Explore the vast range of titles available.

Original essays offering fresh ideas and global perspectives on contemporary feminist art The term 'feminist art' is often misused when viewed as a codification within the discipline of Art History—a codification that includes restrictive definitions of geography, chronology, style, materials, influence, and other definitions inherent to Art Historical and museological classifications. Employing a different approach, A Companion to Feminist Art defines 'art' as a dynamic set of material and theoretical practices in the realm of culture, and 'feminism' as an equally dynamic set of activist and theoretical practices in the realm of politics. Feminist art, therefore, is not a simple classification of a type of art, but rather the space where feminist politics and the domain of art-making intersect. The Companion provides readers with an overview of the developments, concepts, trends, influences, and activities within the space of contemporary feminist art—in different locations, ways of making, and ways of thinking. Newly-commissioned essays focus on the recent history of and current discussions within feminist art. Diverse in scope and style, these contributions range from essays on the questions and challenges of large sectors of artists, such as configurations of feminism and gender in post-Cold War Europe, to more focused conversations with women artists on Afropean decoloniality. Ranging from discussions of essentialism and feminist aesthetics to examinations of political activism and curatorial practice, the Companion informs and questions readers, introduces new concepts and fresh perspectives, and illustrates just how much more there is to discover within the realm of feminist art. * Addresses the intersection between feminist thinking and major theories that have influenced art theory * Incorporates diverse voices from around the world to offer viewpoints on global feminisms from scholars who live and work in the regions about which they write * Examines how feminist art intersects with considerations of collectivity, war, maternal relationships, desire, men, and relational aesthetics * Explores the myriad ways in which the experience of inhabiting and perceiving aged, raced, and gendered bodies relates to feminist politics in the art world * Discusses a range practices in feminism such as activism, language, education, and different ways of making art The intersection of feminist art-making and feminist politics are not merely components of a unified whole, they sometimes diverge and divide. A Companion to Feminist Art is an indispensable resource for artists, critics, scholars, curators, and anyone seeking greater strength on the subject through informed critique and debate.

Women’s transgressive behaviors and perspectives are challenging societal norms in the Arab world, giving rise to anxiety and public debate. Simultaneously, however, other Arab women are unwillingly finding themselves labeled “bad\" as authority figures attempt to redirect scrutiny from serious social ills such as patriarchy and economic exploitation, or as they impose new restrictions on women’s behavior in response to uncertainty and change in society. Bad Girls of the Arab World elucidates how both intentional and unintentional transgressions make manifest the social and cultural constructs that define proper and improper behavior, as well as the social and political policing of gender, racial, and class divisions. The works collected here address the experiences of women from a range of ages, classes, and educational backgrounds who live in the Arab world and beyond. They include short pieces in which the women themselves reflect on their experiences with transgression; academic articles about performance, representation, activism, history, and social conditions; an artistic intervention; and afterwords by the acclaimed novelists Laila al-Atrash and Miral al-Tahawy. The book demonstrates that women’s transgression is both an agent and a symptom of change, a site of both resistance and repression. Showing how transnational forces such as media discourses, mobility and confinement, globalization, and neoliberalism, as well as the legacy of colonialism, shape women’s badness, Bad Girls of the Arab World offers a rich portrait of women’s varied experiences at the boundaries of propriety in the twenty-first century.

Digital Fissures: Genders, Bodies, Technologies is a transnational transfeminist exploration into the ways technologies, bodies and identities cohabitate. The collection explores how radical approaches to the cyber and the cyborg are transforming how we inhabit and think about identity-defining categories like gender and sexuality.

Examining the intellectual output of female American Muslim writers and scholars since 1990, Hammer demonstrates that the themes at the heart of women’s writings are central to the debates of modern Islam worldwide.

No Permanent Wavesboldly enters the ongoing debates over the utility of the \"wave\" metaphor for capturing the complex history of women's rights by offering fresh perspectives on the diverse movements that comprise U.S. feminism, past and present. Seventeen essays--both original and reprinted--address continuities, conflicts, and transformations among women's movements in the United States from the early nineteenth century through today.A respected group of contributors from diverse generations and backgrounds argue for new chronologies, more inclusive conceptualizations of feminist agendas and participants, and fuller engagements with contestations around particular issues and practices. Race, class, and sexuality are explored within histories of women's rights and feminism as well as the cultural and intellectual currents and social and political priorities that marked movements for women's advancement and liberation. These essays question whether the concept of waves surging and receding can fully capture the complexities of U.S. feminisms and suggest models for reimagining these histories from radio waves to hip-hop.

