Reading List Feminism & Art

From three of the organizers of the International Women’s Strike: a manifesto stating that ‘leaning in’ is not enough. Taking as its inspiration the new wave of feminist militancy that has erupted globally, this manifesto makes a simple but powerful case: feminism shouldn’t start—or stop—with the drive to have women represented at the top of their professions. It must focus on those at the bottom, and fight for the world they deserve. And that means targeting capitalism. Feminism must be anti-capitalist, eco-socialist and anti-racist.

This work offers an overview of art and feminism's diverse relationships. It traces the changing art practices, historical debates, manifestos and re-awakenings that characterize the continuing dialogue between feminism and contemporary art. Feminism has had a crucial impact on late twentieth-century art, inspiring some of the most pioneering developments in sculpture, painting, performance, photography, film and installation. Feminism has redefined the very terms of late twentieth-century art: it has exposed assumptions about gender; it has politicized the link between private and public; it has stressed the specificity of art marked by gender, race, age and class. Selected by editor and researcher Helena Reckitt, this collection presents the rich diversity of art informed by feminism from the 1960s to the start of the twenty-first century. Not just a comprehensive history, the book juxtaposes works by many artists who are not usually shown or discussed together, opening up new connections between key figures. Feminist theorist Peggy Phelan, surveys the history of feminist art, opening up new perspectives on the work of artists ranging from Georgia O'Keeffe and Louise Bourgeois to Cindy Sherman and Pipilotti Rist. The Documents include the key critical texts of each period, ranging from the writings of Simone de Beauvoir, to the pioneering art criticism of Lucy R. Lippard, to Craig Owens' feminist-derived contributions to postmodern criticism, as well as many important previously unpublished artists' statements and interviews.

Stella Bergsma laat je kennismaken met de onverschrokken vrouw aan de hand van onderwerpen als schaamte, woede, kwaadaardigheid, jezelf zijn en niet deugen. Een manifest voor dwarsdenkers. Een handleiding in dwarsleven. Een manifest over eigenzinnigheid en je eigen zinnen schrijven. Dwarsleven aan de hand van de Vijf Wezen: Wees Slecht, Wees Woedend, Wees Onbeschaamd, Wees Onbescheiden en Wees Gevaarlijk. Deug niet, faal, raas, tier, bijt, schuur, steek, zuig en rek je omgeving op tot ze bij je past. Maar met stijl, altijd met stijl.

Discover the shocking gender bias that affects our everyday lives. With this book British journalist Caroline Criado-Perez challenges science and the way women are being left out of data: the gender data gap – a gap in our knowledge that is at the root of perpetual, systemic discrimination against women, and that has created a pervasive but invisible bias with a profound effect on women’s lives. From the labor market to town planning, public transport and technology, the canon of visual art, film, music and its impact on education and media representation. The same goes for algorithms, health care, businesses or even crash dummies and snow ploughs. An impressive range of case studies, stories and new research from across the world that illustrate the hidden ways in which women are forgotten, and the impact this has on their health and well-being. In making the case for change, this powerful and provocative book will make you see the world anew.

Originally published in 1970 this book remains a ground-breaking feminist tract. Indignant, but with a great sense of humor, Greer describes the oppression of women from Biblical times until now. Women, she argues, still don't realize how much men despise them, and how they learn to dislike themselves, especially their bodies and sexuality. In her research on women's oppression, Greer draws on history, literature, biology and popular culture. The result is a vital, passionate cultural criticism that is not only historically significant, but also shockingly topical in this age of utterly artificial ideals of feminine beauty.

www.groene.nl/artikel/de-brandstichtster-van-het-feminisme
Artikel over De Vrouw Als Eunuch door Xandra Schutte.

bell hooks presents in this collection of essays an outstanding analysis of how to oppose sexism and racism. She deals with the meaning of feminist consciousness in daily life and self-recovery, with overcoming white and male supremacy, and intimate relationships, exploring the point where the public and private meet. An amazing analysis of race, gender, sexism, misogyny, pedagogy, and education, combining them all through personal anecdotes of her own life.

