Feminism and art history now. Radical critiques of theory and practice

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To what extent have developments in global politics, artworld institutions, and local cultures reshaped the critical directions of feminist art historians? The significant new research gathered here engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of twenty-first-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Individual chapter analyses focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these studies provide readers with a view of feminist art histories of the past, present and future. ContentsList of Illustrations viiNotes on Contributors xiAcknowledgements xviiIntroduction: Feminism and Art History Now 1Victoria Horne and Lara PerryPART I. WRITING | SPEAKING | STORYTELLING 251 . An Unfinished Revolution in Art Historiography, orHow to Write a Feminist Art History 31Victoria Horne and Amy Tobin2 . I Want a Dyke for President: Sounding out ZoeLeonard's Manifesto for Art History's Feminist Futures 41Laura Guy3 . `Our Stories Are Our Life Blood': IndigenousFeminist Memory and Storytelling as Strategy forSocial Change 63Cherry SmileyPART II. VISIBILITY | INTERVENTION | REFUSAL 834 . Making Visible Lee Krasner's Occupation: FeministArt Historiography and the Pollock-Krasner Studio 87Andrew Hardman5 . Challenging Feminist Art History: Carla Lonzi'sDivergent Paths 104Giovanna Zapperi9781784533250_pi-282.indd v 6/8/2017 3:16:39 PMContentsvivi6. Th is Moment: A Dialogue on Participation, Refusaland History Making 124Angela Dimitrakaki and Lara PerryPART III. SPATIALITY | OCCUPATION | HOME 1437. Th e Salon Model: Th e Conversational Complex 147Elke Krasny8. Los Angeles, 1972/Glasgow, 1990: A Report onCastlemilk Womanhouse 164Hannah Hamblin9. I f You Lived Here... : A Case Study on SocialReproduction in Feminist Art History 183Kirsten LloydPART IV. TEMPORALITY | GHOSTS | RETURNS 2031 0. Temporalities of the `Feminaissance' 207Francesco Ventrella1 1. Gestures of Inclusion, Bodily Damage and theHauntings of Exploitation in GlobalFeminisms (2007) 230Kimberly Lamm1 2. Learning and Playing: Re- enacting FeministHistories 260Catherine GrantIndex 283