Feminist Art Practice Research Articles

Integrating NFTs into Feminist Art Practices: Actualizing the Disruptive Potential of Decentralized Technology

The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990’s Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere.

Craft as Care-Full Correspondence

Abstract Two art educators introduce craft as a communal, political, and feminist art practice when pairing it with care-full correspondence as a method for artistic research and critical reflection. Exemplified through a series of embroidered handkerchiefs, they initiate biographical interviews between them on topics like material engagement, physical and virtual correspondence, women's work, and pandemic times, all while contemplating responsiveness in the slowness of stitching. Relevant backstories and scholarship are stitched between interview questions and responses followed by a recommendation for art educators that aims to push back against neoliberal ways of being artists and making art that do not serve us.

Abstracts from the Spectra 2018 Symposium Part 3: Nano-Optics

Abstracts from the Spectra 2018 Symposium Part 3: <i>Nano-Optics</i>

The Possibility of Feminist Art Practice in Seonmichon, Jeonju －Focus on the Concept of New Genre Public Art

The Possibility of Feminist Art Practice in Seonmichon, Jeonju －Focus on the Concept of New Genre Public Art

Women, feminism, and art schools: The UK experience

In this paper, the author analyses the relationship between women, feminism, and UK art schools. The narrative of this relationship is usually told from an American perspective, grounded in the 1970s American women's art movement, and connected with particular programmes. However, the relationship is specific to local conditions and national educational legislation. The 1970s UK experience was different from that of the USA, with distinct educational structures – maintenance grants and single honours degrees – leading to different feminist art pedagogies and practices. Today, a system of fees, loans, debt, and institutional audit, gives another distinctive background to recent relationships between feminism and art. The discussion will be grounded first in the history and context of the UK experience, contrasted with the USA. It will explore the situation today, drawing upon publicly available data. It will explore the history of the feminist educational environment. Finally, it will propose some feminist pedagogical strategies.

Renewal and Reconstruction in Hannah Ryggen’s Transcultural Tapestries

The tapestries of Hannah Ryggen (1894–1970) offer perhaps one of the most striking bodies of politically charged textile art of the twentieth century. In her work, Ryggen combines a modernist visual language with folk art traditions and contemporaneous images of war and corruptions; she uses the traditional craft of weaving to create a radical response to the chaos and violence of modernity. This article analyses the ways that, in the creation of her formally disruptive tapestries, Ryggen pioneers a modern, avant-grade feminist art practice that challenges society’s capitalist, patriarchal and imperialist frameworks. It will consider tapestries created across her four-decade long career, exploring the development from the anti-fascist pieces she created in the 1930s and 1940s, including Ethiopia and October 6, 1942, to later work in which she imagines a transformation of the world based on her communist and feminist principles. The article argues that, through her use of both natural materials and an ethical approach that is as equally attentive to the nonhuman as to the human, Ryggen’s artwork weaves together the domestic and the political, the local and the global, and nature and culture. Yet despite highlighting the man-made horrors of modern society, Ryggen’s methods and materials offer the hope of renewal and reconstruction through a feminist, ecologically grounded engagement with the world and one another.

“Our Toil Doth Sweeten Others”: Processional Banners and the Artists’ Campaign to Repeal the Eighth Amendment