Nederlands: Sister Outsider, Uitgeverij Pluim, 2020

Presenting the essential writings of black lesbian poet and feminist writer Audre Lorde, Sister Outsider celebrates an influential voice in twentieth-century literature. In this charged collection of fifteen essays and speeches, Lorde takes on sexism, racism, ageism, homophobia, and class, and propounds social difference as a vehicle for action and change. With examples and anecdotes from her own life, Lorde investigates the complexity of identity. She argues that women should enter into a conversation because they suffer from the invisibility of their stories. She believed in emphasizing differences as a driving force for the women's movement. By dissecting the barriers faced by women, Lorde shows us that the only way the feminist movement can evolve is to allow and understand differences.

More than just a slogan on a t-shirt, feminism is a radical tool for fighting back against structural violence and injustice. Feminism, Interrupted is a bold call to seize feminism back from the cultural gatekeepers and return it to its radical roots. Lola Olufemi explores state violence against women, the fight for reproductive justice, transmisogyny, gendered Islamophobia and solidarity with global struggles, showing that the fight for gendered liberation can change the world for everybody when we refuse to think of it solely as women's work. Including testimonials from Sisters Uncut, migrant groups working for reproductive justice, prison abolitionists and activists involved in the international fight for Kurdish and Palestinian rights, Olufemi emphasizes the link between feminism and grassroots organizing.

www.plutobooks.com/blog/podcast-feminism-interrupted/
A podcast celebrating the launch of the book, with Lola Olufemi, Jade Bentil, a black feminist historian and PhD researcher at the University of Oxford, and author of the book, Rebel Citizen: A History of Black Women Living, Loving and Resisting (2020); and Gail Lewis, a black feminist and former Reader in Psychosocial Studies at Birkbeck College. Their discussion covers a range of subjects treated in the book, including the history of black feminist organizing, grassroots activism, liberal feminism, sex work, the nation state and state violence, gender, trans and queer life, intersectionality, and art.

Sinds mensenheugenis is het vrouwelijk lichaam begeerd, bewonderd, gebruikt en misbruikt, en de reclame kan niet zonder. Mannen en vrouwen hebben elkaar altijd nodig gehad, maar waarom kregen mannen meer macht dan vrouwen? Antwoorden op die vraag hebben alles te maken met anatomie. Door de eeuwen heen hebben vooral mannelijke vertellers, kunstenaars en geleerden hun licht laten schijnen op lichaamsdelen die ze niet hadden: borsten, baarmoeders en vulva’s. Ook de populaire cultuur is er altijd dol op geweest.

De vrouwelijke sekse heeft, naast menselijk leven en seksuele lust, angsten gebaard: angst voor de magie van tepels, maagdenvlies en menstruatiebloed. Angst voor duistere gangen vol schrikbarende begeerte, waarin het meest kwetsbare mannelijke deel heldhaftig zijn weg moest zoeken. Angst voor afhankelijkheid van moeders en andere vrouwen. Bij wijze van geruststelling heeft de mythologie mannelijke scheppers bedacht en is vrouwen de toegang tot openbare functies vaak ontzegd vanwege hun ‘afwijkende’ anatomie.

Wie zich in deze rijkgeschakeerde erfenis van macht en onmacht verdiept, raakt bevangen door intens medelijden met de mensheid. Dit onthullende (en soms hilarische) werelderfgoed biedt niet alleen helder inzicht in de wereld van vóór #MeToo, maar ook in de manier waarop we, bewust of onbewust, vandaag nog vaak met elkaar omgaan.

