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Global Feminisms: New Directions in Contemporary Art
This celebration of contemporary feminist art brings together works by over eighty women artists from around the world. Contributions by a multinational team of authors focus particular attention on socio-cultural, racial and gender identities.
- GenresArtFeminismNonfiction
304 pages, Hardcover
First published March 1, 2007
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Displaying 1 - 4 of 4 reviews
May 17, 2018
All I want to do, lately, is look at and read about art by and for women or feminism. This book served so many purposes.
April 24, 2008
Best. Art. Coffee. Table. Book. Ever.
My dear dear dear friend Meredith gave me this book as a Christmas present, and I've been savoring it bit by bit since then. I wish desperately I could have seen the exhibit the book is based upon at the Brooklyn Museum. As a former art history minor, I was always frustrated on how you can get a really good background in art before 1990, but learning about truly contemporary art (let alone contemporary feminist art!) is rarely done through coursework. This book did wonders to fill that void in my understanding.
Linda Nochlin and Maura Reilly both wrote totally hot intros about the necessity of the plurality of feminisms--at a time when it feels like most older feminists are complaining about the younger Obama-supporting ingrates, it's especially refreshing to hear Nochlin reflect on her changing understanding of feminism(s). The global part is addressed comprehensively: seven different women from seven different regions of the world were invited to discuss the work of female artists their localities have produced, and how feminism has interacted with cultural values and historical events in those parts of the world. REALLY interesting stuff, and many gorgeous, gorgeous, gorgeous color plates to complete the book.
My one minor complaint (hence, four stars, not five) is while I generally really enjoyed what the individual essayists had to say, a few of them (I won't mention names) slipped into what I like to call Butlerism--the belief that you can write like Judith Butler. Only Butler can write like Butler, and god bless her for it, but if you attempt it, you'll probably sound like a bit of an asshole, and would have been more effective getting your point across in less complicated sentences.
Nonetheless, overall, tra la la for women artists!
My dear dear dear friend Meredith gave me this book as a Christmas present, and I've been savoring it bit by bit since then. I wish desperately I could have seen the exhibit the book is based upon at the Brooklyn Museum. As a former art history minor, I was always frustrated on how you can get a really good background in art before 1990, but learning about truly contemporary art (let alone contemporary feminist art!) is rarely done through coursework. This book did wonders to fill that void in my understanding.
Linda Nochlin and Maura Reilly both wrote totally hot intros about the necessity of the plurality of feminisms--at a time when it feels like most older feminists are complaining about the younger Obama-supporting ingrates, it's especially refreshing to hear Nochlin reflect on her changing understanding of feminism(s). The global part is addressed comprehensively: seven different women from seven different regions of the world were invited to discuss the work of female artists their localities have produced, and how feminism has interacted with cultural values and historical events in those parts of the world. REALLY interesting stuff, and many gorgeous, gorgeous, gorgeous color plates to complete the book.
My one minor complaint (hence, four stars, not five) is while I generally really enjoyed what the individual essayists had to say, a few of them (I won't mention names) slipped into what I like to call Butlerism--the belief that you can write like Judith Butler. Only Butler can write like Butler, and god bless her for it, but if you attempt it, you'll probably sound like a bit of an asshole, and would have been more effective getting your point across in less complicated sentences.
Nonetheless, overall, tra la la for women artists!
February 18, 2011
Global Feminisms
by Linda Nochlin and Maura Reilly
Teton County Library's call number: 704.042 Global
Suzanne's rating 4 stars on most days
This work is indicative of the role of feminism in art present day. This work explores globally some of the current contemporary trends in feminist art (is this wave 4 now? I lost track). My favorite part of this work is that there's nothing about the US in it -- at least not in the artists represented which gives the long overdue stage to feminist arts from such places as China, India, Japan and Africa -- parts of the world where the notion was rather foreign in wave 1 and 2.
Reilly mentions in the introduction to this book, which was publishing in conjuntion with an exhibit at the Brooklyn Museum celebrating the opening of the Elizabeth A. Sackler Center for Feminist Art, that is was designed to be a counter point. Counter point to what you may ask -- in 1976 The Los Angeles County Museum of Art (LACMA to friends) presented a huge survey on women artists entitled Women Artists: 1550-1950. I had the pleasure of attending this exhibition but my memory says it was a bit staid which is probably understandable given the time period covered.
This work is NOT staid and will interest those making art as well as those interested in the evolution of art and especially those with a penchant for history of feminism as expressed through the visual arts. Take a look.
by Linda Nochlin and Maura Reilly
Teton County Library's call number: 704.042 Global
Suzanne's rating 4 stars on most days
This work is indicative of the role of feminism in art present day. This work explores globally some of the current contemporary trends in feminist art (is this wave 4 now? I lost track). My favorite part of this work is that there's nothing about the US in it -- at least not in the artists represented which gives the long overdue stage to feminist arts from such places as China, India, Japan and Africa -- parts of the world where the notion was rather foreign in wave 1 and 2.
Reilly mentions in the introduction to this book, which was publishing in conjuntion with an exhibit at the Brooklyn Museum celebrating the opening of the Elizabeth A. Sackler Center for Feminist Art, that is was designed to be a counter point. Counter point to what you may ask -- in 1976 The Los Angeles County Museum of Art (LACMA to friends) presented a huge survey on women artists entitled Women Artists: 1550-1950. I had the pleasure of attending this exhibition but my memory says it was a bit staid which is probably understandable given the time period covered.
This work is NOT staid and will interest those making art as well as those interested in the evolution of art and especially those with a penchant for history of feminism as expressed through the visual arts. Take a look.
March 6, 2008
diverse artists and beautiful text to explain their work. helps to broaden this idea (and definition) of feminist art. it had a strong focus on gender identity and probed a lot of touchy subjects in a very subtle way.
Displaying 1 - 4 of 4 reviews