“Our Toil Doth Sweeten Others”: Processional Banners and the Artists’ Campaign to Repeal the Eighth Amendment Brandi S. Goddard (bio) Click for larger view View full resolution Figure 1. The Repeal! Procession, organized by the Artists’ Campaign to Repeal the Eighth Amendment, April 13, 2018, Limerick City, Ireland. Photograph © Dierdre Power. Banners in view: Respect My Decision (right), The Journey (left), and the Eye Bannerettes (back). Click for larger view View full resolution Figure 2. The Repeal! Procession, organized by the Artists’ Campaign to Repeal the Eighth Amendment, April 13, 2018, Limerick City, Ireland. Photograph © Dierdre Power. Left to right: Eye Bannerettes, Dragon Slayer, and The Journey. [End Page 108] on april 13, 2018, over two hundred women and men departed on foot from the Limerick School of Art and Design—the site of the Good Shepherd Magdalen Laundry from 1848 to 1990—and solemnly marched through the city center and across the River Shannon to the former site of the Cleeve’s Condensed Milk Factory, the location of EVA International, Ireland’s biennial art exhibition that was due to open the following day. The Repeal! Procession, organized by the Artists’ Campaign to Repeal the Eighth Amendment, included dancers, musicians, artists, and supporters carrying dozens of placards bearing the Repeal movement’s symbol.1 The most visually affective element of the procession was a series of colorful handmade textile banners that bore evocative images relating to the bodies of women and their experiences under the oppressive Eighth Amendment, as well as powerful allusions to the agency, strength, and victory of the movement, and therefore of Irish women. This article argues that the processional banners are material manifestations of a collaborative and feminist art practice that functions to subvert the repression and oppression of women’s bodies under the Eighth Amendment. The affectivity of the Repeal! Procession, as explored through the processional banners, is realized through the form of the female body, through the creative labor of textile production, and through the public visibility of the female body in an activated and agential manner. Conceived in 2015 during “a drink among friends,” the Artists’ Campaign to [End Page 109] Repeal the Eighth Amendment was founded as a grassroots activist collective that sought to use the visual arts to draw attention to, and garner support for, the growing movement to repeal Ireland’s constitutional Eighth Amendment.2 The group was established by visual artists Cecily Brennan, Alice Maher, and Eithne Jordan and poet/playwright Paula Meehan. Initially the movement was largely organized online and aimed to garner support among artists, writers, musicians, and actors for a Citizens’ Assembly on the Eighth Amendment.3 The group’s online petition garnered signatures from many of Ireland’s well-known literary and cultural celebrities, including John Banville, Edna O’Brien, Christy Moore, Anne Enright, Colm Tóibín, Cillian Murphy, and Neil Jordan.4 The campaign emerged as one of several artistic responses to the Repeal movement. In her article on abortion rights campaigns, Niamh NicGhabhann foregrounds the work of organizations that mobilize the visual arts—especially the use of legible, visible, and highly memorable imagery—in the service of public political protest.5 As she notes, the Repeal! Procession—similar to groups such as Speaking of IMELDA and the Sligo Handmaid’s Tale protest in 2017—emphasizes the individual and personal on a tangible physical level rather than at the level of ideology or philosophy. Similarly, Sydney Calkin argues that the very public nature of much of the art relating to the Repeal movement “disrupts the [End Page 110] narrative of an abortion-free Ireland” by bringing abortion travel to the United Kingdom into scrutiny within an Irish context.6 Through performative artworks that reproduce the travel experiences of women going abroad to access abortion services, the issue becomes re-situated within Irish borders. Despite a huge increase in artists addressing abortion issues in the period 2012–18, Suzanna Chan looks back in time to note that abortion has frequently been a topic of interest in the work of Irish feminist artists.7 She cites in particular Pauline Cummins and Louise Walsh’s Sounding the Depths: A Collaborative Installation (1992) and Shelagh Honan’s...

The poetic act as an act of resistance in the feminist practice of Ana Mendieta

Between the potential to and the potential not to, according to Giorgio Agamben, there is a process of a creative (poetic) act, as an act of resistance towards the end of one's own completion, in this context analyzed through the work of feminist artist Ana Mendieta. Regarding the (in)completeness, Mendieta?s oeuvre exemplifies a perfect illustration that the disappearance of her art work is a way of communication that resists production of any formal finality, as a process within which the traces of the media used (her own body) also disappear because of the time and circumstances left to nature. The dematerialization of artwork in Mendieta?s case epitomized one of possible aspects of exposing the act of resistance as a realization of a quantum of potential through the event, appearing as a poetics of inoperativity as defined by Agamben and erasing boundaries between the inception and the performativity of the poetic time, a duration that is not limited to one existence or aesthetic phenomenon. In the intersection between early feminist art practices (based on essentialism) and the second wave that relied on anti-essentialism as a new conception, Mendieta's work positioned its own dialectic among the separated feminist views about the use of the female body as a medium.

Pre-Emptive Mourning Against the Bomb: Exploded Domesticities in Art Informed by Feminism and Anti-Nuclear Activism