During the Middle Ages and the Renaissance, women were blamed for having too much passion, imagination and sexual appetite. By the late eighteenth century, however, these qualities had been revalued and appropriated for male artists. The virtues attributed to the Romantic ‘genius’ made him like a woman but not a woman. He belonged to a third, supermale sex. As new and old concepts of woman and genius clashed, there evolved a rhetoric of sexual apartheid which today still affects our perceptions of cultural achievement. Genius from the time of the Greeks has been defined as male. In this study, Christine Battersby traces the history of the concept of genius from ancient Rome to the present day, showing how pagan myths linking divinity with male procreativity have survived into our own time. The author explores the dilemma faced by female creators who have resisted the idea that Art requires ‘feminine’ qualities of mind but male sexual energies. Gender and Genius argues, against those currently seeking to establish an aesthetics of the ‘feminine’, that a feminist aesthetics must look to the achievements of women artists in the past as well as in the present.

www.ktpress.co.uk/nparadoxa-volume-details.asp
The magazine n.paradoxa was published in print for 20 years bi-annually. A total of 40 volumes, 550 articles to promote understanding of women artists and their work. PDFs of selected articles from n.paradoxa are available online to read.

The extensive resource pages on this website are now called the Feminist Art Observatory. These resources link to many other websites and sources of information from feminist art groups and archives, feminist art publications, feminist art topics and 1000+ MA/PhDs theses on feminist art.
A history of the journal is available in Volume 40 (July 2017) written by its founder and editor, Katy Deepwell.

The Guerrilla Girls are a collective of female artists and art-world professionals. Their largest contingent is in New York City, but they have been sighted all over the United States, Europe, and wherever truth, justice, and the American way of discrimination still prevail.
Ever wonder about the abundance of naked male statues in the Classical section of your favorite museum? Did you know medieval convents were hotbeds of female artistic expression? And how did those ‘bad boy’ artists of the twentieth century make it even harder for a girl to get a break? Thanks to the Guerrilla Girls, those masked feminists whose mission it is to break the white male stronghold over the art world, art history-as we know it-is history. Taking you back through the ages, the Guerrilla Girls demonstrate how males (particularly white males) have dominated the art scene, and discouraged, belittled, or obscured women's involvement. Their skeptical and hilarious interpretations of ‘popular’ theory are augmented by the newest research and the expertise of prominent feminist art historians. ‘Believe-it-or-not’ quotations from some of the ‘experts’ are sprinkled throughout, as are the Guerrilla Girls' signature masterpieces: reproductions of famous art works, slightly ‘altered’ for historic accuracy and vindication. This colorful reinterpretation of classic and modern art, as outrageous as it is visually arresting, is a much-needed corrective to traditional art history, and an unabashed celebration of female artists.
Full of witty insights, stories behind the stories, and relevant facts about women artists of days gone by. Broken down into chapters according artistic eras (Classical, Middle Ages, the Renaissance, etc.), this book chronicles the continuing plight for recognition of women through the history of art all the way to the twentieth century.

Groundbreaking art from a revolutionary era, featuring work by more than 120 international artists, from Louise Bourgeois and Yoko Ono to Martha Rosler, Marina Abramović, and Cindy Sherman. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period, as well as important works made in those years by artists whose careers were already well established. The art surveyed in WACK! includes work in all media, from painting and sculpture to photography, film, installation, and video, arranged not by chronology but by theme: Abstraction, ‘Autophotography,’ Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others.
Written entries on each artist offer key biographical and descriptive information and accompanying essays by critics, art historians, and scholars offer new perspectives on feminist art practice. The topics, including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism, provide a broad social context for the artworks themselves.

Gender Check follows the changes in the representation of male and female role models in art – especially as they develop under different socio-political conditions. The exhibition (first in Vienna and later in Warsaw) showed the interrelationship between art and history following both a chronological and thematic approach. Pejić, along with a team of experts from 24 different countries, selected for the exhibition over 400 works thereby covering a period of almost fifty years, by her ironically summarized as a development ‘from equality without democracy to democracy without equality’. In Gender Check art from various disciplines and countries, theme’s such as self-portrait, portraits of friends, motherhood, the body, nudity, and the role of women in artists groups and (alternative) cultural infrastructure are re-interpreted from many angles and contextualized in their own local, historical, artistic and political settings.

