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Revisiting Cyberfeminism
AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations. -
Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive
Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”). -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Yeats at Petitpas' 1910/C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922. -
“My Personal Is Not Political?” a Dialogue on Art, Feminism and Pedagogy
Liminalities: A Journal of Performance Studies Vol. 5, No. 2, July 2009 “My Personal Is Not Political?” A Dialogue on Art, Feminism and Pedagogy Irina Aristarkhova and Faith Wilding This is a dialogue between two scholars who discuss art, feminism, and pedagogy. While Irina Aristarkhova proposes “active distancing” and “strategic withdrawal of personal politics” as two performative strategies to deal with various stereotypes of women's art among students, Faith Wilding responds with an overview of art school’s curricular within a wider context of Feminist Art Movement and the radical questioning of art and pedagogy that the movement represents Using a concrete situation of teaching a women’s art class within an art school environment, this dialogue between Faith Wilding and Irina Aristakhova analyzes the challenges that such teaching represents within a wider cultural and historical context of women, art, and feminist performance pedagogy. Faith Wilding has been a prominent figure in the feminist art movement from the early 1970s, as a member of the California Arts Institute’s Feminist Art Program, Womanhouse, and in the recent decade, a member of the SubRosa, a cyberfeminist art collective. Irina Aristarkhova, is coming from a different history to this conversation: generationally, politically and theoretically, she faces her position as being an outsider to these mostly North American and, to a lesser extent, Western European developments. The authors see their on-going dialogue of different experiences and ideas within feminism(s) as an opportunity to share strategies and knowledges towards a common goal of sustaining heterogeneity in a pedagogical setting. First, this conversation focuses on the performance of feminist pedagogy in relation to women’s art. -
Eighth Annual Exhibition of Miniatures Catalogue
EIGHTH ANNUAL EXHIBITION OF MINIATURES CATALOGUE THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MDCCCCIX THE PENNSYL VANIA ACADEMY OF THE FINE ARTS FOUNDED 1805 THE PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS CATALOGUE OF THE EIGHTH ANNUAL EXHIBITION OF MINIATURES, NOVEMBER 8 TO DECEMBER 19, 1909 PHILADELPHIA MCMIX MANAGEMENT OF THE PENNSYL VANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS. VICE· PRESIDENT I CLEMENT B. NEWBOLD. HONORARY VICE-PRESIDENTS, JOH N H. CONVERSE, E. BURGESS WARREN. DIRECTORS, THEOPHILUS P. CHANDLER, ALFRED C . HARRISON, HERBERT M. HOWE, M.D., CLARENCE C. ZANTZINGER, GEORGE H. McFADDEN, GEORGE D. WIDENER, CLEMENT B. NEWBOLD, T. DE 'WITT CUYLER, EDWARD T. STOTESBURY, ARTHUR H. LEA, THEODORE N. ELY, CHARLEMAGNE TOWER, FRANK H. CAVEN. TREASURER, ~ GEORGE H. McFADDEN. SECRETARY AND MANAGER, JOHN E. D. TRASK. ASSISTANT TO SECRETARY AND TREASURER, HARRY P. RHOADS. CURATOR OF SCHOOLS, CHARLES F. RAMSEY. SOLICITOR, JOHN G, JOHNSON. COMMITTEE ON EXHIBITIONS, CLEMENT B. NEWBOLD, CHAIRMAN, GEORGE H. McFADDEN, ALFRED C. HARRISON, EDWARD T. STOTESBURY, THEODORE N. ELY, CHARLEMAGNE TOWER. 2 @ff(cers ant> members of tl)e lDennsog{\?anta Soctet\? of miniature lDainters PRESIDENT EMILY DRAYTON TAYLOR VICE· PRESIDENT LUDWIG E. FABER SECRETARY A. MARGARETTA ARCHA~IBAULT TREASURER SARAH YOCUM McFADDEN EXECUTIVE COMMITTEE ELLEN WETHERALD AHRENS AMY OTIS REBECCA PEALE PATTERSON MEMBERS ELLEN WETHERALD AHRENS REBECCA BURD PEALE PATTERSON A. MARGARETTA ARCHAMBAULT EVELYN PURDIE ALICE BECKINGTON EDNA F. HUESTIS SIMPSON ELLA SHEPARD BUSH Lucy MAY STANTON SALLY CROSS MARIA JUDSON STREAN HERMAN DEIGENDESCH MARY H. TANNAHILL EULABEE DIX EMILY DRAYTON TAYLOR LUDWIG E. FABER HELEN M. TURNER JEAN WILLIAMS LUCAS MABEL R. -
ART, CRAFT and DESIGN (7201/X) Component 2 Externally Set Assignment 2018