Art informed by feminism explored and exploited the ambivalence teased out in second-wave debates about the uses of domestic crafts to their aesthetic and activist limits. Some of the most iconic artworks associated with the Women’s Liberation Movement, such as The Dinner Party by Judy Chicago and others, not only reference domesticity but do so through the use of craft techniques, which come with their own associations of amateurship, matrilineality, and use (as opposed to purely aesthetic) value, all of which were significant points of discussion in feminism’s critique of art history, theory, and practice. Over the past twenty years a now well-established area of feminist scholarship emerged, devoted to the exploration of the artistic manifestations of a feminist critique of domesticity as an overdetermined space both physically and symbolically connected to a sexual division of labour. This division is held responsible for taking women out of the labour market and ideologically binding them to an idealised reproductive function, in terms both of procreation and the perpetuation of normative sexual and gender arrangements. As others, including myself, have previously argued, the mimicry of domesticity in installation art with the intention of challenging and subverting it has been a major strategy in feminist art practice.1 In this context, mimicry should be understood in its anti-colonial definition: the feminist artistic challenge to domesticity does not manifest as a departure from the home but through a repeated performance (in a variety of media) of patriarchal domesticity as contradictory, fragile, and frayed at the edges.2 (Pseudo-)domestic art installations became the vehicle for the uncanny return of the repressed of patriarchal domesticity. The power of such installations consisted of their striking closeness to their ‘originals’: they were still home interiors but not quite. These treacherous feminist ‘homes’ were modelled on the Freudian uncanny in more ways than one. In addition to offering a material manifestation of the Unheimliche (unhomely) in the almost literal sense, they teased out the subtle but crucial unhomeliness already present in the home. If ‘un-’, the uncanny’s prefix of negation, is the mark of repression, pseudo-domestic art installations bring social oppression home by materialising and embedding its symbols in simulated domestic interiors.3 Still, the significance of domesticity for such practices was not limited to a critical mobilisation of domesticity as sign, nor the use of the domestic interior as a formal framing device with the potential to disrupt the pristineness of the white cube. The DIY ethos of domestic crafts supported inclusivity and celebrated creative practices with little attachment to originality and individual authorship, which for related reasons had long been excluded from the mainstream artworld.4

Corpos, subjetivações estéticas e arte e feminismos: passagens na pesquisa em Psicologia

Resumo Tendo em vista o ativismo dos feminismos, tanto nos movimentos sociais quanto nas artes, na promoção de novos modos de subjetivação e modos de existência múltiplos e voltados às práticas de liberdade, propomo-nos a refletir sobre os fazeres artísticos feministas em passagens políticas que se valem de uma força inventiva/afirmativa do corpo enquanto estratégia de subversão e resistência para propor outras formas de viver, inclusive, a pesquisa em Psicologia.O texto se volta às estéticas feministas, nas artes visuais, nas quais o corpo se torna um território para experimentação, discutindo ainda a tradução destas estéticas a uma prática de pesquisa em Psicologia.

Resistances of Touch

AbstractIn the 1960s some feminist artists were drawn to forms of body art or live performance centered on the artist’s physical presence. Defying a primarily visual aesthetic tradition that lent itself to the formal appreciation of women’s bodies by a notional viewing subject, live performance incorporated the materiality and multiple sensory modalities of perceptual experience, touch in particular. Tactile perception offered one possible source of resistance to the myth of gender neutrality, which became questionable when the corporeality of perceptual experience was intentionally touched upon. Furthermore, by incorporating touch, live performance led feminist art practice in a new direction; it began engaging in resistances pertaining to the dynamics of touching. What these resistances involved, and their impact on feminist strategies to overcome gender stereotypes in connection with tactual experience, is considered in relation to valie export’s performance Tapp und Taskino/Tap and Touch Cinema (1968).

Arte, Feminismo y Tecnología. Reflexiones sobre formas creativas y formas de domesticación

En este artículo sobre arte, tecnología y feminismo reivindico el papel de las escrituras y formas de hacer en relación a los discursos, así como la coherencia de dicho posicionamiento en todo ejercicio crítico del feminismo frente al logocentrismo. El texto apoyado en la revisión y modificación de parte del capítulo «Teclear» de mi ensayo (h)adas. Mujeres que crean, programan, prosumen, teclean (2013), se apoya en el análisis crítico y propositivo de algunos de los más habituales «modos de hacer» de la práctica artística feminista y argumenta el interés de dicha práctica creativa por la tecnología y las redes, enfatizando el poder de las elecciones no ya de los medios, sino de las formas creativas frente a las tendencias implícitas, y casi siempre invisibles, a la domesticación; el poder de los ejercicios de resistencia, infiltración, subversión y apropiación crítica frente a la repetición de mundos.

Natalie Loveless: Myrel Chernick and Jennie Klein Eds, The M Word: Real Mothers in Contemporary Art

As a feminist-mother-artist-theorist writing and making art that reflects on the context of feminist-maternal-art-and-theory today, I have a lot at stake in what one could call the ‘maternal turn.’ This turn is marked by new social media networks, curatorial projects, and recent and upcoming publications that argue for the maternal as a crucial location from which to explore the conditions, ethics, and futures of feminism today. Such turns, of course, are made and not found. Jennie Klein and Meryl Chernick’s The M Word: Real Mothers in Contemporary Art, published in May of 2011 by Canada’s Demeter Press, contributes to the making of this maternal turn in contemporary feminist art history, theory and practice today.

