, embodiment, and collectivity.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.

This is the first feminist special issue of The Journal of Aesthetics and Art Criticism. Introduction written by Brand [Weiser] and Korsmeyer with essays by Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. A fuller publication from Indiana University Press followed in 1995 edited by Brand [Weiser] and Korsmeyer entitled, Feminism and Tradition in Aesthetics.

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

In lieu of an abstract, here is a brief excerpt of the content:Meeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the SelfBrian KarafinMeeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the Self. By Anne Carolyn Klein. Boston: Beacon, 1995. 307 pp.“When the iron bird flies and carriages run on wheels, the dharma will come to the land of the red man”: this saying attributed to the semilegendary founder of Buddhism in Tibet, Padmasambhava, stands as (...) an oft-cited marker for the sense that the meeting between Tibetan Buddhism and North American culture was somehow a [End Page 227] fated one, a confluence emergent from some karmic relationship or mythical dependent-arising. Karmic connection or historical product of the near-simultaneous exile of Tibetans from their homeland in 1959 and the burgeoning of Western interest in Eastern religions and philosophies, the encounter of these two mutually and exotically other traditions is, nearing the second Christian millennium, proceeding apace. Especially since the 1989 awarding of the Nobel Peace Prize to the spiritual and temporal leader of the Tibetans—and now international pop icon—the Fourteenth Dalai Lama, the Western fascination for things Tibetan has exponentially increased, transforming what had been the preserve of scholars and eccentric spiritual seekers into a media sensation.The reception of Tibetan Buddhism in the West has proceeded in stages and phases that overlap and mutually affect each other, from pop phantasms of Tibet as a mythical Shangri-La (as in James Hilton’s Lost Horizon) and theosophical hopes in Tibet as the domain of the Wise Mahatmas overseeing the spiritual evolution of humanity to the relatively recent development of Tibetan studies as an academic discipline centered on the translation of texts, as well as the growing population of westerners practicing Tibetan Buddhist religion under the guidance of exiled lamas. With these latter two groups—scholars and practitioners who often overlap memberships—the phenomenon of Tibetan Buddhism in the West has reached a point where critical self-reflection is now possible. Donald Lopez’ recent Prisoners of Shangri-La: Tibetan Buddhism and the West is the first full-length critical examination of the cultural confluence I’ve been noticing thus far. Lopez represents a movement in the field of Tibetan studies from philological scholarship of texts, in which the scholarly effort consists largely of translation along with commentary that closely follows the commentarial literature of the Tibetan tradition being translated, to cultural criticism of the underlying dynamics in the encounter itself.This critical self-consciousness in the field of Tibetan studies is likewise the motivating impetus behind Anne Klein’s recent work as represented by the book under review here. Klein, like Lopez, was a student of the dean of American Tibetan studies, Jeffrey Hopkins, at the University of Virginia. As such, her early work followed Hopkins in pursuing an essentially philological approach to Tibetan tradition with a focus on the philosophical scholasticism of the Gelukpa lineage. Klein’s three philological-philosophical books—Knowledge and Liberation; Knowing, Naming, and Negation; and Path to the Middle—are excellent examples of the genre of translation/commentary above mentioned, treating the Sautrantika and Madhyamika tenet systems in which the Gelukpa tradition systematized Indian Buddhist philosophy for the purposes of monastic study and debate. Meeting the Great Bliss Queen is something else entirely; in this work Klein blazes a trail out from recondite translation work toward cultural critique and psychosocial self-reflection in which the previously submerged subtext of the encounter between the Tibetan tradition and the Western psyche and society is allowed to surface and its issues probed and reflected upon.Klein frames her work in terms of a dialogue between Buddhism (by which she mainly means meditation practices and some associated philosophy) and feminism (by which she means both academic feminist theory and her own autobiographical [End Page 228] experience as a Western woman personally experiencing the confluence of Western and Tibetan exigencies). Klein is a salient example of a scholar-practitioner, someone who occupies positions both in the academic field of Tibetan studies and in the population of students of Tibetan lamas in exile. As such, she is exactly situated to embark on such a project of cultural and psychological reflection. She knows... (shrink)

One of my projects as a Research Fellow for The Institute for Theological Partnerships at the University of Winchester is the Feminist Theology and Art Forum. This project was born out of my Doctoral thesis which combines both art and feminist liberation theologies. Thus creating a methodology in which art as language gives voice to women’s experience within the theological world. The Forum so far has opened a window of opportunity for female artists and feminist theologians alike to exhibit visual (...) artwork that demonstrates their incarnational experience through the concept of Christ/a and Mary/miriam from a feminist theological perspective. There have been two exhibitions with a third exhibition this year which will have a feminist ecological/theological theme highlighting the important role that many women globally play in their own wellbeing and flourishing in connection with the Earth/gaia. This article moves briefly from personal experience, which is where all feminist theology begins, into the wider world of possibilities for women to use both art and feminist theology as a model for expressing another way of speaking their experience theologically, ecologically, socially and politically and in so doing create a space in which they too may flourish. (shrink)

