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This book provides the first comprehensive study of feminisms and contemporary arts in Indonesia. While Indonesian contemporary arts are currently on the rise in the global art scene, no in-depth study has been done on the works of Indonesian women artists and the feminist strategies they employ when operating within the Indonesian art world. Focusing on Arahmaiani, Titarubi, and IGAK Murniasih amongst others, this pioneering work uses feminist reading to analyse the works of Indonesian women artists historically and today. It also illuminates the sociocultural and political contexts in which the artists worked and a nuanced understanding of local feminisms in Indonesia. These artists achieve this in feminist terms by orienting their works towards the production of positive images of the female body, expression of female desire, and adherence to certain universal principles such as erotic appeal and inclusiveness in attempting to formulate or convey a conceptual ideal.
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.
Counterpractice highlights a generation of women who used art to define a culture of experimental thought and practice during the period of the French women’s movement or Mouvement de Libération des Femmes (1970–81). It considers women’s art in relation to some of the most exciting thinkers to have emerged from the French literature and philosophy of the 1970s – Hélène Cixous, Luce Irigaray and Julia Kristeva – forcing a timely reconsideration of the full spectrum of revolutionary practices by women in the years following the events of May ’68. Lavishly illustrated with over 200 images, the book also features an illuminating foreword by art historian Griselda Pollock.
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
This publication brings together works by over eighty contemporary women artists from over fifty countries, among them Catherine Opie, Miwa Yanagi, Pilar Albarracín, Shahzia Sikander and Yin Xiuzhen. Contributions by a multinational team of authors focus particular attention on socio-cultural, racial and gender identities. Includes essays by Maura Reilly, Linda Nochlin, N'gone Fall, Geeta Kapur, Michiko Kasahara, Joan Kee, Virginia Pérez-Ratton, Elisabeth Lebovici, Charlotta Kotík. Published on occasion of the exhibition 'Global Feminisms', organized by the Brooklyn Museum, March 23-July 1, 2007.
This book analyses the intersections between contemporary art and environmental activism in Indonesia. Exploring how the arts have promoted ecological awareness from the late 1960s to the early 2020s, the book shows how the arts have contributed to societal change and public and political responses to environmental crises. This period covers Indonesia’s rapid urban development under the totalitarian New Order regime (1967–1998) as well as the enhanced freedom of expression, alternative development models, and environmental problems under the democratic governments since 1998. The book applies the concept of ‘artivism’ to refer to the vital role of art in activism. It seeks to identify and contextualise both the potential and limits of environmental artivism in Indonesia, a country whose vibrant art scenes and monumental social transformations provide a productive laboratory for exploring the power of creativity as a social and political change agent. It provides a comprehensive overview of contemporary art from Indonesia, with an in-depth analysis of artivists who seek to address and find solutions for some of the most pressing environmental issues of our times. With its detailed, empirical approach to environmental art from Southeast Asia, this project fills in an important gap in the literature on art and activism. It is aimed at academics, students, artists, curators, policymakers, activists, and general readers with an interest in the environment, art history, and Indonesian culture, society, and politics.
In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.
This important new book examines contemporary art while foregrounding the key role feminism has played in enabling current modes of artmaking, spectatorship and theoretical discourse. Contemporary Art and Feminism carefully outlines the links between feminist theory and practice of the past four decades of contemporary art and offers a radical re-reading of the contemporary movement. Rather than focus on filling in the gaps of accepted histories by ‘adding’ the ‘missing’ female, queer, First Nations and women artists of colour, the authors seek to revise broader understandings of contemporary practice by providing case studies contextualised in a robust art historical and theoretical basis. Readers are encouraged to see where art ideas come from and evaluate past and present art strategies. What strategies, materials or tropes are less relevant in today’s networked, event-driven art economies? What strategies and themes should we keep hold of, or develop in new ways? This is a significant and innovative intervention that is ideal for students in courses on contemporary art within fine arts, visual studies, history of art, gender studies and queer studies.
While Muslims in Indonesia have begun to turn towards a strict adherence to Islam, the reality of the socio-religious environment is much more complicated than a simple shift towards fundamentalism. In this volume, contributors explore the multifaceted role of Islam in Indonesia from a variety of different perspectives, drawing on carefully compiled case studies. Topics covered include religious education, the increasing number of Muslim feminists in Indonesia, the role of Indonesia in the greater Muslim world, social activism and the middle class, and the interaction between Muslim radio and religious identity.