The Difference Problem: Art History and the Critical Legacy of 1980s Theoretical Feminism

Art-historical treatments of art and feminism have flourished in recent years. The proliferation of feminism-themed exhibitions, conferences, journal issues, and anthologies supports the notion that we have entered a period in which feminism itself—and, more specifically, feminism's second wave as it intersects with the first two decades of self-identified feminist art practice in the 1970s and 1980s—can be historicized.

What's So Feminist about the Feministische Kunst Internationaal ?: Critical Directions in 1970s Feminist Art

What's So Feminist about the Feministische Kunst Internationaal?Critical Directions in 1970s Feminist Art Kathleen Wentrack (bio) In 1978, when the first installation of the Feministische Kunst Internationaal (International Feminist Art, or FKI) exhibition opened in Amsterdam, it was enthusiastically embraced by its participants—women artists from throughout Europe and the United States. However, its critical reception remains mixed, not least because it was not truly "international." Some perceived a dominance of issues raised in the work of the American participants, with all too frequent references to earlier appearances of feminist concepts in art in the United States than in most European countries. Perhaps more significant are the issues raised around the quality, subject matter, and execution of the work. Paradoxically, the exhibition is virtually unknown by American art historians despite its groundbreaking status for European women artists. Other elements adding to the conflicting position of the show were the heated debates that developed between some European and American feminist art activists over what constituted a "feminist" art (as well as the implication that all women artists must concern themselves with such issues) and the question of whether work should be judged by new standards of quality. This most important European exhibition of feminist art of the decade demanded that the work elicit a feminist content. Thus, this essay will reexamine the curatorial choices that shaped the character of the exhibition to reveal how feminist art was understood at this late-1970s moment and to expand our understanding of how some European artists, art historians, and curators defined and debated feminist art in this era. Context: The Advent of the Women's Movement Guided by the actions of women's movements, feminist art developed as a recognizable force in the 1970s. Diverse in its manifestations, the feminist art movements of the 1970s generally worked toward greater recognition of work [End Page 76] by contemporary women artists and those of the past, while protesting the lack of support from, and representation in, galleries, museums, art schools, and other art world institutions. A new awareness and valuation of traditional art making by women, which was conventionally relegated to the distinctly separate and less valued realm of craft, took place. Moreover, performance art and video attracted feminist artists of the period as they represented new mediums free of male-dominated styles and traditions. These endeavors often incorporated the consciousness-raising efforts of the new women's movements throughout the United States and Europe. For the purposes of this study feminist art can be defined as, but not limited to, artwork that exposes the prejudices against women in society, challenges representations of women in art, engages feminist issues or theory, critiques sociohistorical concepts of femininity, develops new media as a feminist trope, or presents new ways of working with traditional art materials. These general directions in feminist art practice in no way mean that there is or was agreement on what constituted a feminist art. Rather, questions over what was permissible or could be referred to as feminist were debated from the beginning in the United States and Europe. Furthermore, this project aims to build on what art historian Marsha Meskimmon calls a "critical global cartography of 1970s feminist art" in which a spatial, rather than temporal, history of feminist art would be produced and the dominance of Anglo-American scholarship on feminist art problematized.1 The years 1970 through 1974 marked the most active political period in the US art world with respect to women's issues—a time of strikes, marches, and protest letters.2 Women artists challenged the status quo in the art world by establishing new education programs for women and alternative exhibition venues that often functioned as spaces for lectures and debate.3 By the mid-1970s the prevalence of the feminist art movement in the United States contrasted with the less visible movement in many European countries, as the German art historian Anette Kubitza noted in 1996: "Although European artists often work together in groups or on special projects, and although there have been some landmark exhibitions of feminist art in Europe, there has not been a close-knit women's art community there."4 However, this...

