«From the Eighties until 2012, I created sculptures that were influenced
by feminist theories.
Not exact matches
With the help of
feminist theory, she demonstrates how this drama of justification all too often «misses the mark» of women's lives — lives that are very often marked not
by boastful arrogance but rather
by an inadequate sense of personal agency.
From the exposes of the illusions of modern conscious rationality
by Freud, Marx and Nietzsche through contemporary
feminist theory, modernity has been forced to rethink its Enlightenment heritage on both reason and.
The sad thing for me is that I know men who, if they saw my post today, would roll their eyes and say it's not true, that this violence against women thing is all a conspiracy
theory concocted
by militant
feminists in order to take over the world.
Modleski concludes: «
By working on a variety of fronts for the survival and empowerment of women,
feminist criticism performs an escape act dedicated to freeing women from all male captivity narratives, whether these be found in literature, criticism, or
theory.»
The publicized comment
by a
feminist theologian at the «Re-imagining» conference a few years ago is only one example of the discomfort: «I don't think we need a
theory of atonement at all.
Then, the researcher is analyzed content analysis
by using the
feminist theory, the capitalism for analyzing the data and presents the result of research in a descriptive.
The exhibition is accompanied
by workshops on
feminist posters taught
by Guerrilla Girls, along with the second
Feminist Perspectives in Artist Practice and
Theory of Art course that is co-directed
by the curator of the exhibition, Xabier Arakistain and the senior professor in Social Anthropology of the UPV / EHU, Lourdes Méndez.
Drawing from Marxist,
feminist, and radical black
theory, Hannah Black's works are driven
by voiceovers and intertitles that illuminate fissures in history and evoke the feelings of alienation and vulnerability that are amplified
by social media and the profit structures of capitalism.
South of Pico is broad in scope, tracing the narratives of oft - neglected artists, exploring the contributions of women artists and
feminist visual
theory, and highlighting the history of collecting
by Hollywood movie stars and entertainers.
This presentation is made possible in part with public funds from the New York State Council for the Arts» Electronic Media and Film Presentation Funds grant program, administered
by The ARTS Council of the Southern Finger Lakes and Women and Performance: a journal of
feminist theory.
Both exhibitions emphasize the plural nature of
feminist art: art made all over the world
by women of all different nationalities, classes, and cultural and racial affiliations, and presumably identified with both the «essentialist» and the «constructionist» brands of
feminist theory and politics, not to mention the many strategies of
feminist art, from craft work to political exposé to canon - busting to the deconstruction of gender mythologies to body - centered investigations.
During the 1970s, Lucy Lippard, Miriam Schapiro, Judy Chicago, and other
feminists put forth a
theory about women's art, finding that an enclosure or rounded form was at the center of much work
by women, including O'Keeffe, whose flower paintings, begun in the 1920s, had often been described as symbolic of female sexuality.
On Thursday, August 4th, from 6:30 — 8:30, the gallery is hosting an artist talk that will be moderated
by guest speaker, Dr. Danya Glabou, who teaches cyborg feminism at Brooklyn Institute and specializes in
feminist theory and science studies.
A couple of weeks ago The Guardian covered the publication of Feminist Judgments: From
Theory to Practice,
by Rosemary Hunter, Clare McGlynn, Erika Rackley, a book of judgments (re) written
by British
feminists to produce the reasoning and results that should have been there in the first place.
My approach to this work comes from an existential / phenomenological perspective, and is informed
by feminist and attachment
theories.