From the Preface:"The essays in Feminist Art Criticism are theoretical, and we selected them for several reasons. First, they show a diversity of concerns. These include spirituality, sexuality, the representation of women in art, the necessary inter-relationship of theory and action, women as artmakers, ethnicity, language itself, so-called postfeminism and critiques of hte art world, the discipline of art history and the practice of art criticism. Second, the contributors' work has not been either widely disseminated or readily available. Third, the essays, especially arranged as they are (chronologically), demonstrate a continuous feminist discourse in art from the early 1970s through the present, a discourse that is neither monolithic nor intellectually trendy but that rather exhibits many elements, the polemical, Marxist, lyrical, and poststructuralist being only a few."

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.

This text reviews feminist art strategies as they emerged in the late 1980s and early 1990s in America and the UK. It draws together the views of prominent practitioners, critics, academics and curators on a broad range of controversial issues. The central focus of the book is feminism's engagement with psychoanalysis and post-modernism and its aim of deconstructing the borders between art and craft, and theory and practice. Feminist politics in the art world are also investigated through discussion of the negotiations of feminist curators, responses to feminist exhibitions, issues surrounding pornography and the censorship of women's work, and the role of feminist teaching on fine art and design degree courses. The book covers a variety of art work, including installation work, painting, textiles and photography.

"Feminist Art Criticism: An anthology is a diverse and provocative collection of essays written by distinguished art critics, historians, and artists. Arranged chronologically, the anthology provides an overview of a continuous feminist discourse in art from the early 1970s to the present. Often controversial, the writings represent a diversity of approaches -- polemical, Marxist, lyrical, and poststructuralist, among others. The essays, many of which are not readily available elsewhere, cover a wide range of concerns. Opening with Maryse Holder's blunt and powerful look at the art of female sexuality as self-discovery, the collection moves through a feminist approach to erotic art by Carol Duncan, essays on feminist or 'gynergenic' art criticism by Moira Roth, Cassandra L. Langer, and Joanna Frueh, a chapter on the appearance of the Goddess in contemporary women's art by Gloria Feman Orenstein, studies of Chicana and Black women artists by Shifra Goldman and Lowery Stokes Sims, to 'The Last Essay on Feminist Criticism' by Arlene Raven. Contributions by Lise Vogel, Judith Barry, Sandy Flitterman-Lewis, Teresa de Lauretis, and Whitney Chadwick complete the collection with intriguing topics ranging from the representation of women in art to women as artmakers. Taken together, all of the essays show that feminist art criticism is a complex and evolving discipline. The writings range from those that focus critically on the male-dominated culture to those that articulate women-centered art and criticism. These essays point to the need to continually rethink the condition of the creative realm and the status of women in relationship to art. They show that though there have been moves away from a white, patriarchal mainstream, and while some feminist interests (such as gender deconstruction) have even been absorbed into the mainstream, the transformation of art suggested by Feminist Art Criticism is still incomplete." -- Provided by publisher

Art criticism is spurned by universities, but widely produced and read. It is seldom theorized and its history has hardly been investigated. The State of Art Criticism presents an international conversation among art historians and critics that considers the relation between criticism and art history and poses the question of whether criticism may become a university subject. Contributors include Dave Hickey, James Panero, Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis, Irit Rogoff, Guy Brett and Boris Groys.

Includes Susan Faludi's Backlash, are discussed in relation to abortion, equal pay for equal work, and other political, social, and cultural issues. The book assesses the highly charged sexual politics of the 1990s using the writings of Camilla Paglia, Naomi Wolf, and Katie Roiphe to analyze different levels of postfeminism. With examples from the mass media, film, literature, popular culture, art, and art criticism, this book surveys the impact of the American feminist.

The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”

Lucy Lippard is one of the most provocative and groundbreaking art critics of the last two decades. A catalyst for social and artistic change, Lippard's writings show the impact of feminism on art, and art on feminism. The Pink Glass Swan brings together Lippard's essays and articles from various magazines, catalogs, and newspapers from the last ten years. Through the eyes of this influential and important critic, The Pink Glass Swan chronicles the sweeping changes in women's art over the last thirty years.

The divide between the digital and the real world no longer exists: we are connected all the time. How do we find out who we are within this digital era? Where do we create the space to explore our identity? How can we come together and create solidarity? The glitch is often dismissed as an error, a faulty overlaying, but, as Legacy Russell shows, liberation can be found within the fissures between gender, technology and the body that it creates. The glitch offers the opportunity for us to perform and transform ourselves in an infinite variety of identities. In Glitch Feminism, Russell makes a series of radical demands through memoir, art and critical theory, and the work of contemporary artists who have travelled through the glitch in their work. Timely and provocative, Glitch Feminism shows how the error can be a revolution.