This collection of essays seeks to expand the parameters of the debate on pornography. In an effort to move away from the divisive frameworks of which side are you on? and who counts as women worthy to be listened to? in feminist debates on pornography, this volume seeks to understand what pornography means to those who consume it, fight against it, work within it, and to those engaged in changing its meaning. By opening up a space for divergent points of (...) view to address the complexityof sexual material, this volume seeks to forge solidarity amongst a diverse array of constituencies, including academics, activists, and sex workers from diverse socio-political contexts. Through seeking to address the relationship between imperialism, the exotic, and the pornographic, the collection moves away from Eurocentric perspectives on pornography, by including the perspectives of women involved in struggles for national liberation in the South. This volume explores a wide range of issues, such as, how the meaning of pornography is shaped by changing historical and political realities; the role law should play, if any, in the sex industry; whether union organizing can change the working conditions in the sex industry; kinds of representational politics available for redefining pornography; and how sexually explicity literature, videos, art, and music can serve the purpose of sexual freedom. Contributors to the volume include Diana Russell, Catharine MacKinnon, Andrea Dworkin, Wendy Brown, Becki Ross, Mallek Alloula, M. Jacqui Alexander, Victoria Ortiz, bell hooks, Rey Chow, Judith Butler, Candida Royalle, Zoraida Ramirez Rodriguez, amongst others. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

In response to the discussion between William W. Morgan and Annette Kolodny in the Summer 1976 issue of Critical Inquiry I would like to address the issue of separating judgments based on feminism as an ideology from purely aesthetic judgments. Peripherally this included the issue of "prescriptive criticism," so labeled by Cheri Register in Feminist Literary Criticism: Explorations in Theory.1 In the same book, as Kolodny points out,2 I called for criticism that exists in the "prophetic mode." Kolodny indicates (...) reservations about both concepts without fully exploring the issue. I would like to explain my statement here and to explore further the issue of feminism and aesthetics. When I called for criticism in the prophetic mode, I did not intend to promote an idea of the critic as ideological prophet. Rather, as I explain in the context from which the term is taken,3 I am speaking of the engaged scholar who is concerned to influence the future by her/his work today. S/he chooses her/his work with an eye to encourage political and social changes. Obviously, for a feminist this translates into a concern for a future in which women will be free from many of the restrictions that have held them down in the past. Much feminist criticism is thus corrective criticism designed to redress the imbalance in current literary curricula, and more generally to reintroduce "the feminine" into the public culture. · 1. Cheri Register, "American Feminist Literary Criticism: A Bibliographical Introduction ," Feminist Literary Criticism: Explorations in Theory, ed. Josephine Donovan pp. 11-24.· 2. Annette Kolodny, "The Feminist as Literary Critic," Critical Inquiry 2 : 828.· 3. Josephine Donovan, "Critical Re-Vision," Feminist Literary Criticism, p. 81, n. 2. Josephine Donovan, currently working on a literary biography of Sarah Orne Jewett, has written "Feminist Style Criticism," "Sexual Politics in the Short Stories of Sylvia Plath," and has edited Feminist Literary Criticism: Explorations in Theory. Although the occasion for this response was the exchange between Annette Kolodny and William W. Morgan , the questions raised by Ms. Donovan have some bearing on other topics discussed in Critical Inquiry—e.g., the nature of accepted canons in the arts . In addition the question of how we may interpret literary works from the past that contain currently unacceptable representations of women has implications as well for how we respond to "objectionable" representations of ethnic and religious groups and even of social classes. The editors expect to see these issues explored further in the future. (shrink)

Feminism has been a major force in the reshaping of recent art. The women's movement has given new confidence to women who work in the visual arts; it has opened up new areas for art to deal with and challenged existing systems of values and imagery in the arts. In their comprehensive introduction, Rozsika Parker and Griselda Pollock provide a richly illustrated history of the British women's art movement, covering the major events and debates in feminist art practice which (...) have taken place over the last fifteen years. They also examine the trends, the conflicts and the new directions of the 1980s in which issues of race, as well as gender, have necessarily become prominent. Griselda Pollock goes on to explore the place of feminist art in the context of post-modern culture, arguing that feminism is one of the most important and radical interventions in both modernism and post-modernism. --back cover. (shrink)

Postmodern aestheticism is defined as a way of thinking that privileges the art of continual reversal. The dynamics of reversal operate according to a theoretical model that, historically speaking, has been the vehicle for blatantly masculinist ideologies. This creates problems for feminist thinking that would appropriate the postmodern conception of the subjectivity of the artist or the aestheticist dissolution of the distinction between life and art.