The book starts in the 1960s, when heroic male and female workers were the dominant figures in the socialist realist tradition of art. The intended reality-transforming program of a ‘sexless society’ propagated by the state was met with irony and unmasked by unofficial art at the time. Following the period of collective state utopian aesthetics, different individual and more open tendencies could be found on a local level – periodically provoking a hostile response – that created independent spaces for nonconformist art. Beginning in the 1970s, ideals of femininity and masculinity were reexamined beyond the propagandist clichés of the past: Self-portraits and representations of the body and subjectivity began to hint at a newfound self-confidence also reflected in openly displayed sexuality that called heterosexual standards and heroic ideals of masculinity into question. Even many of the abstract pieces worked with anthropomorphic forms and the relationship between the sexes within society.

This work offers an overview of art and feminism's diverse relationships. It traces the changing art practices, historical debates, manifestos and re-awakenings that characterize the continuing dialogue between feminism and contemporary art. Feminism has had a crucial impact on late twentieth-century art, inspiring some of the most pioneering developments in sculpture, painting, performance, photography, film and installation. Feminism has redefined the very terms of late twentieth-century art: it has exposed assumptions about gender; it has politicized the link between private and public; it has stressed the specificity of art marked by gender, race, age and class. Selected by editor and researcher Helena Reckitt, this collection presents the rich diversity of art informed by feminism from the 1960s to the start of the twenty-first century. Not just a comprehensive history, the book juxtaposes works by many artists who are not usually shown or discussed together, opening up new connections between key figures. Feminist theorist Peggy Phelan, surveys the history of feminist art, opening up new perspectives on the work of artists ranging from Georgia O'Keeffe and Louise Bourgeois to Cindy Sherman and Pipilotti Rist. The Documents include the key critical texts of each period, ranging from the writings of Simone de Beauvoir, to the pioneering art criticism of Lucy R. Lippard, to Craig Owens' feminist-derived contributions to postmodern criticism, as well as many important previously unpublished artists' statements and interviews.

The Art of Feminism charts the birth of the feminist aesthetic and its development over two centuries that have seen profound and fast-paced change in women’s lives across the globe. The book includes over 350 artworks, ranging from political posters and graphics to pieces of painting, sculpture, textiles, craft, performance, digital and installation art.
Beginning in the nineteenth century, the study moves on to developments of both World Wars before arriving at the ‘birth’ of feminist art in the 1960s. More recent artworks describe the development of feminism from the fall of the Berlin Wall to the present day, including examples by Barbara Kruger, Sophie Calle, Nancy Spero, Marina Abramović, Mary Kelly, Judy Chicago, Faith Ringgold and Sonia Boyce.

This catalogue accompanies the exhibition 'Global Feminisms' presented by the Brooklyn Museum in New York in 2007. The show features more than eighty women artists from around the world and includes work in all media—painting, sculpture, photography, film, video, installation, and performance. Apart from contributions by important North American and European artists, work by significant artists from Africa, the Middle East, Central and South America, Asia and Australia are also included. Two introductory essays by the exhibition curators Maura Reilly and Linda Nochlin are complemented by contributions by a multinational team of authors, each offering new perspectives on women's artistic expression in different regions of the world. Includes artist biographies and bibliography.
The book offers an alternative narrative of art by bringing together a wide selection of women artists, from an array of cultures, whose work deals with their socio-cultural, political, economic, racial, gender, and/or sexual identities. In so doing, Global Feminisms acknowledges the profound differences in women's lives around the world. By challenging the notion of a single, universal feminism, it also challenges the predominantly Westerncentric, masculinist discourse of contemporary art.

Charting over 45 years of feminist debate on the significance of gender in the making and understanding of art, this edition of Feminism-Art-Theory has been completely revised, retaining only one-third of the texts of the earlier edition, with all other material being new inclusions. Brings together 88 revealing texts from North America, Europe and Australasia, juxtaposing writings from artists and activists with those of academics. Embraces a broad range of threads and perspectives, from diverse national and global approaches, lesbian and queer theory, and postmodernism, to education and aesthetics. Includes many classic texts, but is particularly notable for its inclusion of rare and significant material not reprinted elsewhere. Provides a uniquely flexible resource for study and research due to its scale and structure; each of the seven sections focuses on a specific area of debate, with texts arranged chronologically in order to show how issues and arguments developed over time.

