This text argues that Mary Kelly's combination of texts with images and found objects has been pivotal, not only to the development of Conceptual Art, but also to 20th-century feminism. Kelly often deploys prevailing literary or scientific genres, ranging from romantic fiction to types of psychoanalytical and medical diagnosis which define women as other, and overturns them with her own narratives and images.

An in-depth look at the lives of the women murdered by the infamous, 19th-century London serial killer. Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, and Mary Jane Kelly are inextricably linked in history. Their names might not be instantly recognizable, and the identity of their murderer may have eluded detectives and historians throughout the years, but there is no mistaking the infamy of Jack the Ripper. For nine weeks during the autumn of 1888, the Whitechapel Murderer brought terror to London’s East End, slashing women’s throats and disemboweling them. London’s most famous serial killer has been pored over time and again, yet his victims have been sorely neglected, reduced to the simple label: prostitute. The lives of these five women are rags-to-riches-to-rags stories of the most tragic kind. There was a time in each of their lives when these poor women had a job, money, a home and a family. Hardworking, determined, and fiercely independent individuals, it was bad luck or a wrong turn here or there that left them wretched and destitute. Ignored by the press and overlooked by historians, it is time their stories were told. “Hume presents us with clear and concise biographies of the Ripper’s victims, and while it is tempting to think of them as all being prostitutes . . . their backgrounds, gone into in this much detail, shows them as something completely different. You will have to, you must read this brilliant book, it puts a whole new perspective into the canon of literature about the most infamous murderer of the last two centuries.” —Books Monthly

The Postmodern Arts provides essential material and invaluable guidance for students of modern literature and culture.

In the gaslit streets of Victorian London, phantoms rule the night, demons dance till dawn, and one supernatural detective dares to be seduced by the greatest power of all. . . He's The Man With The Magic Touch A master of deduction, seduction and other midnight maneuvers, Phaeton Black is Scotland Yard's secret weapon against things that go bump in the night. His prodigious gifts as a paranormal investigator are as legendary as his skills as a lover, his weakness for wicked women as notorious as his affection for absinthe. But when he's asked to hunt down a fanged femme fatale who drains her victims of blood, he walks right into the arms of the most dangerous woman he's ever known. . . She's The Devilish Miss Jones Pressing a knife to his throat--and demanding he make love to her--Miss America Jones uses Phaeton as a willing shield against the gang of pirates chasing her. As deadly as she is, with a derringer tucked in her garter, Miss Jones is not the vampiric killer he's been staking out--but she may be just what Phaeton needs to crack the case. As the daughter of a Cajun witch, she possesses uncanny powers. As a fearless fighter, she can handle anything from Egyptian mummies to Jack the Ripper. But when an ancient evil is unleashed on the world, she could be his only salvation. . .or ultimate sacrifice. "[A] dark Victorian concoction. . .sexy as hell!" --Ray Garton, author of Live Girls "A sexy, supernatural romp!" --Zoë Archer

"What was the role of images in the Western tradition? And how did they relate to the printed work? The essays in this wide-ranging collection address these questions by presenting a variety of material, including visual representations that can be read as texts and traditional book illustrations. The editors offer a critical review of visual arts and texts, encompassing thirteenth-century Spanish miniatures, Italian Renaissance painting and book illustrations, the explosion of inter-arts comparisons in the nineteenth century in the works of such diverse writers as Blake, Mallarme and D'Annunzio, and the modern debate on the visual arts."

Selected and introduced by Juli Carson, this book presents a collection of essential essays, interviews, and never-before published archival materials that trace the development of the teaching of major artist and thinker Mary Kelly, from 1980-2017. As an artist and a theorist, Kelly is known for her foundational contributions to Feminism and Conceptual Art; she is also revered for her innovative pedagogy, which has influenced countless artists, writers and teachers within the international art community. Her description of a feminist practice of concentric pedagogy, centred on the artwork rather the mastery of the teacher, radically changed teaching practice in art studios. Detailing Kelly's innovative pedagogical program, the essays are split into three sections: The Method, which focuses on Kelly's renowned method of “ethical observation” within studio critique; The Project, which explores her notion of what constitutes an artistic project; and Project and Method in the Field which presents, for the first time, a transcription of On the Passage of a Few People though a Rather Brief Period of Time, a performative colloquy commissioned by the Tate Modern and moderated by Kelly in 2015; following this transcription is a portfolio of practicing artists previously enrolled in Kelly's Interdisciplinary Studio Area at UCLA. Mary Kelly's Concentric Pedagogy highlights how contemporary studio teaching practice has been largely informed by Kelly's bold and innovative approach to art pedagogy, evidencing how the intersection of teaching, artistic practice, and radical political engagement can transform our approach to all three. It is essential reading for students and teachers of art and design studio practice, art history and theory, contemporary, and feminist art.

This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.

Feminist art and theoretical aspects of feminism are linked via a unique and reciprocal bond whose influence extends far beyond their own bounds into the social, cultural, political and economic realms, as well as into the personal lives of women and men alike. This linkage was forged in different places around the world in the 1960s and 1970s. It was especially influential in the United States, during a decade which witnessed the emergence and growth of the Women’s Liberation, Civil Rights, LGBT, and hippie movements and the protest against the Vietnam War. In response to these events, large numbers of women artists joined the ranks of contemporary political-feminist activists, their art directly reflecting the concerns of feminist theory and practice. This volume adopts an interdisciplinary approach through which it compares American feminist art and artists with their European counterparts. In order to elucidate the geographical divide, this book takes as a test case the work of Mary Kelly who, while born in the USA, produced much of her work while living in Britain and under the influence of European thought. Challenging traditional disciplinary boundaries, it moves beyond an art-history survey to discuss the artistic field in relation to feminist theory and politics, revealing the continuing relevance of both areas for the contemporary reader. While concentrating upon the second wave of feminism in Europe and the USA, it also addresses aspects of the third wave and the current state of the feminist movement, particularly in respect to the Israeli art scene.

In this selection of recent essays, Pollock insightfully engages all major areas of contemporary theory, especially focusing on sexed subjectivities, post-colonialism and Marxist-informed history. In her commentary, Penny Florence places Pollock's critique of modernism, art history, and criticism within the context of the social, political, and ideological developments that have taken place since the 1970s. Florence recognizes in Pollock's work a critical model that moves beyond the contradictions that take place within the history of art. Pollock's own essays and Florence's commentary elaborate the complexities in evaluating this prominent theorist and feminist, whose work demands a capacity to sustain contradiction.