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Feminisms is Still Our Name: Seven Essays on Historiography and Curatorial Practices

Feminisms have played a crucial part in art, art history and curatorial practices over the last forty years. Hence, it is by now imperative to scrutinize the history of feminist theories and methods within both fields. Feminisms is Still Our Name is an anthology that critically debates the current status of feminisms in visual art and its relation to past art histories and possible feminist futures. It brings together essays by leading scholars in order to meet the urgent need both for a critical historiography and for re-vitalizations of feminist practices within written as well as visual narratives of modern and contemporary art.

From a variety of perspectives, the editors and contributors to this book initiate a much-needed debate about possible strategies for a renewal of feminisms in art history and curating. At the same time, it demonstrates the necessity of further explorations and research into the diversity of feminist pasts. Indeed, this volume provides strong arguments that historiographical critique is an inevitable part of any future feminism(s).

In providing fresh approaches to such important fields as feminist art history and feminist curating, the essays assembled in Feminisms is Still Our Name will provoke fruitful discussion about the relation between academic and curatorial feminist practices.

Contributors: Renee Baert, Malin Hedlin Hayden, Lolita Jablonskiene, Amelia Jones, Mary Kelly, Griselda Pollock, and Jessica Sjöholm Skrubbe.


Malin Hedlin Hayden, PhD, is Associate Professor at the Department of Art History, Stockholm University. She is the author of Out of Minimalism: The referential Cube. Contextualising sculptures by Antony Gormley, Anish Kapoor and Rachel Whiteread (2003) and published extensively on contemporary art in exhibition catalogues and journals such as n.paradoxa, ArtNews, and Konsthistorisk tidskrift. She is currently working on two research projects; Feminist Process of Legitimatization in Video Art History, which is a historiographical critique of surveys and large scale exhibition of video art, and Rhetorical Femininity which addresses the genealogies of certain tropes within video art production in recent years. In 2008 she was co-organizer of the symposium Feminisms, Historiography and Curatorial Practices at the Moderna Museet, Stockholm.

Jessica Sjöholm Skrubbe, PhD, is Research Fellow at the Department of Art History, Stockholm University, where she is currently researching representations of masculinity and femininity in the diverse practices of the Berlin art gallery, journal and publishing house ‘Der Sturm’ during the 1910s and 20s. She has published extensively on gender, public space and sculpture in post-war Sweden. In 2008 Sjöholm Skrubbe was co-organizer of the conference Feminisms, Historiography and Curatorial Practices held at the Moderna Museet, Stockholm. She is a member of the international research network Transnational perspectives on women’s art, feminism and curating, whose work is to encourage and support the development of globally-sensitive research and publication on feminism and curating.

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ISBN: 1-4438-2331-7

ISBN13: 978-1-4438-2331-9

Release Date: 27th September 2010

Pages: 225

Price: £39.99

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