The rich diversity of art informed by feminism since the 1960s, now available in paperback.

Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term "autotheory" began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.

A long-needed corrective and alternative view of Western art history, these seventeen essays by respected scholars are arranged chronologically and cover every major period from the ancient Egyptian to the present. While several of the essays deal with major women artists, the book is essentially about Western art history and the extent to which it has been distorted, in every period, by sexual bias. With 306 illustrations.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This important new book examines contemporary art while foregrounding the key role feminism has played in enabling current modes of artmaking, spectatorship and theoretical discourse. Contemporary Art and Feminism carefully outlines the links between feminist theory and practice of the past four decades of contemporary art and offers a radical re-reading of the contemporary movement. Rather than focus on filling in the gaps of accepted histories by ‘adding’ the ‘missing’ female, queer, First Nations and women artists of colour, the authors seek to revise broader understandings of contemporary practice by providing case studies contextualised in a robust art historical and theoretical basis. Readers are encouraged to see where art ideas come from and evaluate past and present art strategies. What strategies, materials or tropes are less relevant in today’s networked, event-driven art economies? What strategies and themes should we keep hold of, or develop in new ways? This is a significant and innovative intervention that is ideal for students in courses on contemporary art within fine arts, visual studies, history of art, gender studies and queer studies.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but als

A short introduction to the most important feminist artworks from the late 1960s to the present. Fifty works reflect women's lives and experience, the changing position of women artists, and the impact of feminist ideals and politics on visual culture

Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor's writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic. Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor's most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism's fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle's depiction of women, Wet is a fascinating and informative collection. Complemented by over twenty illustrations, the essays in Wet reveal Schor's remarkable ability to see and to make others see art in a radically new light.

In A Time of One’s Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists’ engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.

Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics provide a broad social context for the artworks themselves.