This multi-voiced collection of essays and images presents the perspectives of activists, scholars, artists, and curators from a broad range of constituencies. Challenging traditional disciplinary and cultural boundaries, the book moves beyond any unified feminist historical narrative to present a ‘relational’ feminism of diverse communities, affiliations, and practices. The texts/images partake of many genres: reflective essay, testimonial dialogue, performance piece, digital collage, prose poem, and photo montage. Forging connections between usually compartmentalized areas of knowledge and of activism, the volume helps to envision alternative epistemologies and imaginative alliances.
Co-published with the New Museum of Contemporary Art in New York.

This book showcases forty years of feminist art history in the Netherlands: women’s art movements, the role of women in the Dutch Visual Arts Foundation, exhibitions with feminist art, and networks and initiatives of female artists. While the topic of art and feminism has both its champions and its critics, all agree on one thing: feminism has permanently changed the artistic landscape. Providing an extensive survey of the work of eighty-eight female artists organized by the Museum voor Moderne Kunst in Arnhem it juxtaposes works by different generations of artists. Among the artists are Carolee Schneemann, Adrian Piper, Annette Messager, Valie Export, Marlene Dumas, Barbara Kruger, Elke Krystufek, Nancy Spero, Hannah Wilke, Maria Roosen, Monica Bonvicini, Gina Pane and many others.
In addition to the artists’ entries and Westen’s introductory essay, the book-catalogue contains six critical texts.

Over matriarchaat, spiritualiteit, en utopie in de kunst. Uitgave ter gelegenheid van de gelijknamige tentoonstelling in Museum Arnhem waarin internationale kunstenaars laten zien hoe een visie op de toekomst gepaard gaat met een duik in de geschiedenis, van moeder, over- overgrootmoeder, naar de (moeder)godin. Met werk van hedendaagse kunstenaars gecombineerd met dat van kunstenaars die in de jaren ’70 en ’80 bijdroegen aan de ‘empowerment’ van vrouwen. Bevat tevens biografische informatie over de deelnemende kunstenaars Melanie Bonajo, Louise Bourgeois, Betsy Damon, Mary Beth Edelson, Vidya Gastaldon, Chitra Ganesh, Mathilde ter Heijne, Cuny Janssen, Shakuntala Kulkarni, Ana Mendieta, Almagul Menlibayeva, Nandipha Mntambo, Tsholofelo Monare, Mai-Thu Perret, Lea Porsager, Nina Poppe, Tracey Rose, Pinaree Sanpitak, Nancy Spero, Niki de St Phalle, Su Tomesen en Miwa Yanagi.

Dancing Women: Female bodies on stage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective. Setting the creation of specific dances in socio-political and cultural contexts, Sally Banes shows that choreographers have created representations of women that are shaped by - and that in part shape - society's continuing debates about sexuality and female identity. Broad in its scope and compelling in its argument Dancing Women provides a series of re-readings of the canon, from Romantic and Russian Imperial ballet to contemporary ballet and modern dance. It investigates the gaps between plot and performance that create sexual and gendered meanings. It examines how women's agency is created in dance through aspects of choreographic structure and style. It analyzes a range of women's images - including brides, mistresses, mothers, sisters, witches, wraiths, enchanted princesses, peasants, revolutionaries, cowgirls, scientists, and athletes - as well as the creation of various women's communities on the dance stage. It suggests approaches to issues of gender in postmodern dance. Using an interpretive strategy different from that of other feminist dance historians, who have stressed either victimization or celebration of women, Banes finds a much more complex range of cultural representations of gender identities.

