scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

scholarly journals How images are the making of the Women’s Art Library/Make

2007 ◽  
Vol 32 (1) ◽  
pp. 5-10 ◽  
Author(s):  
Althea Greenan
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
Gender Politics ◽  
Feminist Art ◽  
Art Practice ◽  
Work In Progress ◽  
The Core ◽  
Women's Art ◽  
Special Collection ◽  
Significant Research

When a group of women artists decided to organise their slides to inspire others to document themselves and raise the visibility of women’s art, they could not have known that several decades later those slides would still be together, forming the core of an internationally significant research resource. How did this idea of gathering together images transform a women’s art group – in the 1980s these were almost as common as book groups are today – into the Women’s Art Library/Make collection? Historically rooted in gender politics and the subsequent emergence of a radicalised women’s art practice and feminist art criticism, WAL/Make is an exciting ‘work in progress’. Now based in Goldsmiths, University of London it is being developed as a key special collection by the Library.

POLISH FEMINISM – PARADIGMS

2019 ◽  
Vol 25 (25) ◽  
pp. 192-239
Author(s):  
Sylwia Witkowska
Keyword(s):  
Women Artists ◽  
The State ◽  
Feminist Art ◽  
Great Problem ◽  
The World ◽  
Successive Generations ◽  
As If

Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.

Recent trends in French scholarship on Hobbes

2010 ◽  
Vol 23 (2) ◽  
pp. 139-156 ◽  
Author(s):  
Arnaud Milanese ◽  
Philippe Crignon
Keyword(s):  
The State ◽  
The Third ◽  
Fourth Part ◽  
French School ◽  
Recent Trends ◽  
State Of Research ◽  
Intense Activity ◽  
New Generation ◽  
Complete Account

AbstractThis paper presents the state of research on Hobbes in France these last 7-8 years. First of all, it explains how the generation of forerunners in the 1970s and 1980s has been replaced by the birth of a vigorous French school of Hobbes scholars in the 1990s and then by a new generation of academics during the recent years. The first part of this paper deals with the institutions and the institutional life concerned with Hobbes in France (Centre Hobbes, Groupe Hobbes, conferences, etc.). The second part is devoted to eight recent monographs on the English philosopher. The third one is focused on various collections of papers as well as special issues. The fourth part reckons five recent translations into French of some of Hobbes's works (Elements of Law, Latin Leviathan, Vitae, De cive). The whole gives a complete account of the intense activity of scholars on Hobbes in France today, including works that are about to be published.

Art and the Artist

2020 ◽  
pp. 151-206
Author(s):  
Alex Belsey ◽  
Alex Belsey
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Journal Writing ◽  
Ideal Type ◽  
Art World ◽  
British Art ◽  
The Third ◽  
Paul Cezanne ◽  
Post War ◽  
Sexual Experimentation

This chapter explores how Keith Vaughan overcame his disillusionment in the early 1940s and revived his hopes of being a painter through engagements with art theory that enabled him to construct through journal-writing an ideal type of the artist that he could emulate. Embracing this conceptualisation, Vaughan enjoyed a post-war period of success, but by the early 1960s was consumed by feelings of self-loathing which he explored in his resurgent journal-writing, resulting in a tumultuous period of unprecedented productivity and restless sexual experimentation. The first section of this chapter reveals how Vaughan constructed his ideal type of the artist during a crucial period in 1943, drawing inspiration from art history, art criticism, and appreciation of Paul Cézanne to laud the necessity of search and struggle to the artist’s mission. The second section describes how Vaughan neglected his journal whilst he enjoyed success in the British art world. The third section re-joins Vaughan in 1962, finding him profoundly dissatisfied with his life and work and attempting to re-assert control over both by drawing on sexology and psychoanalysis to make his journal an account of experiments in autoeroticism, subjectivity and sensation that once again reconfigured his conception of art and the artist.

The Late Middle Kingdom (Thirteenth to Seventeenth Dynasties): The Chronological Framework

2008 ◽  
Vol 1 (2) ◽  
pp. 267-287 ◽  
Author(s):  
Detlef Franke
Keyword(s):  
Historical Data ◽  
State Of The Art ◽  
The State ◽  
Middle Kingdom ◽  
Intermediate Period ◽  
The Third ◽  
The North ◽  
Fourth Part ◽  
Short Time

AbstractThe article summarizes the state of the art in chronology of the late Middle Kingdom, which the author takes to also encompass the so-called Second Intermediate Period. Moving from the king-list of the Turin Royal Canon and from Kim Ryholt's investigation, the study focuses on the internal chronology of Dynasties 13–17 by drawing upon historical data from commemorative inscriptions and seals, with a strong attention to sources from Dynasties 13 and 16. Dynasty 13 is to be divided into two halves and four parts of different length: the second part marks the zenith of the period, the end of the third part corresponds to the beginning of the so-called Second Intermediate Period, while the end of the fourth part witnesses the dynastic shift from the North to Thebes. Ryholt's Upper-Egyptian “Abydos Dynasty” contemporary with the Theban 16th Dynasty, as well his idea of a short-time conquest of Thebes by the Hyksos are dismissed. The article ends with remarks on the sequence of kings during Dynasty 17 as well as a chronological table of the Middle Kingdom.

scholarly journals The Work of Art Criticism: Collaboration, Communication, Community

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 101
Author(s):  
Matthew Bowman
Keyword(s):  
Art Criticism ◽  
Collaborative Writing ◽  
Work Of Art ◽  
The Third ◽  
Fourth Part ◽  
Sensus Communis

This essay aims to reconsider the practice of art criticism. The first part aims to clear away some misconceptions that reduce art criticism to a fundamentally negative discourse that asserts a theory/practice distinction. In the second part, the essay tries to think of art criticism as collaborative writing alongside rather than about an artist. The third part, however, highlights some problems insofar as communication and collaboration have become imbricated within post-Fordist socioeconomic frameworks. In addition, the fourth part seeks to propose another direction by suggesting why art criticism and Kantian aesthetics may discover a renewed interest in one another through rethinking the sensus communis as an alternative to post-Fordist sociality.

Health Informatics Education in the Third World

1989 ◽  
Vol 28 (04) ◽  
pp. 270-272 ◽  
Author(s):  
O. Rienhoff
Keyword(s):  
Developing Countries ◽  
Health Informatics ◽  
Third World ◽  
State Of The Art ◽  
The State ◽  
Collaboration Network ◽  
Educational Tools ◽  
The Third ◽  
The Third World

Abstract:The state of the art is summarized showing many efforts but only few results which can serve as demonstration examples for developing countries. Education in health informatics in developing countries is still mainly dealing with the type of health informatics known from the industrialized world. Educational tools or curricula geared to the matter of development are rarely to be found. Some WHO activities suggest that it is time for a collaboration network to derive tools and curricula within the next decade.

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