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Feminist Inquiry in Art History, Art Criticism, and Aesthetics: An Overview for Art Education
Studies in Art Education, 1990Feminist research in the disciplines of art history, art criticism, and aesthetics has challenged the canon of each of these disciplines and the understanding of art which they collectively produce. This paper traces major directions of feminist scholarship in these disciplines and draws implications for art education.
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The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*
Sociological Inquiry, 2011Feminist Standpoint Theory identifies knowledge as a social product developed from a specific social position. We apply this theory to explore the dominant standpoint informing the social organization of Western art via an institution we call art/criticism.
Jessica Sprague‐Jones, Joey Sprague
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Autotheory as Feminist Practice in Art, Writing and Criticism, Lauren Fournier
Journal of Curatorial Studies, 2021Review of: Autotheory as Feminist Practice in Art, Writing and Criticism, Lauren Fournier Cambridge, MA and London: MIT Press (2021), 320 pp., h/bk, ISBN: 978-0-26204-556-8, US $35 ...
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Feminist Art Criticism and the Prescriptions of Roger Fry
Journal of Aesthetic Education, 1998Feminist critics have often blamed modernism for helping to create an art that is paternalistic, homophobic, elitist, Eurocentrist, and antifeminist.l In their haste to react to high modernism, and particularly to the art-critical writings of Clement Greenberg, they have frequently ignored the earlier exponents of modernism in art criticism. The author
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The critic as feminist: Reflections on women's poetry, feminism, and the art of criticism
Women's Studies, 1977(1977). The critic as feminist: Reflections on women's poetry, feminism, and the art of criticism. Women's Studies: Vol. 5, No. 2, pp. 113-127.
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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?
openaire +1 more source