The Routledge Reader in Gender and Performance presents the most influential and widely-known, critical work on gender and performing arts, together with exciting and provocative new writings. It provides systematically arranged articles to guide the reader from topic to topic, and specially linked articles by scholars and teachers to explain key issues and put the extracts in context. This comprehensive volume reviews women's contributions to theatre history, includes contributions from many of the top academics in this discipline, examines how theatre has represented women over the centuries, introduces readers to major theoretical approaches and more complex questions about gender, the body and cross-dressing and offers an international perspective, including material from post-apartheid South Africa and post-communist Russia.

What does ‘feminism’ mean today? That is the question at the heart of We Should All Be Feminists, a personal, eloquently-argued essay - adapted from her much-viewed TEDx talk of the same name - by Chimamanda Ngozi with humor and levity, here Adichie offers readers a unique definition of feminism for the twenty-first century - one rooted in inclusion and awareness. She shines a light not only on blatant discrimination, but also the more insidious, institutional behaviors that marginalize women around the world, in order to help readers of all walks of life better understand the often masked realities of sexual politics.

Ted talk: We should all be feminists

In Living a Feminist Life Sara Ahmed shows how feminist theory is generated from everyday life and the ordinary experiences of being a feminist at home and at work. Building on legacies of feminist of color scholarship in particular, Ahmed offers a poetic and personal meditation on how feminists become estranged from worlds they critique—often by naming and calling attention to problems—and how feminists learn about worlds from their efforts to transform them. Ahmed also provides her most sustained commentary on the figure of the feminist killjoy introduced in her earlier work while showing how feminists create inventive solutions—such as forming support systems—to survive the shattering experiences of facing the walls of racism and sexism. The killjoy survival kit and killjoy manifesto, with which the book concludes, supply practical tools for how to live a feminist life, thereby strengthening the ties between the inventive creation of feminist theory and living a life that sustains it.

Zeg 'Tweede Golf' en je krijgt een rijtje clichés over soepkippen, trutten en haaibaaien. Ze dragen tuinbroeken, maar geen bh's of make-up. Ze zijn verongelijkt of echt boos. Ze doen aan kringgesprekken en praatgroepen, en aan aktievistiese spelling. Eenzijdig, onredelijk en vooral hysterisch. Die karikaturen zijn hartstikke handig als je wilt afrekenen met Het Feminisme. En veel mensen willen dat: van oude mannen die het maar niks vinden tot jonge vrouwen die het maar niks vinden - zo ook de nieuwe generatie feministen die nu opstaat.
In dit boek ontkracht Linda Duits vijf mythes over feminisme. Ze analyseert wat er daadwerkelijk gebeurde in de Tweede Golf en spiegelt dat aan de praktijken van jonge feministen: van Dolle Mina tot Feministen Tegen Wilders, van praatgroepen tot hashtagactivisme. Met humor en veel voorbeelden werpt Duits een nieuwe blik op de wondere wereld van man-vrouwverschillen.

www.mistermotley.nl/art-everyday-life/van-wie-het-feminisme
Artikel over Dolle Mythes door Linda Duits.

In Waarom feminisme goed is voor mannen pleit feminist Jens van Tricht voor de emancipatie van vrouwen én mannen. In de afgelopen honderd jaar hebben vrouwen toegang geëist tot domeinen die voorheen aan mannen waren voorbehouden, maar op het gebied van de mannenemancipatie bleef het opvallend stil. Toch worden ook mannen door genderongelijkheid in hun vrijheid beperkt. Want ‘echte mannen’ moeten nog altijd stoer zijn, zelfverzekerd, sterk en onafhankelijk. Ze moeten hard werken, mogen niet huilen en geen kwetsbaarheid tonen. Het belemmert veel mannen om ten volle zichzelf te zijn, en dat heeft ook op maatschappelijk niveau destructieve gevolgen. Waarom feminisme goed is voor mannen biedt een nieuw, hoopvol perspectief op mannen en mannelijkheid. Het laat zien hoe mannen kunnen bijdragen aan een betere wereld en wat ze daarbij zelf te winnen hebben. Van Tricht bepleit in dit prikkelende boek de vrijheid voor ieder mens om los te breken uit beperkende verwachtingen en al zijn of haar talenten te benutten.