Richard McCormick examines the concepts of postmodernity and postmodernism as they apply to West Germany, discussing them against the background of cultural and political upheaval in that country since the 1960s, rather than exclusively in the more familiar setting of intellectual history. Considering six literary and cinematic texts that are marked by a preoccupation with the self and subjectivity, he underscores the crucial influence of feminism on writers and filmmakers--and on the "postmodern." In a broad international context he describes (...) the conflicting forces that affected the West German student movementthe rationalistic tradition of the Weimar Left and more "irrational" influences such as French existentialism and surrealism (as well as the American "Beat" movement and rock & roll)--and shows how these forces played themselves out so that dogmatic Marxist Leninism was repudiated in favor of a "New Subjectivity.". At the center of the discussion are the novels Lenz by Peter Schneider, Class Love (Klassenliebe) by Karin Struck, and Devotion by Botho Strauss, and the films Wrong Move written by Peter Handke and directed by Wim Wenders, Germany, Pale Mother by Helma Sanders-Brahms, and The Subjective Factor by Helke Sander. The author shows how ongoing attempts to attack the separation of emotion from reason, life from art, the private from the public, and the personal from the political brought about changes in outlook, from the 1960s to the early 1980s, that are related to the rise of new political movements--ecology, nuclear disarmament, and feminism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This article reads some familiar examples of contemporary visual arts, such as Cindy Sherman, Mona Hatoum, Robert Gober, John Miller, Eva Hesse, Orlan and Robert Mapplethorpe, by engaging with diff...

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present (...) gender demarcations? (shrink)

Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political potential of Butler’s work and (...) serve to expand her notion of parody as it pertains more directly to women and the female body. (shrink)

I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.

Caffeine makes you sexy! This absurd slogan can be seen in the shop windows of a popular Brussels coffee chain – its bold pink lettering indicating how they are mainly targeting female customers. It is one of the silliest examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look ‘hot’ and conform to the standards of sexiness as they are projected in the media, entertainment industry, and advertising. But what exactly (...) is wrong with this state of affairs and what can be done about it? In a recent essay Sheila Lintott and Sherri Irvin take up this issue and make an elaborate case for what they call a ‘feminist reclamation’ of sexiness. This chapter investigates the merits and shortcomings of their proposal, presents an alternative account, and considers how pornography may be part of the problem but also part of the solution in this matter. (shrink)

In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how traditional aesthetics (...) might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305). (from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172). (shrink)

This article explores the importance of imagination and art when developing and working with theology, particularly feminist theology. It begins with a short review of selected periods in Christian history that either supported or warned against the use of imagination and art in classical theological development. Feminist theology has had a different history because since its inception, imagination has been central to the formation and exploration of the field. Imagination and art have continued to develop and promote feminist theological worship, (...) and backlash against feminist theology has also focused on these artistic expressions. I propose the term theological imaginizing for the intentional engagement and exploration of imagination and art with theology, and I share insights based on my field research for integrating feminist theology with art in Christian worship today. (shrink)

Art reconfigures experience. Art is a mentalized physical object. Danto remarks that art is embodied meaning. Hein says that feminist art chats on the edge. Our mental life is filled with meaning, but art opens the question of the meaning of experience. . . . Art, chatting on the edge of experience, nevertheless invites us to choose our stance in that world. I suggest that that is the beauty, or, at least the value, of art. The art experience presents us (...) with a sensory exemplar that can convey, and exhibits, content. The exhibited content of the mode of presentation of the exemplar suggests a reconfiguration of the content of experience outside of art as well as within. Art, then, is that part of experience that changes us to changing the content of our experience. My claim here is that feminist art provides us with a paradigm of what art does, and the tis why I admire it. (shrink)

The ‘return to beauty’ raises a number of questions for feminism. This paper begins by suggesting that there is no real reason for a feminist distrust either of beauty or of the discourses of beauty. The more difficult question is how to comprehend the bases of aesthetic judgement more generally, given feminist and other critiques of aesthetics and art criticism. The paper proposes looking at the cognate ‘value’ fields of ethics and political philosophy, in order to develop an approach (...) to aesthetics that recognizes aesthetic criteria as grounded in community. It has been argued that uncertainty is the necessary basis for morality and for political judgement after the demise of ideologies of universalism. For the same reasons, an ‘aesthetics of uncertainty’ can be developed which refuses both the new universalism of the ‘return to beauty’ and the temptation to abandon principled criteria of judgement. (shrink)

In this essay, I argue that pronatalism—a social bias in favor of gestational motherhood—and geneticism—a social bias in favor of genetic motherhood—are conceptually and operationally distinct social forces that influence some women's reproductive decision making. Each of these social forces shapes the reproductive landscape, relates differently to women's identities, and causes different social stigmatization and harm. Pronatalism and geneticism warrant feminist concern because they can compromise some women's reproductive autonomy and well-being. I suggest that combating pronatalism and geneticism will require (...) different sets of media, policy, education, and health care practice strategies. (shrink)

