Expanding the parameters of feminist artivism / Gillian Hannum, Kyunghee Pyun, editors.

This book explores the work and careers of women, trans, and third-gender artists engaged in political activism. While some artists negotiated their own political status in their indigenous communities, others responded to global issues of military dictatorship, racial discrimination, or masculine p...

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Bibliographic Details
Online Access: Full Text (via Springer)
Main Author: Pyun, Kyunghee (Author)
Other Authors: Hannum, Gillian Greenhill (Editor)
Format: eBook
Published: Cham, Switzerland : Palgrave Macmillan, [2023]


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245 0 0 |a Expanding the parameters of feminist artivism /  |c Gillian Hannum, Kyunghee Pyun, editors. 
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500 |a Description based upon print version of record. 
504 |a Includes bibliographical references (pages 309-314) and index. 
505 0 |a Part I: Introduction -- Introduction: Artists for Political Engagement: A Table for Women and Gender Non-conforming Artists -- From Activism to Branding: The 1960s to the 2000s -- Beyond National Borders: The 2020s -- About This Book -- Conclusion -- Part II: Countering Colonialism -- Native Feminisms and Contemporary Art: Indigeneity, Gender, and Diné Resurgence in the Work of Natani Notah and Jolene Nenibah Yazzie -- Introduction -- Native Feminisms. 
505 8 |a Natani Notah and the Resurgence of Respect for Diné Women and Land -- Jolene Nenibah Yazzie and the Resurgence of Non-binary Diné Genders -- Conclusion -- Disrupting the Silence: Australian Aboriginal Art as a Political Act -- Black Opium -- Badtjala Removal -- Veiled Paradise/Bone Boxes -- HHH -- Part III: Against the Establishment -- Spanking Confucius: The Feminist Protest Art of Kang-ja Jung -- Transparent Balloons and the Nude -- Kang-ja Jung's Ephemeral Dress -- Nam June Paik's Sex on a Piano -- New Woman and Nude in East Asia. 
505 8 |a From Non-conformism to Feminisms: Russian Women Artists from the 1970s to Today -- Irina Nakhova and Non-conformist Art -- Tatiana Antoshina and the Birth of the Feminist Movement in Russia -- Olga Tobreluts, Perestroika, and Beyond -- Conclusion -- The Personal and the Political in Liminal Space: A Conversation Between Sandy Lane and Joo Yeon Woo Addressing Artivism in the Korean DMZ -- The Artnauts in the DMZ -- The Space Between -- Personal and Political -- From South Africa to Afghanistan and America: An Exploration of Female Street Artists and the Socially Disruptive Nature of Their Work. 
505 8 |a Lady Pink -- Swoon -- Olek -- Faith XLVII -- Tatyana Fazlalizadeh -- Shamsia Hassani -- Conclusion -- Part IV: Dislocation and Migration -- Yong Soon Min's Defining Moments: Gendered Space of Decolonization in the Pacific -- Introduction -- Awareness of Identity as a Korean American -- Growing Political Points: Connecting with Asian-American Artists -- Feminist Context as the Third World Woman -- Building Political Comments from Personal Life -- Gendered Space of Decolonization -- Conclusion -- Sited Nomadism from the Atlantic to West Africa: Addoley Dzegede -- Introduction. 
505 8 |a Indexing the Personal Within the Political -- Belonging -- Ballast and Millefiori: Evocative Objects -- Conclusions -- Alterity in Europe-Occupying Spaces as Feminist Strategy in (Post)Migration Aesthetics: A Conversation -- Introduction -- The Role of Migration, Gender, and Ethnicity in Appropriating and Occupying Space -- The Constant Fluctuation of Bodies and Spaces: Foreign Bodies and Foreigners -- Occupying Spaces as a Feminist Strategy: Engaging the Positionality of the Feminine and the Female Migrant Body -- The Presence of the Feminine as a Form of Claiming and Occupying Public Space. 
500 |a Dynamics of Contestation and Processes of Negotiating Gendered Inequality and Alterity Across Different Public, Institutional, and Private Spaces. 
520 |a This book explores the work and careers of women, trans, and third-gender artists engaged in political activism. While some artists negotiated their own political status in their indigenous communities, others responded to global issues of military dictatorship, racial discrimination, or masculine privilege in regions other than their own. Women, trans, and third-gender artists continue to highlight and challenge the disturbing legacies of colonialism, imperialism, capitalism, communism, and other political ideologies that are correlated with patriarchy, primogeniture, sexism, or misogyny. The book argues that solidarity among such artists remains valuable and empowering for those who still seek legitimate recognition in art schools, cultural institutions, and the history curriculum. Gillian Hannum is Professor Emerita of Visual Studies and Art History at Manhattanville College in Purchase, New York, where she served on the faculty from 1987 to 2021. A photographic historian with M.A. and Ph.D. degrees from The Pennsylvania State University, she has published on photographic topics in the Journal of the Royal Photographic Society, History of Photography, and Nineteenth Century, has contributed to several books and exhibition catalogs, and has presented papers or chaired panels at a number of conferences. Kyunghee Pyun is Associate Professor of History of Art at the Fashion Institute of Technology, State University of New York. She wrote Fashion, Identity, Power in Modern Asia (Palgrave Macmillan, 2018) and will publish School Uniforms in East Asia: Fashioning Statehood and Self in 2022. As an independent curator, she has collaborated with contemporary artists for exhibitions such as Violated Bodies: New Languages for Justice and Humanity. Pyun co-edited Interpreting Modernism in Korean Art: Fluidity and Fragmentation (Routledge, 2021) and American Art in Asia: Artistic Praxis and Theoretical Divergence (Routledge, 2022) 
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