A-level ART AND DESIGN ART, CRAFT AND DESIGN (7201/X) Component 2 Externally set assignment 2018 To be issued to candidates on 1 February 2018 or as soon as possible after that date. All teacher-assessed marks to be returned to AQA by 31 May 2018. Time allowed • 15 hours Materials For this paper you must have: appropriate art materials. Instructions Read the paper carefully. Before you start work, make sure you understand all the information. Choose one question. As soon as the first period of supervised time starts you must stop work on your preparatory work. You may refer to it in the supervised time but it must not be added to or amended. • The work produced in the supervised time may take any appropriate form but must show evidence of working in areas of study drawn from one or more of the endorsed titles. You must show evidence of personal work relating to your chosen question. You must show evidence of research and of investigating and developing ideas. This should include visual work and, if appropriate, annotations or written work. Sketchbooks, workbooks and/or journals may be included. Practical responses to the work of other artists, designers, craftspeople and photographers must show development in a personal way. The work submitted for this component must be produced unaided. You must not produce work for this component after the 15 hours of supervised time. Information The maximum mark for this paper is 96. • You should make sure that any fragile, temporary or ceramic work is photographed, in case of accidental damage. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Schor Moma Moma
12/12/2016 M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking3 H O M E A B O U T L I N K S Browse: Home / 2016 / December / 09 / M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking CONNE CT 3 Mira's Facebook Page DE CE MBE R 9 , 2 0 1 6 Subscribe in a Reader Subscribe by email M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking3 miraschor.com The first issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, was published in December 1986. M/E/A/N/I/N/G is a collaboration between two artists, TAGS Susan Bee and Mira Schor, both painters with expanded interests in writing and 2016 election Abstract politics, and an extended community of artists, art critics, historians, theorists, and Expressionism ACTUAW poets, whom we sought to engage in discourse and to give a voice to. Activism Ana Mendieta Andrea For our 30th anniversary and final issue, we have asked some longtime contributors Geyer Andrea Mantegna Anselm and some new friends to create images and write about where they place meaning Kiefer Barack Obama CalArts craft today. As ever, we have encouraged artists and writers to feel free to speak to the Cubism DAvid Salle documentary concerns that have the most meaning to them right now. film drawing Edwin Denby Facebook feminism Every other day from December 5 until we are done, a grouping of contributions will Feminist art appear on A Year of Positive Thinking. -
Canadian, Impressionist & Modern
CanAdiAn, impressionist & modern Art Sale Wednesday, december 2, 2020 · 4 pm pt | 7 pm et i Canadian, impressionist & modern art auCtion Wednesday, December 2, 2020 Heffel’s Digital Saleroom Post-War & Contemporary Art 2 PM Vancouver | 5 PM Toronto / Montreal Canadian, Impressionist & Modern Art 4 PM Vancouver | 7 PM Toronto / Montreal previews By appointment Heffel Gallery, Vancouver 2247 Granville Street Friday, October 30 through Wednesday, November 4, 11 am to 6 pm PT Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Monday, November 16 through Saturday, November 21, 11 am to 6 pm ET Heffel Gallery, Toronto 13 Hazelton Avenue Together with our Yorkville exhibition galleries Thursday, November 26 through Tuesday, December 1, 11 am to 6 pm ET Wednesday, December 2, 10 am to 3 pm ET Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” Consignments or “Auction House” [email protected] appraisals CONTACt [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com absentee, telephone & online bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shipping Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottawa subsCriptions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-6505 montreal Catalogue subsCriptions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. An Annual Subscription entitles vanCouver you to receive our Auction Catalogues and Auction Result Sheets. 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Our Annual Subscription Form can be found on page 103 of this Telephone 604-732-6505, Fax 604-732-4245 catalogue. -
