From Art history to Visual Culture. Studying the Visual after the Cultural Turn (Reader 3)

    • vizuális kultúra, cultural studies, társadalmi nem, feminizmus, kolonializmus
  • Szerzők: Stuart Hall, Homi K. Bhabba, Griselda Pollock, Sherry B. Ortner, Adrian Piper, WEB, Rosler Martha, Anne Marah, Majorice Kramer, Judy Chichago, Pat Mainardi, Judith Stein, Richard Powell, Ralph Ellison, Griselda Pollock, Valerie and Kozloff Jaudon, Susanne Kappeller, Janet Wolf, Lisa Tickner, Borsa, Frida Kahlo, Michele Wallace, Stuart Hall, Hilary Robinson, Kass Banning, Ailbhe, Smyth, Hung Liu, Coco, Fusco, Diane Losche, Jean Fischer, Katy Deepwell, András Edit, Jana Gerzová, Martina Pachmanova, Mila Bredikhina, Andrea Ash, Sally Potter, Judith Willimason, Lisa Tickner, Diana Fuss, Lynda Nead, Rosi Braidotti, Rosemary Betterton, Helen McDonald

    New Etnicities. (Stuart Hall)

    The other question (Homi K. Bhabba)

    Inscriptions in the feminine. (Griselda Pollock)

    Is female to male as nature is to culture? (Sherry B. Ortner)

    The triple negation of colored women artists. (Adrian Piper)

    Consciousness-raising rules. (WEB)

    Well, is the personal political? (Rosler Martha)

    A theoretical and political context. (Anne Marah)

    Some thoughts on feminist art. (Majorice Kramer)

    Woman as artist. (Judy Chichago)

    A feminine sensibility? (Pat Mainardi)

    For a truly feminist art. (Judith Stein)

    Re/birth of a nation. (Richard Powell)

    The art of Romare Bearden. (Ralph Ellison)

    Differencing feminism’s encounter with the canon. (Griselda Pollock)

    Art hysterical notions of progress and culture. (Valerie and Kozloff Jaudon)

    No matter how unreasonable. (Susanne Kappeller)

    On the Road Again: Metaphors of travel in cultural criticism. (Janet Wolf)

    Modernist art history: The challenge of feminism. (Lisa Tickner)

    Marginalisation and the critical female subject. (Joan Borsa, Frida Kahlo)

    Modernism, postmodernism and the problem of the visual in Afro American culture. (Michele Wallace)

    Cultural identity and diaspora. (Stuart Hall)

    Introvertation. In Feminism-Art-Theory 1968-2000. (Hilary Robinson)

    The ties that bind: Here we go again. (Kass Banning)

    The floozie in the jacuzzi: The problematics in culture and identity of an Irish woman. (Ailbhe, Smyth)

    Five terms, two letters. (Hung Liu)

    We wear the mask. (Coco, Fusco)

    Reinventing the nude: Fiona Foley’s museology. (Diane Losche)

    The syncretic turn. (Jean Fischer)

    Cultural knowledge, genealogies and the problem of geo-political location(s) producing ethnocentrism(s) in feminist theory. (Katy Deepwell)

    Gender minefield: The heritage of the past, attitudes to feminism in Eastern Europe. (András Edit)

    Art and the question of gender in Slovak art. (Jana Gerzová)

    The Muzzle: Gender and sexual politics in contemporary Czech art. (Martina Pachmanova)

    Representtional practices of women artists in Moscow in the 1990s. (Mila Bredikhina)

    Text and subtext: Women sexuality, image and identity in Asian art. (Andrea Ash)

    On shows. (Sally Potter)

    Images of ’woman’: The photography of Cindy Sherman and others. (Judith Willimason)

    Sexuality and/in representation. (Lisa Tickner)

    The risk of essence (Diana Fuss)

    Framing the female body (Lynda Nead)

    Mothers, Monsters and Machines. (Rosi Braidotti)

    An intimate distance: Women, artists and the body; Body Horror? Food (and sex and death) in women’s art. (Rosemary Betterton)

    Feminism, ambiguity and the ideal; Revisioning the female nude; Gender ambiguity (Helen McDonald)