Feminist epistemology and feminist art theory are characterized by an opposition to modernity's separation of art, politics, and knowledge into three autonomous spheres. However, this opposition is not enough to distinguish them from other philosophies. In this paper I examine parallels between the two fields of inquiry in order to discover what makes them distinctively feminist. Feminist epistemology sees interconnections between knowledge and politics, feminist art theory sees connections between art and politics. We need to explore as well connections between (...) art and knowledge. Compared to feminist epistemology, feminist art theory has had much less exposure, and in this paper I emphasize what the former can learn from the latter. In particular, I suggest that feminist art can answer a call made by feminist theories of knowledge for a kind of transformative knowledge. If we focus on the features of activist art explored by feminist art theories, we see that feminist art is particularly suited to engage emotions as well as the intellect. It is an example of nonpropositional knowledge, and is interactive rather than striving to pass down lessons from above. Feminist art celebrates the power of art to “make strange” and to unsettle fixed identities which can transform our understanding of the world. There is a tendency in some feminist art theory to separate the more concrete work (rediscovering women artists, recognizing women's crafts as art forms, and investigating sexist imagery in art), from the theoretical project of reenvisioning the relations of art to its sociopolitical context. I conclude by arguing that without an awareness of the dialectical relationship between the concrete and the theoretical, feminist art theories run the risk of losing their feminist specificity. They would then amount to little more than abstract pronouncements of the interconnections between art, politics, and knowledge. We need to maintain the feminist specificity of feminist politics in our theories of art and knowledge, and I use examples throughout the essay, drawn particularly from feminist activist art, with this goal in mind. (shrink)

This article offers an underexplored resistance strategy to gender norms, based on a feminist and queer reading of the work of French thinker Roland Barthes. Building on Barthes’s peculiar conception of what he calls “the Neutral” and revisiting his work in light of feminist and queer scholarship on sexual (in)difference, my main goal is to reshape our understanding of what it means to be gender neutral. In opposition to classical conceptions of neutrality associated with passivity, indifference, and blandness, I show (...) that Barthes’s Neutral can be conceived as an active gesture, which alters common systems of meanings and power, including the gender binary. But this conception of the Neutral, I argue, neither refers to a call for an androgynous, queer, or nonbinary gender experience. It does not target gender embodiments but gender regulations—that is, the social enforcement of gender categories (by way, for instance, of administrative forms, single-sex bathrooms, or normalizing attitudes toward others). A gender-neutral arrangement, therefore, refers to an ethical, administrative, social, or spatial relation in which subjects are not assigned based on gender categories. This practice of gender suspension, I show, has two main transformative effects. First, it opens a space of freedom and livability for gender-nonconforming subjects. Second, it contributes to lessening the significance of sexual difference in social life and therefore alleviating its symbolic and normative weight for everyone. (shrink)

Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special (...) child : Leonardo da Vinci -- The goddess in Arcady : Giorgione -- Art and nature in the Cinquecento : from competitor to master -- Love and death in Venice : Titian -- Art against nature : Raphael, the early Mannerists, and late Michelangelo -- Natura bound : the later Tuscan Mannerists -- Epilogue. (shrink)

Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.

Suffrage graphics constitute one of the first collective, ideological, artistic expressions by American women. Premised on the popular view of woman's nature as virtuous, responsible, and nurturant, this art nonetheless challenged traditional practices and demanded political change. Interrelationships between feminism, art, and the historical context are explored in this analysis of women's imagery.

The inhuman in the humanities : Darwin and the ends of man -- Deleuze, Bergson, and the concept of life -- Bergson, Deleuze, and difference -- Feminism, materialism, and freedom -- The future of feminist theory : dreams for new knowledges -- Differences disturbing identity : Deleuze and feminism -- Irigaray and the ontology of sexual difference -- Darwin and the split between natural and sexual selection -- Sexual difference as sexual selection : Irigarayan reflections on Darwin -- (...) Art and the animal -- Living art and the art of life : women's painting from the western desert. (shrink)

Machine generated contents note: -- Introduction: Decadence, Feminism and "Excess" Chapter 1: Consuming Craft, Cupcakes and Cocaine: Orly Cogan, Shane Waltener and Shelley Miller Chapter 2: Pleasure Craft: Nava Lubelski, Mickalene Thomas and Shary Boyle Chapter 3: Bad Women?: Tracey Emin, Ghada Amer and Allyson Mitchell Chapter 4: "The Decaying Fabrics of Life and Death": Rozanne Hawksley's Textile Art Bibliography -- Index.