Barbara-Zucker-CV-1.Pdf
Barbara Zucker Born, Philadelphia, PA. Lives and works in Burlington,Vermont, and New York, New York. Studio: 444 S. Union St. Burlington, Vermont 05401 802 863 8513 Fax: 802 864 5841 email: [email protected] Education University of Michigan, BS in Design Hunter College, MA Cranbrook Academy of Art Selected One Person Exhibitions Barbara Zucker: Time Signatures, The Gershman Y, Phila., Pa. 2007 Time Signatures: Tufts University, Mass., 2005 Universal Lines: Homage to Lilian Baker Carlisle and Other Women of Distinction”; Amy Tarrant Gallery, The Flynn Center for the Performing Arts, Burlington, Vt., 2001 Robert Hull Fleming Museum, Burlington, VT, 1998, 1980 One Great Jones Gallery, NYC, 1997 Paley Gallery, Moore College of Art, Phila., PA, 1996 (catalog) “For Beauty’s Sake,” Artists’ Space, NYC, 1994 Haeneh Kent Gallery, NYC, 1990 Webb and Parsons, Burlington, VT, 1989, 1991 Benjamin Mangel Gallery, Phila., PA, 1989 The Sculpture Center, NYC, April, 1989 Pam Adler Gallery, NYC, 1983, 1885 Swarthmore College, PA, 1983 Fine Arts Center, University of Massachusetts, Amherst, 1982 Joselyn Art Museum, Omaha, Nebraska, 1981 Robert Hull Fleming Museum, Burlington, VT, 1981 Robert Miller Gallery, NYC, 1978, 1980 Pennsylvania Academy of Fine Art, 1980 Marion Deson Gallery, Chicago, 1979, 1985 112 Greene Street Gallery, NYC, 1976 A.I.R. Gallery, NYC, 1972, 1974 Rutgers University, Douglass College, New Brunswick, NJ, 1973 Selected Group Exhibitions ‘Radical Lace and Subversive Knitting”, The Museum of Arts and Design, New York, 2007 “From the Inside Out: Feminist Art Then and Now”, New York, 2007 Winter Salon , Lesley Heller Gallery, December, New York, 2006 “Selfish“, curated by Lori Waxman, 128 Rivington, New York, 2004 Reading Between the Lines”, curated by Joyce Kozloff; Wooster Arts Space, New York, 2003 “Drawing Conclusions: Work by Artists Critics”, curated by Judith Collishan, New York Arts, New York, 2003 “The Art of Aging”, Hebrew Union College Museum, New York, 2003-2004; traveling exhibition, through 2006. -
Artwork of the Month April 2020 'Nameless and Friendless' by Emily Mary Osborn
Artwork of the Month April 2020 ‘Nameless and Friendless’ by Emily Mary Osborn (1828-1925) Small Version of ‘Nameless and Friendless’; the larger version in Tate Britain was exhibited at the Royal Academy in 1857; the York version acquired 1997 with Art Fund support and a grant of £3000 from the Friends. Emily Mary Osborn (1828-1925) The origin of York Art Gallery’s collection lies in the gift in 1882 of 126 nineteenth-century (that is, at the time modern) paintings by the eccentric collector John Burton, who gives his name to the Burton Gallery; the gift included such Victorian favourites as Edward Matthew Ward’s ‘Hogarth’s Studio in 1739’. The Victorian period saw a dramatic increase in the number of registered women fine artists, from fewer than 300 in the census of 1841 to 3,700 in 1901 (for male artists the numbers are 4000 and nearly 14,000). Here Dorothy Nott, a former Chair of the Friends whose PhD at the University of York was on the work of the distinguished battle painter Elizabeth Thompson, Lady Butler (who incidentally narrowly missed by two votes becoming the first elected female Associate Member of the Royal Academy) writes about a remarkable small painting by a woman artist of the period in the Gallery’s collection. In 1844, when Sarah Stickney Ellis published her manual The Family Monitor and Domestic Guide, she advised her women readers not to excel at any one activity. Instead, she argued for a tolerable standard in a wide range of accomplishments. Her reasons were twofold, first, to ensure at least a basic knowledge of a variety of topics so as to facilitate social intercourse and, secondly, to prevent women from posing a threat to their male counterparts.