Great Women Artists

In 1971 Linda Nochlin asked the art world, Why have there been no great women artists? Her subsequent answer suggested that it was institutional boundaries that hindered women from having the same access as their male counterparts. Forty years later the answer to this question has changed. As Catherine Morris suggests here, participation and influence of women in the art world is enormous. Morris is the third director and curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Part exhibition space, part education facility, the Center is focused on raising awareness of the cultural contributions of feminism to the arts. The exhibition space is anchored by Judy Chicago's The Dinner Party (1974-79), which was created at the time that ''feminism'' came into common use as a term relating to a particular political and social sensibility in art. Moreover, the Center has traced the history of feminism as far back as the prehistoric age with exhibitions like the Fertile Goddess (2008-09) and has gone on to document trends in contemporary video art with Reflections on the Electric Mirror: New Feminist Video (2009 10). The looming question remains: What is feminist art? What arises are only more questions. The cycle of exhibitions that have come through the Center, and those that are forthcoming, only further challenge audience perceptions of what feminist art is and can be. Nonetheless, the task of defining both the history and current state of feminism does not seem to overwhelm Morris. She came to the Center in 2009 after serving as Adjunct Curator of Contemporary Art at the Philbrook Museum of Art in Tulsa, Oklahoma. She has used her short tenure to organize Kiki Smith: Soujourn (2010), which examines universal experiences of life from birth to death, and a small exhibition on the 1864 Brooklyn Sanitary Fair. What makes the Center so unique and, as Morris suggests, so important, is the opportunity to present the lineage of an art practice that has no geographic or chronological boundaries. [ILLUSTRATION OMITTED] In the following conversation, Morris discusses her background in feminist art, her perspective of its historic and changing role and the future of both the Center and feminist art practices. This conversation took place at Morris's office on April 12, 2010. HARRY J. WEIL: In 2006, for MIT's List Visual Arts Center, you organized 9 Reconsidered, an exhibition that examined Bell Laboratories' bringing together of a group of avant-garde artists with ten scientists. The result was a series of Happenings that took place in 1966 at the 69th Regiment Armory in New York. Several of the artists are now celebrated figures, like Robert Rauschenberg, Steve Paxton, and John Cage. Among them were also some of the earliest pioneers of performance art, including Yvonne Rainer, Lucinda Childs, and Deborah Hay. What was it like to have both men and women working with a technology that few predicted would ever be so instrumental to the creation and reception of art? CATHERINE MORRIS: There was a lot of openness in this group as they came together in the early 1960s in Lower Manhattan. Not only was there an acceptance of women artists, but an acceptance of dance and dance practices. This acceptance was essential to the group's development. The work of those women was on par with the men who participated. However, there was obviously a lot of sexism involved. Despite this, what made 9 Evenings so important and influential, in addition to the engineering aspect and use of new technology, was the community aspect and the way in which different artists came together to complete this project. This was about collaboration. These artists were working together closely before that and it made 9 Evenings quite successful. HW: This emphasis on feminist art in technology is vastly different from the permanent installation that anchors the Sackler Center--Judy Chicago's The Dinner Party, This work is so much in line with the craft movement of the 1960s. …

