Increase text size AAA

Issue 2 of Volume 15, 2015, the Australian and New Zealand Journal of Art (ANZJA), edited by Dr Jacqueline Millner (University of Sydney), Dr Georgina Cole (National Art School), and Dr Catriona Moore (University of Sydney), is themed around contemporary art and feminism. It presents a range of contemporary artistic and art historical adaptations of feminist agency, including:

  • Elena Knox’s attempt to loosen the gendered strictures around the performance trope of the ‘professional hostess’, which imbues so many of our current interfaces with technology;
  • Laura Castagnini’s close reading of Pipilotti Rist’s Pickelporno (1992), a work she argues offers that much-sought-after feminist aesthetic experience: the involvement of all the senses in the act of viewing;
  • Anne Marsh’s focus on Eugenia Raskopoulos to consider the question: how can photo-media and screen art project ‘a feminine sensibility’?
  • Vicki Carruthers and Donna Roberts’ corrective historiography that acknowledges feminist methods in art that pre-date the 1970s;
  • Yvonne Low’s tracking of the growth of feminist consciousness among a group of Indonesian painters; and
  • Louise Mayhew’s survey of the recent rise of women-only collectives in Australian art.

This special issue grew out of the activities of the research cluster Contemporary Art and Feminism (CAF), co-convened by Jo Holder (Cross Arts Projects), Catriona Moore (Department of Art History and Film Studies) and Jacqueline Millner (Faculty of Visual Arts, Sydney College of the Arts).

In 2014, CAF held major national and international conferences on feminist pedagogy (‘Transgressive Teaching’, March) and curatorial approaches (‘Curating Feminism’, October), and convened a panel at the Art Association of Australia and New Zealand (AAANZ) conference.

In 2015, CAF has been presenting the Future Feminist Archive, comprising exhibitions, artist archival interventions, workshops, and symposia across major venues, including the Art Gallery of NSW and several regional galleries. CAF acknowledges the generous support of the Power Institute.

 

 


 File path: Home