www.mistermotley.nl/art-everyday-life/mannen-zijn-mensen-daarom-mannenemancipatie-hoognodig

Perry, Grayson, The Descent of Man. London: Penguin Books, 2016. What does it mean to be male in the 21st Century? Did you know that until the nineteenth century pink was certainly a very suitable color for boys? How does masculinity operate? Could it be in need of an urgent upgrade? Fascinating (Turner) price winning artist Grayson Perry looks with a witty, quirky, non-macho and very personal approach at how it could make the world a better place – for everyone! What would happen if we rethought the macho, outdated version of manhood, and embraced a different ideal? In the current atmosphere of bullying, intolerance and misogyny, The Descent of Man is a timely and essential addition to current conversations around gender.

Na een onbezonnen kus met een andere man schrijft Daan Borrel vanuit een kamer in Berlijn een brief aan haar vriend. De brief draait uit op een zichzelf bevragend relaas over seksualiteit, intimiteit en autonomie. Mag je elk verlangen onderzoeken en uitleven? En hoe combineer je dat met een behoefte aan verbintenis? Hoe kunnen vrouwen hun eigen verlangens volgen als ze nooit hebben geleerd daarmee om te gaan? Of zijn mannen hier net zo slecht in? Is het de geest of het lichaam dat verlangens creëert? In hoeverre worden die bepaald door verhalen?

In dit persoonlijke essay zien we Daan Borrel in haar hongerige zoektocht naar antwoorden. Ze richt zich tot literatuur, filosofie, popmuziek en films, maar ook tot haar eigen lijf en tot de vrouwen die het opgevoed hebben. Soms is liefde dit biedt een intieme blik in het hoofd én de onderbuik van iemand die in alle nuance probeert haar seksualiteit te begrijpen.

https://studiumgenerale.artez.nl/nl/studies/all/blog/je+kunt+het+pas+voelen+als+je+het+weet/

Intersectionality : a traveling concept. 2015. www.academia.edu/21447533/Intersectionality_A_travelling_concept
Issues of race, class and gender are not isolated. They interact with each other like different paths at an intersection. Nancy Jouwe explains what intersectionality is, how it can be used as a tool for empowerment, and why academia should care about it.

Standing at the crossroads. 2016.
www.academia.edu/34542049/Nancy_Jouwe_-_Standing_at_the_Crossroads_-_Historica_2016.3.pdf
In this article Nancy Jouwe concentrates on Dutch Black feminists and feminists of color and positions them as the Dutch intellectuals, organizers, and activists who, as a movement and as individuals, have been the key to developing an intersectional theory and praxis. Early on, these feminists developed the inclusive term Black, Migrant, Refugee.

Sites for unlearning in the museum. 2019.
www.mistermotley.nl/art-everyday-life/sites-unlearning-museum
Can we find sites for unlearning in the arts sector? And if they were there, would we recognize them? In 2018, the year of the dog, we find ourselves in a new reality in terms of questions that Dutch museums ask themselves and actions that they take as they question themselves as institutions.

Feminism needs better reproductive strategies. Merve Emre offers a sweeping account of over a century of assisted reproductive technologies (ARTs), from a Progressive Era ‘artificial womb’ to the unevenly distributed dramas and devastations of in vitro fertilization (IVF) today.

www.bostonreview.net/forum/merve-emre-all-reproduction-assisted

An essay written by Donna Haraway and orginally published in 1985 in the Socialist Review. In it, the concept of the cyborg is a rejection of rigid boundaries, notably those separating ‘human’ from ‘animal’ and ‘human’ from ‘machine’. Harraway uses the figure of the cyborg to urge feminists to move beyond the limitations of traditional gender, feminism, and politics; the Manifesto is considered one of the milestones in the development of feminist post humanist theory.

