Results 201 to 210 of about 680 (234)
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Art Critics on Frida Kahlo: A Comparison of Feminist and Non-Feminist Voices
Art Education, 1992(1992). Art Critics on Frida Kahlo: A Comparison of Feminist and Non-Feminist Voices. Art Education: Vol. 45, No. 2, pp. 42-48.
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Fournier, Lauren (2021): Autotheory as feminist practice in art, writing, and criticism
2022FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur, No.
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2023
Working briefly at the National Museum of Kosova there were artifacts within the permanent collection that stuck to me, haunting me beyond my short internship. I found myself thinking incessantly about these markers of Albanian identity: how have they come to gain their venerated status and who/ what does this status negate?
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Working briefly at the National Museum of Kosova there were artifacts within the permanent collection that stuck to me, haunting me beyond my short internship. I found myself thinking incessantly about these markers of Albanian identity: how have they come to gain their venerated status and who/ what does this status negate?
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Response/ability: Imagining a critical race feminist paradigm for the creative arts therapies
The Arts in Psychotherapy, 2012Abstract This article examines the emergence of a critical race feminist paradigm and considers its relevance for the creative arts therapies. The diverse paradigms from which creative arts therapists articulate their practice are reviewed.
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Feminist Art Criticism, an Annotated Bibliography
Woman's Art Journal, 1996Pamela H. Simpson +2 more
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New Feminist Criticism: Art, Identity, Action
The Journal of Aesthetics and Art Criticism, 1995Patricia Failing +3 more
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Autotheory as Feminist Practice in Art, Writing, and Criticism
Feminist Modernist Studies, 2023openaire +1 more source
Thinking outside the frame of francoism: María Campo Alange as a feminist art critic
2021Este artículo explora el trabajo de María Campo Alange (1902-1986) como crítica de arte. Sus escritos han sido casi totalmente ignorados en la literatura académica, quizá porque no encajan dentro de los tópicos habituales en la crítica artística española de la época. Según veremos, este “pensar fuera del marco” no solo tiene que ver con la singularidad
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