https://www.tandfonline.com/doi/pdf/10.1080/13528165.2016.1223432

Introduction: Trans-ing performance

While some traditionally underrepresented artists may have recently gained access to recognition and visibility, this has not generally led to broad, diverse representation and participation. Numerous ‘feminist art’ researchers, practitioners and activists working in an interdisciplinary tradition have critically addressed social inequality in the arts. However, even research, practice and activism that challenge dominant norms can serve an economic system that thrives on perpetuating inequality. The production of ‘art’ does not escape, and often contributes to, unwanted socio-political and economic consequences.
This thesis argues that combinations of art research, practice and activism can play a critical role in the attainment of social equality inside and outside the arts, building on feminist critiques of dominant aesthetics and feminist efforts to restructure art canons. It recommends that feminist art stakeholders expand their collaborations outside the arts, in order to work with researchers, practitioners and activists from other disciplines. The proposed transdisciplinarity, in which feminist art plays a key part, can help avoid new forms of exclusion and discrimination that can emerge when the multiple, intersectional positions of marginalised individuals remain unrecognised. It is recommended that primary or empirical research is used to help achieve intended outcomes.
The thesis presents a novel approach to addressing social inequality, within and beyond the arts, by exploring the transdisciplinary potential of feminist art, contextualising feminist art as a restructuring currency, and calling for monitoring and evaluating the impact of feminist art. Original cartoons are included to illustrate the proposed feminist research reflexivity and transdisciplinarity. The proposed approach can help feminist art researchers better differentiate the multiple values of ‘art’, recognise broader selections of traditionally marginalised artists, and dismantle out-dated ideas of Great Art.

Towards a transdisciplinary model for social change : feminist art research, practice and activism

Many theorizations of the performative, from the late 1980s and 1990s through to the present, have connected it with the processes of teaching, learning and pedagogy. These intersections, however, have often remained latent rather than explicit in analyses of the performative in artistic practice, despite close attention to the intersection between contemporary art and pedagogy. In what follows, I focus specifically on the pedagogic function of the performative in performance art and its histories. This plays a crucial role in artistic and curatorial projects engaging with the afterlives of performance art from the 1960s and 1970s, which have enjoyed exponential growth since the early 2000s. The term ‘afterlife’ in this context denotes the tangible manifestations of documentation and mediation generated in relation to events and actions, which continue to endure afterwards, such as photographs, films, videos, scores and archival ephemera. It also extends beyond physical traces to encompass the transient speech acts of reportage and discourse, together with embodied, fleeting gestures that can be revivified through repertoires and choreographic notation. The afterlife of performance is not automatically synonymous with performative afterlife, but the practitioners considered in this article all approach it as able to act performatively in and on the present, by creating pedagogic opportunities for learning and dialogic exchange between subjects. This capacity of the pedagogic performative entails that it has become especially prominent in works by artists who challenge restrictive understandings of class, gender, sexuality and race.

/pdf/the-pedagogies-of-performative-afterlife-2uz30t1hap.pdf

The Pedagogies of Performative Afterlife

CLAUDE CAHUN, MARCEL MOORE, AND THE COLLAPSE OF “SURREALIST PHOTOGRAPHY” Elizabeth Ann Driscoll Smith April 15, 2016 This thesis probes the photographic oeuvre of Claude Cahun and Marcel Moore and their interpretation of Freudian fetishism. Cahun and Moore rework Freud’s theory to disrupt and invalidate various symbols conventionally associated with sexual difference, examining social, fictional, and historical dimensions of gendering and the shift that occurs when their parameters disintegrate. The first section examines the lovers’ portraiture and use of clothing—specifically the androgyny of early-twentieth century Paris fashion—in order to demarcate same-sex gaze, desire, and fetish. The second section covers the four years in which Cahun and Moore’s participation in the Paris Surrealist circles can be traced—from 1933 to 1937. During this time, their construction of “irrational objects,” a term frequently evoked in Cahun’s essay “Beware Domestic Objects,” exhumes the tensions between veiled and unveiled eroticism.

/pdf/claude-cahun-marcel-moore-and-the-collapse-of-surrealist-5al6l9tadg.pdf

Claude Cahun, Marcel Moore, and the collapse of "surrealist photography".

........................................................................................................................................ iii Lay Summary ............................................................................................................................... iv Preface .............................................................................................................................................v Table of

/pdf/making-place-in-hostile-space-what-are-limits-and-radical-3ivxvv7bib.pdf

Making place in hostile space : what are limits and radical possibilities of arts-based activism utilized by queer racialized activists in Britain today?

"Otherwise: Imagining queer feminist art histories" is the first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by offering a range of essays by key North American and European scholars, both emerging and renowned, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach

Otherwise : imagining queer feminist art histories

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Otherwise : imagining queer feminist art histories