Feminism and Art History Now: Radical Critiques of Theory and Practice PDF
Preview Feminism and Art History Now: Radical Critiques of Theory and Practice
i Victoria Horne is Lecturer in Art and Design History at Northumbria University in Newcastle. She has published articles in Feminist Review, Radical Philosophy and Journal of Visual Culture. In 2012 she established the Writing Feminist Art Histories research initiative. Lara Perry is Principal Lecturer in the History of Art and Design programme at the University of Brighton. She is the author of History’s Beauties: Women and the National Portrait Gallery, 1856–1900 (2006) and co-editor (with Angela Dimitrakaki) of Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (2013). ii ‘This exciting book…is bound to expand the field of feminist art history, curatorial and museum studies in significant and lasting ways, and to gen- erate extensive debate and further scholarship.’ Helena Reckitt, Senior Lecturer in Curating, Goldsmiths, University of London iii Feminism and Art History Now Radical Critiques of Theory and Practice EDITED BY VICTORIA HORNE AND LARA PERRY iv Published in 2017 by I.B.Tauris & Co. Ltd London • New York www.ibtauris.com Copyright introduction and editorial selection © 2017 Victoria Horne and Lara Perry Copyright individual chapters © 2017 Angela Dimitrakaki, Catherine Grant, Laura Guy, Hannah Hamblin, Andrew Hardman, Victoria Horne, Elke Krasny, Kimberly Lamm, Kirsten Lloyd, Lara Perry, Suzanne van Rossenberg, Cherry Smiley, Amy Tobin, Francesco Ventrella, Giovanna Zapperi The right of Victoria Horne and Lara Perry to be identified as the editors of this work has been asserted by the editors in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Every attempt has been made to gain permission for the use of the images in this book. Any omissions will be rectified in future editions. References to websites were correct at the time of writing. International Library of Modern and Contemporary Art 34 ISBN: 978 1 78453 325 0 eISBN: 978 1 78672 235 5 ePDF: 978 1 78673 235 4 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY v Contents List of Illustrations vii Notes on Contributors xi Acknowledgements xvii Introduction: Feminism and Art History Now 1 Victoria Horne and Lara Perry PART I. WRITING | SPEAKING | STORYTELLING 25 1. An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History 31 Victoria Horne and Amy Tobin 2. I Want a Dyke for President: Sounding out Zoe Leonard’s Manifesto for Art History’s Feminist Futures 41 Laura Guy 3. ‘Our Stories Are Our Life Blood’: Indigenous Feminist Memory and Storytelling as Strategy for Social Change 63 Cherry Smiley PART II. VISIBILITY | INTERVENTION | REFUSAL 83 4. Making Visible Lee Krasner’s Occupation: Feminist Art Historiography and the Pollock-Krasner Studio 87 Andrew Hardman 5. Challenging Feminist Art History: Carla Lonzi’s Divergent Paths 104 Giovanna Zapperi v vi Contents 6. This Moment: A Dialogue on Participation, Refusal and History Making 124 Angela Dimitrakaki and Lara Perry PART III. SPATIALITY | OCCUPATION | HOME 143 7. The Salon Model: The Conversational Complex 147 Elke Krasny 8. Los Angeles, 1972/Glasgow, 1990: A Report on Castlemilk Womanhouse 164 Hannah Hamblin 9. If You Lived Here…: A Case Study on Social Reproduction in Feminist Art History 183 Kirsten Lloyd PART IV. TEMPORALITY | GHOSTS | RETURNS 203 10. Temporalities of the ‘Feminaissance’ 207 Francesco Ventrella 11. Gestures of Inclusion, Bodily Damage and the Hauntings of Exploitation in Global Feminisms (2007) 230 Kimberly Lamm 12. Learning and Playing: Re- enacting Feminist Histories 260 Catherine Grant Index 283 vi vii List of Illustrations 2.1 Zoe Leonard, ‘I Want a President’, 1992. Typewritten sheet. Courtesy of the artist and Hauser & Wirth. 42 2.2 Collective reading of ‘I Want a President’ by Zoe Leonard, USA, 1992 and ‘Jeg vil ha’ en statsminister’, the Danish version of Zoe Leonard’s manifesto translated by Gritt Uldall- Jessen in Aarhus, Denmark, 13 September 2011. Photo by Birthe Havmoeller. 44 2.3 The postcard version of Zoe Leonard’s ‘I Want a President’ printed in LTTR #5 and held in the Women’s Art Library (MAKE), Goldsmiths College, University of London. Photo by Hannah Regel. 52 2.4 Text inspired by Zoe Leonard’s manifesto and read in Trafalgar Square, London, 6 May 2015. Photo by Charlotte Procter. 53 3.1 Cherry Smiley, detail view of Build a Fire, installation: 35mm black-and-white scanned film projections, audio, video, text, 2012. Courtesy of the artist. 64 3.2 Cherry Smiley, detail view of Build a Fire, installation: 35mm black-and-white scanned film projections, audio, video, text, 2012. Courtesy of the artist. 65 3.3 Cherry Smiley, detail view of 1876, collage: mixed media, three 8" × 10" images, 2012. Courtesy of the artist. 65 4.1 The interior of the studio- barn at the Pollock- Krasner House and Study Centre. The large photograph seen here is of Lee Krasner, taken by Hans Namuth in 1962. The splashed floorboards of the studio can also be seen. Photograph by Andrew Hardman, 2011. 88 vii viii List of Illustrations 4.2 The sitting room of the Pollock- Krasner House, set out as if Krasner was still in residence. Photograph by Andrew Hardman. 94 4.3 Splashes on the wall of the studio- barn mark Krasner’s production of Gaea (1957). Photograph by Andrew Hardman. 98 5.1 Cover of Carla Lonzi, Autoritratto (Bari, 1969). Collection of the author. 118 5.2 Pages from Autoritratto (Bari, 1969). Left: Pino Pascali as a child; right: Jannis and Efi Kounellis attending a party in Venezuela, 1958. Collection of the author. 119 5.3 Page from Autoritratto (Bari, 1969). Carla Lonzi with the tape recorder in Minneapolis. Collection of the author. 120 8.1 Rachael Harris, photograph of The House that Jill Built by Rachael Harris at Castlemilk Womanhouse (1990). Castlemilk Womanhouse Collection, Glasgow Women’s Library. Reproduced with permission from the artist and Glasgow Women’s Library. 171 8.2 Val Murray, photograph of Visibility by Val Murray at Castlemilk Womanhouse (1990). Collection of the artist. Reproduced with permission from the artist. 172 8.3 Claire Barclay, photograph of bathroom installation by Claire Barclay at Castlemilk Womanhouse (1990). Collection of the artist. Reproduced with permission from the artist. 173 8.4 Claire Barclay, photograph of A Girls’ Night Out by Josie Wilkinson, Aideen Cusack and workshop participants at Castlemilk Womanhouse (1990). Collection of the artist. Reproduced with permission from the artist. 177 9.1 Exhibition view of Home Front, part of If You Lived Here… (1989). Image courtesy of Martha Rosler. 184 9.2 Exhibition view of Home Front, part of If You Lived Here… (1989). Image courtesy of Martha Rosler. 192 viii
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