Gender and Polar Studies: Mapping the Terrain

Next article No AccessComparative Perspectives Symposium: Gender and Polar StudiesGender and Polar Studies: Mapping the TerrainVictoria RosnerVictoria RosnerDepartment of EnglishTexas A&M University Search for more articles by this author Department of EnglishTexas A&M UniversityPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 34, Number 3Spring 2009 Article DOIhttps://doi.org/10.1086/593381 Views: 161Total views on this site Citations: 28Citations are reported from Crossref © 2009 by The University of Chicago. All rights reserved.PDF download Crossref reports the following articles citing this article:Lisa E. Bloom, Elena Glasberg Viewers as Citizen Scientists, (Aug 2022): 130–149.https://doi.org/10.1215/9781478018643-006 Antarctica and the Contemporary Sublime in Intersectional Feminist Art Practices, (Aug 2022): 25–53.https://doi.org/10.1215/9781478018643-002 Reclaiming the Arctic through Feminist and Black Aesthetic Perspectives, (Aug 2022): 54–83.https://doi.org/10.1215/9781478018643-003 At Memory’s Edge, (Aug 2022): 84–101.https://doi.org/10.1215/9781478018643-004 From the Heroic Sublime to Environments of Global Decline, (Aug 2022): 1–22.https://doi.org/10.1215/9781478018643-001 Seeing from the Future, (Aug 2022): 195–200.https://doi.org/10.1215/9781478018643-009 Notes, (Aug 2022): 201–227.https://doi.org/10.1215/9781478018643-010 Filmography, (Aug 2022): 229–234.https://doi.org/10.1215/9781478018643-011 Bibliography, (Aug 2022): 235–252.https://doi.org/10.1215/9781478018643-012Marjo Lindroth, Heidi Sinevaara-Niskanen, Monica Tennberg Introduction: Alternative Lenses on the Arctic, (Oct 2022): 1–14.https://doi.org/10.1007/978-3-031-11120-4_1Irina Gennadyevna Gerasimova, Irina Sergeevna Oblova, Ekaterina Ilinichna Golovina The Demographic Factor Impact on the Economics of the Arctic Region, Resources 10, no.1111 (Nov 2021): 117.https://doi.org/10.3390/resources10110117Elspeth Probyn When Fish Is Meat, (Feb 2021): 17–38.https://doi.org/10.1215/9781478012481-002Lisa E. Bloom Planetary precarity and feminist environmental art practices in Antarctica, Journal of Postcolonial Writing 56, no.44 (Jul 2020): 547–567.https://doi.org/10.1080/17449855.2020.1782576M. Seag, R. Badhe, I. Choudhry Intersectionality and international polar research, Polar Record 56 (Dec 2019).https://doi.org/10.1017/S0032247419000585Nelson Llanos Housewives at the end of the world. Chilean women living in Antarctica, 1984–1986, The Polar Journal 9, no.22 (Nov 2019): 358–370.https://doi.org/10.1080/2154896X.2019.1685175Emma Shortis ‘In the Interest of All Mankind’: Women and the Environmental Protection of Antarctica, (Dec 2017): 247–261.https://doi.org/10.1007/978-3-319-64385-4_14Vladislava Vladimirova, J. Otto Habeck , Polar Geography 41, no.33 ( 2018): 145.https://doi.org/10.1080/1088937X.2018.1496368Sandra Starkweather, M. Seag, O. Lee, A. Pope Revisiting perceptions and evolving culture: a community dialogue on women in polar research, Polar Research 37, no.11 (Oct 2018): 1529529.https://doi.org/10.1080/17518369.2018.1529529Meredith Nash, Robyn Moore , The Polar Journal 8, no.11 ( 2018): 110.https://doi.org/10.1080/2154896X.2018.1468629Morgan Seag Women need not apply: gendered institutional change in Antarctica and Outer Space, The Polar Journal 7, no.22 (Nov 2017): 319–335.https://doi.org/10.1080/2154896X.2017.1373915Klaus Dodds Queen Elizabeth Land, Polar Record 50, no.33 (Jan 2013): 330–333.https://doi.org/10.1017/S0032247413000016Alexander Kraus Scientists and Heroes: International Arctic Cooperation at the End of the Nineteenth Century, New Global Studies 7, no.22 (Jan 2013).https://doi.org/10.1515/ngs-2013-011Joane Nagel Intersecting identities and global climate change, Identities 19, no.44 (Jul 2012): 467–476.https://doi.org/10.1080/1070289X.2012.710550Gretchen Legler The end of the heroic illusion: how three generations of women writers have changed the literature of Antarctica, The Polar Journal 1, no.22 (Dec 2011): 207–224.https://doi.org/10.1080/2154896X.2011.626625Kukarenko Natalia Climate change effects on human health in a gender perspective: some trends in Arctic research, Global Health Action 4, no.00 (Sep 2011).https://doi.org/10.3402/gha.v4i0.7913Klaus J. Dodds Sovereignty watch: claimant states, resources, and territory in contemporary Antarctica, Polar Record 47, no.33 (Dec 2010): 231–243.https://doi.org/10.1017/S0032247410000458C. Michael Hall, Jarkko Saarinen Polar Tourism: Definitions and Dimensions, Scandinavian Journal of Hospitality and Tourism 10, no.44 (Jan 2010): 448–467.https://doi.org/10.1080/15022250.2010.521686Klaus Dodds Guest editorial—the 1959 Antarctic Treaty: reflecting on the 50th anniversary of a landmark agreement, Polar Research 29, no.22 (Dec 2016): 145–149.https://doi.org/10.1111/j.1751-8369.2010.00163.x

The Australian Antarctic Territory: A Man’s World?