Sign up to be notified when the book becomes available > \"A major inspiration for the project was the tendency by some in the media to describe particular women as 'the most dangerous woman in' Scotland, or the UK, or the world.\", Jo Shaw, editor 'The Art of Being Dangerous' Browse a preview of the book > Unique and kaleidoscopic collection of feminist visual and literary art The idea that women are dangerous - individually or collectively - runs throughout history and across cultures. Behind this label lies a significant set of questions about the dynamics, conflicts, identities and power relations with which women live today. The Art of Being Dangerous offers many different images of women, some humorous, some challenging, some well-known, some forgotten, but all unique. In a dazzling variety of creative forms, artists and writers of diverse identities explore what it means to be a dangerous woman. With almost 100 evocative images, this collection showcases an array of contemporary art that highlights the staggering breadth of talent among today's female artists. It offers an unparalleled gallery of feminist creativity, ranging from emerging visual artists from the UK to multi-award-winning writers and translators from the Global South. Contributors: Margie Orford, Meredith Bergmann, K.E. Carver, Sasha de Buyl-Pisco, Mary Paulson-Ellis, Melissa Álvaro Mutolo, Kerri Turner, Heshani Sothiraj Eddleston, Joanie Conwell, Dilys Rose, Alison Jones, Sim Bajwa, Hilaire, Tara Pixley, Leonie Mhari, Kate Feld, Millie Earle-Wright, Helen Boden, Elif Sezen, Rebecca Vedavathy, Irene Hossack, SE Craythorne, Roisin Kelly, Nkateko Masinga, Elaine Gallagher, Ildiko Nova, Rachel Roberts, susan c. dessel, Savanna Scott Leslie, Heather Pearson, Eva Moreda Rodriguez, Tanya Krzywinska, Siris Gallinat, Clare Archibald, Maya Mackrandilal, Zuhal Feraidon, Anna Brazier, Shirley Day, Treasa Nealon, Satdeep Grewal, Lucy Walters, Priyanthini Guns, Kate Schneider, Alana Tyson, Jayde Kirchert, Boris Eldagsen, Brenda Rosete, Victoria Duckett, Patricia Allmer, JL Williams, Carly Brown, Sotiria Grek, Sepideh Jodeyri, Brooke Bolander, Maria Stoian, Maria Fusco, Claire Askew and Marianne Boruch. This book emerges from the Dangerous Women Project. For more information, visit dangerouswomenproject.org

Scientific literature has focused on the constraints that Roma women have faced to overcome the racism and inequalities that they and the Roma people as a whole have su ered. However, less attention has been paid to how Roma women organize to challenge this reality. Drawing on a qualitative case study about the Roma Association of Women Drom Kotar Mestipen (Barcelona) and specifically on the analysis of one of its activities, the 'Roma women student gatherings' (known as 'Trobades' in Catalan), this article contributes evidence to show how Roma women are fighting to improve their own living conditions and those of their people by organizing at the grassroots level. The communicative analysis reveals the impacts that these gatherings have on the individual and societal levels. First, the gatherings have impacts on the individual level, as many of the women who participate in them are exposed to and embrace new educational projects, thus acquiring more skills to be better prepared to later access the labor market. Second, their impact is also evidenced on the societal level, as the gatherings enhance Roma women's associational life, resulting in new mobilizations and often making women who were once in the shadows become community leaders.

White feminists performing to maintain privilege Mean girl feminism encourages girls and women to be sassy, sarcastic, and ironic as feminist performance. Yet it coopts its affect, form, and content from racial oppression and protest while aiming meanness toward people in marginalized groups. Kim Hong Nguyen's feminist media study examines four types of white mean girl feminism prominent in North American popular culture: the bitch, the mean girl, the power couple, and the global mother. White feminists mime the anger, disempowerment, and resistance felt by people of color and other marginalized groups. Their performance allows them to pursue and claim a special place within established power structures, present as intellectually superior, substitute nonpolitical playacting for a politics of solidarity and community, and position themselves as better, more enlightened masters than patriarchy. But, as Nguyen shows, the racialized meanness found across pop culture opens possibilities for building an intersectional feminist politics that rejects performative civility in favor of turning anger into liberation.