Horne Victoria - Feminism and art history now. Radical critiques of theory and practice

Victoria Horne is Lecturer in Art and Design History at Northumbria University in Newcastle. She has published articles in Feminist Review, Radical Philosophy and Journal of Visual Culture. In 2012 she established the Writing Feminist Art Histories research initiative.

Lara Perry is Principal Lecturer in the History of Art and Design programme at the University of Brighton. She is the author of Historys Beauties: Women and the National Portrait Gallery, 18561900 (2006) and co-editor (with Angela Dimitrakaki) of Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (2013).

This exciting bookis bound to expand the field of feminist art history, curatorial and museum studies in significant and lasting ways, and to generate extensive debate and further scholarship.

Helena Reckitt, Senior Lecturer in Curating,
Goldsmiths, University of London

Contents

Victoria Horne and Lara Perry

Victoria Horne and Amy Tobin

Laura Guy

Cherry Smiley

Andrew Hardman

Giovanna Zapperi

Angela Dimitrakaki and Lara Perry

Elke Krasny

Hannah Hamblin

Kirsten Lloyd

Francesco Ventrella

Kimberly Lamm

Catherine Grant

List of Illustrations

Zoe Leonard, I Want a President, 1992. Typewritten sheet. Courtesy of the artist and Hauser & Wirth.

Collective reading of I Want a President by Zoe Leonard, USA, 1992 and Jeg vil ha en statsminister, the Danish version of Zoe Leonards manifesto translated by Gritt Uldall-Jessen in Aarhus, Denmark, 13 September 2011. Photo by Birthe Havmoeller.

The postcard version of Zoe Leonards I Want a President printed in LTTR #5 and held in the Womens Art Library (MAKE), Goldsmiths College, University of London. Photo by Hannah Regel.

Text inspired by Zoe Leonards manifesto and read in Trafalgar Square, London, 6 May 2015. Photo by Charlotte Procter.

Cherry Smiley, detail view of Build a Fire, installation: 35mm black-and-white scanned film projections, audio, video, text, 2012. Courtesy of the artist.

Cherry Smiley, detail view of Build a Fire, installation: 35mm black-and-white scanned film projections, audio, video, text, 2012. Courtesy of the artist.

Cherry Smiley, detail view of 1876, collage: mixed media, three 8" 10" images, 2012. Courtesy of the artist.

The interior of the studio-barn at the Pollock-Krasner House and Study Centre. The large photograph seen here is of Lee Krasner, taken by Hans Namuth in 1962. The splashed floorboards of the studio can also be seen. Photograph by Andrew Hardman, 2011.

The sitting room of the Pollock-Krasner House, set out as if Krasner was still in residence. Photograph by Andrew Hardman.

Splashes on the wall of the studio-barn mark Krasners production of Gaea (1957). Photograph by Andrew Hardman.

Cover of Carla Lonzi, Autoritratto (Bari, 1969). Collection of the author.

Pages from Autoritratto (Bari, 1969). Left: Pino Pascali as a child; right: Jannis and Efi Kounellis attending a party in Venezuela, 1958. Collection of the author.

Page from Autoritratto (Bari, 1969). Carla Lonzi with the tape recorder in Minneapolis. Collection of the author.

Rachael Harris, photograph of The House that Jill Built by Rachael Harris at Castlemilk Womanhouse (1990). Castlemilk Womanhouse Collection, Glasgow Womens Library. Reproduced with permission from the artist and Glasgow Womens Library.

Val Murray, photograph of Visibility by Val Murray at Castlemilk Womanhouse (1990). Collection of the artist. Reproduced with permission from the artist.

Claire Barclay, photograph of bathroom installation by Claire Barclay at Castlemilk Womanhouse (1990). Collection of the artist. Reproduced with permission from the artist.

Claire Barclay, photograph of A Girls Night Out by Josie Wilkinson, Aideen Cusack and workshop participants at Castlemilk Womanhouse (1990). Collection of the artist. Reproduced with permission from the artist.

Exhibition view of Home Front, part of If You Lived Here (1989). Image courtesy of Martha Rosler.

Exhibition view of Home Front, part of If You Lived Here (1989). Image courtesy of Martha Rosler.

Meeting conducted by Homeward Bound Community Services, Homeless: The Street and Other Venues, part of If You Lived Here (1989). Image courtesy of Martha Rosler.

Exhibition view of City Visions and Revisions, part of If You Lived Here (1989). Image courtesy of Martha Rosler.

Donna: Avanguardia femminista negli anni 70 dalla Sammlung Verbund di Vienna. Galleria Nazionale dArte Moderna, Rome. Installation view. Photo Barbara Ulli / Sammlung Verbund, Vienna.

Autoritratti. Iscrizioni del femminile nellarte italiana contemporanea. Museo dArte Moderna, Bologna. Installation view. Photo Matteo Monti.

Tracey Rose, Ciao Bella Ms Cast: Venus Baartman, 2001, Lambda photograph, 117.5 118 cm. Courtesy of the artist and Goodman Gallery.

Adrienne Marie-Louise Grandpierre-Deverzy, The Studio of Abel de Pujol, exh.1822. Muse Marmottan Monet, Paris, France / Bridgeman Images.

Tracey Rose, Ciao Bella Ms Cast: Venus Baartman and Adrienne Marie-Louise Grandpierre-Deverzy, The Studio of Abel de Pujol as illustrated in Linda Nochlin and Maura Reilly (eds), Global Feminisms: New Directions in Feminist Art (New York, 2007), pp. 1415. Reprinted with permission of Brooklyn Museum.

Olivia Plender and Hester Reeve, Working Table of The Emily Davison Lodge, 201013. On display in the exhibition Sylvia Pankhurst, Tate Britain, 201314. Reproduced with permission from the artists.

Membership form for The Emily Davison Lodge, Museum of London, accession number Z6069/3. Reproduced with permission.