Previous articleNext article No AccessThe Australian Antarctic Territory: A Man’s World?Christy CollisChristy CollisDepartment of Media and CommunicationQueensland University of Technology Search for more articles by this author Department of Media and CommunicationQueensland University of TechnologyPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 34, Number 3Spring 2009 Article DOIhttps://doi.org/10.1086/593379 Views: 102Total views on this site Citations: 24Citations are reported from Crossref © 2009 by The University of Chicago. All rights reserved.PDF download Crossref reports the following articles citing this article:Lisa E. Bloom, Elena Glasberg Viewers as Citizen Scientists, (Aug 2022): 130–149.https://doi.org/10.1215/9781478018643-006 Antarctica and the Contemporary Sublime in Intersectional Feminist Art Practices, (Aug 2022): 25–53.https://doi.org/10.1215/9781478018643-002 Reclaiming the Arctic through Feminist and Black Aesthetic Perspectives, (Aug 2022): 54–83.https://doi.org/10.1215/9781478018643-003 At Memory’s Edge, (Aug 2022): 84–101.https://doi.org/10.1215/9781478018643-004 From the Heroic Sublime to Environments of Global Decline, (Aug 2022): 1–22.https://doi.org/10.1215/9781478018643-001 Seeing from the Future, (Aug 2022): 195–200.https://doi.org/10.1215/9781478018643-009 Notes, (Aug 2022): 201–227.https://doi.org/10.1215/9781478018643-010 Filmography, (Aug 2022): 229–234.https://doi.org/10.1215/9781478018643-011 Bibliography, (Aug 2022): 235–252.https://doi.org/10.1215/9781478018643-012Meredith Nash Breaking the silence around blood: managing menstruation during remote Antarctic fieldwork, Gender, Place & Culture 19 (Apr 2022): 1–21.https://doi.org/10.1080/0966369X.2022.2066635Meredith Nash National Antarctic Program responses to fieldwork sexual harassment, Antarctic Science 21 (Oct 2021): 1–12.https://doi.org/10.1017/S0954102021000432Elspeth Probyn When Fish Is Meat, (Feb 2021): 17–38.https://doi.org/10.1215/9781478012481-002Daniella McCahey ‘The last refuge of male chauvinism’: print culture, masculinity, and the British Antarctic Survey (1960-1996), Gender, Place & Culture 28 (Jan 2021): 1–18.https://doi.org/10.1080/0966369X.2021.1873746Lisa E. Bloom Planetary precarity and feminist environmental art practices in Antarctica, Journal of Postcolonial Writing 56, no.44 (Jul 2020): 547–567.https://doi.org/10.1080/17449855.2020.1782576Meredith Nash, Hanne Nielsen Gendered Power Relations and Sexual Harassment in Antarctic Science in the Age of #MeToo, Australian Feminist Studies 35, no.105105 (Jun 2020): 261–276.https://doi.org/10.1080/08164649.2020.1774864Klaus Dodds Reflecting on the 60th anniversary of the Antarctic Treaty, Polar Record 55, no.55 (Oct 2019): 311–316.https://doi.org/10.1017/S0032247419000536Nelson Llanos Housewives at the end of the world. Chilean women living in Antarctica, 1984–1986, The Polar Journal 9, no.22 (Nov 2019): 358–370.https://doi.org/10.1080/2154896X.2019.1685175Meredith Nash, Hanne E. F. Nielsen, Justine Shaw, Matt King, Mary-Anne Lea, Narissa Bax, Christopher D. Lynn “Antarctica just has this hero factor…”: Gendered barriers to Australian Antarctic research and remote fieldwork, PLOS ONE 14, no.11 (Jan 2019): e0209983.https://doi.org/10.1371/journal.pone.0209983Emma Shortis ‘In the Interest of All Mankind’: Women and the Environmental Protection of Antarctica, (Dec 2017): 247–261.https://doi.org/10.1007/978-3-319-64385-4_14Meredith Nash, Robyn Moore , The Polar Journal 8, no.11 ( 2018): 110.https://doi.org/10.1080/2154896X.2018.1468629Morgan Seag Women need not apply: gendered institutional change in Antarctica and Outer Space, The Polar Journal 7, no.22 (Nov 2017): 319–335.https://doi.org/10.1080/2154896X.2017.1373915Klaus Dodds ‘Awkward Antarctic nationalism’: bodies, ice cores and gateways in and beyond Australian Antarctic Territory/East Antarctica, Polar Record 53, no.11 (Oct 2016): 16–30.https://doi.org/10.1017/S0032247416000516Klaus J. Dodds Sovereignty watch: claimant states, resources, and territory in contemporary Antarctica, Polar Record 47, no.33 (Dec 2010): 231–243.https://doi.org/10.1017/S0032247410000458K. J. Dodds Amongst the palm trees: ruminations on the 1959 Antarctic Treaty, Polar Record 46, no.11 (Oct 2009): 1–2.https://doi.org/10.1017/S0032247409990167

