Iconic Works of Art by Feminists and Gender Activists

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#MeToo
#MeToo movement
activism
Age Group_Uncategorized
Age Group_Uncategorized
Ana Mendieta
art history
art history research
Artist's Model
automatic-update
B01=Brenda Schmahmann
Balkan States
body politics analysis
Category1=Non-Fiction
Category=AB
Category=AC
Category=AGA
Category=JBSF1
Category=JFSJ1
Clara Meneres
contemporary gender studies
COP=United Kingdom
Delivery_Pre-order
Diane Victor
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
EU Passport
feminism
Feminist Art
Feminist Art History
feminist art movements since 1970s
Feminist Art Practice
Feminist Art Program
feminist visual culture
Foolish Virgins
Freeing Women
gender
gender activism art
Goodman Gallery
Greenham Common
Griselda Pollock
Hannah Wilke
Ilse Fuskova
international
intersectional feminist theory
Judy Chicago
Judy Chicago's Dinner Party
Language_English
Natalia LL
Oil On Canvas
Old Mistresses
PA=Temporarily unavailable
politics
post-Brexit UK
Post-Partum Document
Price_€20 to €50
PS=Active
Rimma and Valerij Gerlovin
Roslyn Oxley9 Gallery
Roszika Parker
Schneemann
second-wave
Silueta Series
softlaunch
South African Women's Experiences
Swoon
Tanja Ostojic
Topless
Tracey Moffatt
Usha Seejarim
Violated
women
Women Artists
Women's Peace Camp
Young Man

Product details

  • ISBN 9780367707453
  • Weight: 655g
  • Dimensions: 174 x 246mm
  • Publication Date: 31 May 2023
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
  • Language: English
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In this book, contributors identify and explore a range of iconic works – "Mistress-Pieces" – that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison d’être, its contributors interpret a "Mistress-Piece" as a work that has proved influential in a particular context because of its distinctiveness and relevance.

Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known – those by Natalia LL, Tanja Ostojić, Swoon, Clara Menéres, Diane Victor, Usha Seejarim, Ilse Fusková, Phaptawan Suwannakudt □and Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused on gender.

The book will be of interest to scholars working in art history, visual studies and gender studies.

Brenda Schmahmann is Professor and the SARChI Chair in South African Art and Visual Culture at the University of Johannesburg, South Africa.