The audio version of the book:
archive.org/details/ACyborgManifesto

Over ‘white innocence’, micro-agressie en ‘diversiteitsprojecten’. Hoe kan de witte beperkte blik op kunst en de starre houding van veel musea doorbroken worden?

https://www.mistermotley.nl/tendens/diversiteit-big-business

Bespreking van het werk Rebelse Trots van Kaersenhout, het kritische kunstenaarschap van Kaersenhout en de onderdrukking en strijd van de zwarte vrouw in Nederland.

www.mistermotley.nl/art-everyday-life/tempel-rebelse-trots-van-patricia-kaersenhout

N.a.v. tentoonstelling Your Voice Matters over de positie van vrouwen nu en in het verleden.

studiumgenerale.artez.nl/nl/studies/all/podcast/patricia+kaersenhout+simone+zeefuik+en+veronique+efomi/

Echte mannen zijn stoïcijns, huilen nooit en maken harde grappen. In 2Doc: Man Made onderzoekt Sunny Bergman wat de maatschappelijke ideeën over mannelijkheid zijn. Wat wordt nou gezien als typisch mannelijk en in welke stereotypen uit zich dat? En hebben mannen onder deze ideeën te lijden?

De traditionele rolpatronen zijn veranderd. Is de man in verwarring over zijn rol? Wereldwijd wordt erover gediscussieerd. Door mannen die uit het mannenharnas willen ontsnappen maar ook door mannen die het liefst weer terug willen naar de klassieke conservatieve man/vrouw-verhouding. Zo vinden de fans van de omstreden psycholoog Jordan Peterson dat de maatschappij veel te veel is gefeminiseerd.

In de twintigste eeuw hebben feministen de vrijheid bevochten voor de vrouw, en daarmee haar emancipatie. Is het nu tijd voor mannenemancipatie, voor de bevrijding van de man? Als het aan Bergman ligt wel.

Kijk de documentaire op:
https://www.vpro.nl/programmas/2doc/kijk/2doc-overzicht/2019/man-made.html

Luister naar het nagesprek met Sunny Bergman:
https://studiumgenerale.artez.nl/nl/studies/podcast/nagesprek+vertoning+documentaire+man+made+van+sunny+bergman/

Vrouwen zijn minstens even vaak naakt afgebeeld op een kleedje in een museum als dat ze er als maker vertegenwoordigd zijn. Om daar verandering in te brengen maken Heske ten Cate en Yuki Kho met de podcast Naakt op een Kleedje een alternatieve rolodex vol fantastische vrouwelijke makers.

https://open.spotify.com/show/1HT9MVWQb4UAftXEYFvOBF

Welke vorm van zichtbaarheid vrouwen in de kunsten ambiëren en realiseren, en welke voorbeelden daarvoor model kunnen staan? Wat is positie innemen, wat is zichtbaar zijn? Wil je onderdeel van het grotere verhaal zijn, en ook nog voor de eeuwigheid? Momenteel doet Barbara Visser voor haar nieuwste film onderzoek naar wie de geestelijk vader (of moeder!) is van het iconische urinoir uit 1917. Was het Marcel Duchamp of toch Elsa von Freytag–Loringhoven? En als dat echt zo is, betekent het dat de oorsprong van de moderne kunst bij een vrouw begint, en niet bij de man waarvan we dat zo’n honderd jaar gedacht hebben.

Durven we de geschiedenis van de moderne kunst te herschrijven ten faveure van een vrouw?

Almost every city is full of men’s names, names that are markers of who wielded power, who made history, who held fortunes, who was remembered; women are anonymous people who changed fathers’ names for husbands’ as they married, who lived in private and were comparatively forgotten, with few exceptions. In the map City of Women, a creative atlas of New York City, Solnit tried on what it would look like to live in such power, by paying homage to some of the great and significant women of New York City in the places where they lived, worked, competed, went to school, danced, painted, wrote, rebelled, organized, philosophized, taught, and made names for themselves.

Rebecca Solnit: City of Women