Settling and Unsettling Antarctica

Previous articleNext article No AccessSettling and Unsettling AntarcticaKlaus DoddsKlaus DoddsDepartment of GeographyRoyal Holloway, University of London Search for more articles by this author Department of GeographyRoyal Holloway, University of LondonPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 34, Number 3Spring 2009 Article DOIhttps://doi.org/10.1086/593340 Views: 105Total views on this site Citations: 17Citations are reported from Crossref © 2009 by The University of Chicago. All rights reserved.PDF download Crossref reports the following articles citing this article:Lisa E. Bloom, Elena Glasberg Viewers as Citizen Scientists, (Aug 2022): 130–149.https://doi.org/10.1215/9781478018643-006 Antarctica and the Contemporary Sublime in Intersectional Feminist Art Practices, (Aug 2022): 25–53.https://doi.org/10.1215/9781478018643-002 Reclaiming the Arctic through Feminist and Black Aesthetic Perspectives, (Aug 2022): 54–83.https://doi.org/10.1215/9781478018643-003 At Memory’s Edge, (Aug 2022): 84–101.https://doi.org/10.1215/9781478018643-004 From the Heroic Sublime to Environments of Global Decline, (Aug 2022): 1–22.https://doi.org/10.1215/9781478018643-001 Seeing from the Future, (Aug 2022): 195–200.https://doi.org/10.1215/9781478018643-009 Notes, (Aug 2022): 201–227.https://doi.org/10.1215/9781478018643-010 Filmography, (Aug 2022): 229–234.https://doi.org/10.1215/9781478018643-011 Bibliography, (Aug 2022): 235–252.https://doi.org/10.1215/9781478018643-012Elspeth Probyn When Fish Is Meat, (Feb 2021): 17–38.https://doi.org/10.1215/9781478012481-002Daniella McCahey ‘The last refuge of male chauvinism’: print culture, masculinity, and the British Antarctic Survey (1960-1996), Gender, Place & Culture 28 (Jan 2021): 1–18.https://doi.org/10.1080/0966369X.2021.1873746Emma Shortis ‘In the Interest of All Mankind’: Women and the Environmental Protection of Antarctica, (Dec 2017): 247–261.https://doi.org/10.1007/978-3-319-64385-4_14Morgan Seag Women need not apply: gendered institutional change in Antarctica and Outer Space, The Polar Journal 7, no.22 (Nov 2017): 319–335.https://doi.org/10.1080/2154896X.2017.1373915Benjamin J Sacks Whose Islands? The Cartographic Politics of the Falklands, 1763–1982, (Jan 2016): 363–375.https://doi.org/10.1007/978-3-319-25244-5_18Klaus Dodds Queen Elizabeth Land, Polar Record 50, no.33 (Jan 2013): 330–333.https://doi.org/10.1017/S0032247413000016Joane Nagel Intersecting identities and global climate change, Identities 19, no.44 (Jul 2012): 467–476.https://doi.org/10.1080/1070289X.2012.710550Klaus J. Dodds Sovereignty watch: claimant states, resources, and territory in contemporary Antarctica, Polar Record 47, no.33 (Dec 2010): 231–243.https://doi.org/10.1017/S0032247410000458

Bridging Feminist Art, Activism, and Theory: A Review of Three Contemporary Texts

Suzanne Lacy provides a framework for conceptualizing feminist activist art in a letter to Patricia Hills, editor of the anthology Modern Art in the USA: Issues and Controversies of the 20th Century. Lacy asks, How can we work as artists on a broader scale, to create change that will penetrate and affect the institutions, public spaces, and political processes that make up our public iHills 2001, 452)? This political goal has overwhelmingly driven feminist activism of the last century. Yet, as Lacy suggests, a wider horizon challenges feminist art practice. To date, feminist art-making has played only one role within an expansive field that necessarily includes feminist theory, cultural criticism, and art history. The numerous texts published on feminist art/theory within the last ten years suggest that any singular account of this dense nexus proves daunting. In an increasingly theory-driven moment, we are still sorting out the question: where and when do theory, art-making, and activism, meet? Or, one might ask where, and when, can they be separated? Although none of the three very different texts under consideration here provide direct answers to these questions, they illuminate distinct modes of engaging them. Two of the texts are anthologies: The Feminisim and Visual Culture Reader assembles 62 significant writings on feminism's convergence with visual culture in the Anglophone world in the latter twentieth century, while Modern Art in the USA: Issues and Controversies of the 20th Century is a more varied collection of essays by artists, curators, and critics reaching back one hundred years. As a counterpoint to these volumes, Insurgent Muse: Life and Art at the Woman's Building tells of one woman's experiences in a vibrant center of pioneer feminist activism that centered on art, the Woman's Building in Los Angeles. Part coming-of-age and part coming-out tale, writer Terry Wolverton's memoir, Insurgent Muse: Life and Art at the Woman's Building, provocatively chronicles her involvement with the Woman's Building. Founded