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This is the follow-up to Belliveau’s collection of zines, the great hopeful someday. This time around the book features full colour artwork and a series of texts the artist has been working on at various residencies around the world (including England’s Lake District and Newfoundland’s Fogo Island). The texts effortlessly blend poetry and prose in stories about the dogs(...)
Elisabeth Belliveau : don't get lonely don't get lost
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This is the follow-up to Belliveau’s collection of zines, the great hopeful someday. This time around the book features full colour artwork and a series of texts the artist has been working on at various residencies around the world (including England’s Lake District and Newfoundland’s Fogo Island). The texts effortlessly blend poetry and prose in stories about the dogs of feminist icons and finding and losing love. The book is packaged with a DVD of her new animation Margaret’s Mountain, Belliveau’s longest animated work to date.
Art canadien
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Resonating with the ethos of open dialogue and the experimentation of women artists' collectives in the 1970s and 1980s, "Of Other Spaces" constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Highlighting the inherent seditiousness that animates feminist thinking, the book seeks out the(...)
Of other spaces: where does gesture become event?
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Resonating with the ethos of open dialogue and the experimentation of women artists' collectives in the 1970s and 1980s, "Of Other Spaces" constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Highlighting the inherent seditiousness that animates feminist thinking, the book seeks out the lodestone of a volatile politics that calls for and instigates urgent alternatives to the cultural, political, and economic machineries of power that haunt this world. The book documents an exhibition and symposium that brought together women artists, writers, and thinkers.
Théorie de l’art
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As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan(...)
Photography after photography: gender, genre, history
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As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers.
Théorie de la photographie
Ecofeminism as politics
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Exploring the philosophical and political challenges of bridging feminist and ecological concerns, "Ecofeminism as politics" argues that ecofeminism reaches beyond contemporary social movements as a political synthesis of four revolutions in one, taking in ecology, feminism, socialism, and postcolonial struggle. Informed by a critical postmodern reading of Marxism,(...)
Ecofeminism as politics
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Exploring the philosophical and political challenges of bridging feminist and ecological concerns, "Ecofeminism as politics" argues that ecofeminism reaches beyond contemporary social movements as a political synthesis of four revolutions in one, taking in ecology, feminism, socialism, and postcolonial struggle. Informed by a critical postmodern reading of Marxism, "Ecofeminism as politics" integrates discourses on science, the body, culture, nature, and political economy. Highlighting the importance of finding commonalities between ecofeminist and indigenous struggles, Salleh offers a groundbreaking discussion of deep ecology, social ecology, eco-socialism, and postmodern feminism through the lens of an ecofeminist deconstruction.
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This volume is a focused look at two bodies of work, the Tirs (“shooting paintings”) and Nanas (“dames”), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle. Alongside a poetic response to the work, four essays treat Saint Phalle’s oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects(...)
Nikki de Saint Phalle in the 60s
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This volume is a focused look at two bodies of work, the Tirs (“shooting paintings”) and Nanas (“dames”), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle. Alongside a poetic response to the work, four essays treat Saint Phalle’s oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle’s life in the 1960s.
Women architects and politics: Intersections between gender, power structures, and architecture
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In the late 1960s, the feminist scholar Kate Millet broadly defined "politics" as arrangements of power which enable individuals collectively to assert authority over others. Taking this definition, case studies by scholars from Europe and Israel explore the gendered professional in the 20th century as she navigated arrangements of power-including organised religion,(...)
septembre 2022
Women architects and politics: Intersections between gender, power structures, and architecture
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In the late 1960s, the feminist scholar Kate Millet broadly defined "politics" as arrangements of power which enable individuals collectively to assert authority over others. Taking this definition, case studies by scholars from Europe and Israel explore the gendered professional in the 20th century as she navigated arrangements of power-including organised religion, emancipation movements, cultural norms, and shifting forms of government - to practice architecture. Additional contributions reflect upon power structures in contemporary architectural education, practice, and history to propose other means of architectural knowledge, representation, and professional activity.
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No Is Not an Answer presents Marie-Louise Ekman’s art. As one of the most influential artists in Sweden in the postwar period, Ekman was both part of Swedish pop and the rebellious underground in the ’60s and ’70s. She created a unique body of proto-feminist work, which draws equally from the playful imagination of a young woman and popular culture in the social welfare(...)
No is not an answer : on the work of Marie-Louise Ekman
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No Is Not an Answer presents Marie-Louise Ekman’s art. As one of the most influential artists in Sweden in the postwar period, Ekman was both part of Swedish pop and the rebellious underground in the ’60s and ’70s. She created a unique body of proto-feminist work, which draws equally from the playful imagination of a young woman and popular culture in the social welfare state. She has directed more than a dozen films, TV series, and plays, and since 2009 she has been the director of the Royal Dramatic Theatre in Stockholm.
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Women Artists brings together twenty-nine essential essays from throughout Nochlin’s career, making this the definitive anthology of her writing about women in art. Included are her major thematic texts “Women Artists After the French Revolution” and “Starting from Scratch: The Beginnings of Feminist Art History,” as well as the landmark essay and its rejoinder “‘Why Have(...)
Women artists: the Linda Nochlin reader
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Women Artists brings together twenty-nine essential essays from throughout Nochlin’s career, making this the definitive anthology of her writing about women in art. Included are her major thematic texts “Women Artists After the French Revolution” and “Starting from Scratch: The Beginnings of Feminist Art History,” as well as the landmark essay and its rejoinder “‘Why Have There Been No Great Women Artists?’ Thirty Years After.” These appear alongside monographic entries focusing on a selection of major women artists including Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle.
Théorie de l’art
Stable vices
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The themes of protection, freedom and oppression appear consistently throughout Polish artist Joanna Piotrowska’s oeuvre. Through three photographic series, Stable Vices focuses on these notions to crystallise a spectrum of concerns that drive her work. One series is inspired by illustrated self-defence manuals and Psychology and Resistance by the feminist psychologist(...)
Stable vices
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The themes of protection, freedom and oppression appear consistently throughout Polish artist Joanna Piotrowska’s oeuvre. Through three photographic series, Stable Vices focuses on these notions to crystallise a spectrum of concerns that drive her work. One series is inspired by illustrated self-defence manuals and Psychology and Resistance by the feminist psychologist Carol Gilligan. A second series reveals precarious shelters made out of furniture and blankets, situated in domestic spaces. In a third series, Piotrowska focuses on cages and comparable spaces created for humans, drawing parallels between the lives of certain communities and animals, and the environments in which they live.
Monographies photo
Judy Chicago-isms
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A fierce activist for women’s rights and against climate change, Judy Chicago defines herself best: “I’m Judy Chicago, and I’m an artist and a troublemaker.” A leader of the Women’s Art Movement of the 1970s, Chicago also founded the first feminist art program in the United States. She is renowned for her monumental installation ''The Dinner Party'' (1974–1979), an iconic(...)
Judy Chicago-isms
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A fierce activist for women’s rights and against climate change, Judy Chicago defines herself best: “I’m Judy Chicago, and I’m an artist and a troublemaker.” A leader of the Women’s Art Movement of the 1970s, Chicago also founded the first feminist art program in the United States. She is renowned for her monumental installation ''The Dinner Party'' (1974–1979), an iconic work that celebrates female luminaries from history and mythology, including Georgia O’Keefe, Emily Dickinson, Sojourner Truth, and Hatshepsut. Gathered from interviews and other sources, Judy Chicago-isms is an inspiring collection of the memorable and powerful words of a trailblazing artist.