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The central region of India, home to several tribal groups, is rich in cultural heritage, with the Gond tribe being one of the largest and most renowned for its artistic traditions. Gond painting, in particular, has evolved from wall art to canvas, gaining global recognition. This study examines the transformation of Gond painting, focusing on female Gond artists from Patangarh Mal village in Madhya Pradesh. Through 87 in-depth interviews, 3 case studies, and long-term observations, this research explores the evolution of Gond art, the challenges women face in adapting to technology, navigating markets, and interacting with media, and their current socio-economic status. The findings reveal that while the content of Gond painting has shifted to address contemporary issues, women artists struggle with patriarchal norms, low literacy, and limited mobility. These challenges hinder their professional growth and market engagement, resulting in noticeable disparities compared to male artists. [ABSTRACT FROM AUTHOR]

In this article, I discuss the legacy of the art historical trope of the female nude in perpetuating colonial narratives that inform young women’s understanding not only of the idealized female body, but also what is perceived as ‘good’ drawing in the contemporary art classroom. Theoretically informed by phEmaterialism (feminist new materialism and post-humanism in education), I review the skin as a post-human assemblage to diffract heteronormative and raced colonial imaginings of the female skin. I discuss the PhEminist Skins project, a collaboration with six young women artists (the YWAs), where critical engagement with creative methods, such as life drawing, mobilized the agency of the skin and created opportunity for creative activism. I further share how the methods developed by the YWAs instigated the creation of The Centre for Creative Explorations, a creative research centre that explores alternative pedagogical approaches to the decolonial endeavour in secondary education. [ABSTRACT FROM AUTHOR]

This article offers a new perspective on the much-discussed phenomenon of the 'Bond girl' through an exploration of photographic artwork produced in later life by two notable Bond girls: the two 'golden girls' of Goldfinger (1964), Margaret Nolan, who appeared in the film's credit sequence, and Shirley Eaton, who played the character who suffers skin suffocation by being painted gold. It is a remarkable coincidence that both women turned to photographic artwork as a way of reflecting back on their careers and on their youthful positioning as sex symbols, exemplified by their highly publicised appearances in Goldfinger. This article places their 1960s iconicity into dialogue with their retrospective, reflective artwork which is by turns critical, celebratory and ambivalent about their past lives as Bond girls. Nolan's feminist-inflected photo-collages render her previous glamorous image uncanny through unsettling and subversive juxtapositions whereas Eaton's digital remixing of old images alongside contemporary self-portraiture occupy the territory of star glamour more comfortably but extend it by showing the golden girl as older woman. Nolan and Eaton's artwork provides valuable insights into the experiential dimensions of having been a Bond girl, with their creative response through art presenting certain complexities and nuances that written or spoken accounts might not access in quite the same way. In that respect, this article, alongside its specific insights into Bond girls, demonstrates the value for researchers in engaging with such material. [ABSTRACT FROM AUTHOR]

Norwegian artists that began exhibiting their work around 1900–1910 had vastly different career trajectories depending on their gender. The article highlights the career trajectories of five women, all of whom were all students at Harriet Backer’s art school. The women received the same training as the men. A combination of factors (political, economic, social, critical reception, etc.) affected this generation of women artists particularly hard, while the men became central to the development of modern art in Norway.

Even in the delicate phase of the first post-war years – in a phase which represented a turning point in the art system after the collapse of the system supported by the fascist regime – the presence of women artists in the Roman art scene appears considerable. But who were they? And how did the art critics respond to their work? Was it any difference in the reception of the artworks of abstract and figurative women artists? Focusing on the art criticism of that time, we can recognise both the topoi and new narratives adopted to talk about their artworks, and some prejudices on femininity. It will be equally interesting to stress the discrepancies between the consideration that involved their work in the years under review and their subsequent critical fortune. The cases of Antonietta Raphaël, Pasquarosa, and Nwarth Zarian exemplify the various degrees of appreciation – ranging from long-term recognition to more or less long oblivion, sometimes interrupted by recent rediscoveries – experienced by women artists. Concerning the period between 1944 and 1955, this paper aims to offer some new elements to consider the hard path undertaken in this decade, even by the few women artists still celebrated today for their artistic value, such as Carla Accardi and Bice Lazzari. At the same time, it will give the opportunity to have a more complex view of the Roman art scene, bringing back attention to the frequently omitted presence of women artists and their valuable contributions.

This article explores the activism of Silent Megaphone, a Korean feminist artist group. By examining the experiences of Silent Megaphone members, their artworks, and exhibitions, this study argues that the sexist regulations of online platforms drove the meme-producers to enter the realm of feminist art, transforming them from anonymous women to feminist artists with authorship. This transition allowed them to rearrange the aims and styles of their activism, appropriate the practices of online and offline realms, and connect with the broader feminist artist community, establishing a network encompassing both their online feminist group and an unexpected cohort of feminist artists spanning generations, and creating a safe space for their fellow feminists. [ABSTRACT FROM AUTHOR]

The 1961 Recent Australian Painting exhibition at the Whitechapel Gallery in London is an important and much-discussed moment in Australian art history. It is when the idea of Australian art as "isolated" and "exotic" first became popularised in both British and Australian cultures. The prominent Australian art historian Bernard Smith criticised the idea, but in many ways his book Australian Painting, published the year after, repeated the assumption. What is overlooked in accounts of the show is that many of its artists were not "isolated", frequently having spent extended periods in Britain living and studying. But, more than this, what is rarely, if ever, discussed is how many of the artists in the show were queer, as was its curator, the director of the Whitechapel Gallery, Bryan Robertson. In many ways, the social and professional connections between Australian and British artists were forged through their shared homosexuality. It is this that puts Australian artists in connection with the British art scene and, on occasion, explains their influence upon it. Queerness has often connected Australian artists to those around the world—it is also the case for the Australian women artists in Paris before and after World War I. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An introduction to articles published in this issue is presented including an article on the complexities of curating exhibitions focused on women artists, race-specific challenges in community archives, and an article on the historical tensions at the Francis Willard House Museum in Illinois.

AbstractWomen in Rap often occupy spaces in which they are marginalized or pitted against one another. Yet, recently, more popular women artists are working together, instead of attempting to commodify their rap beefs. With this historic shift in mind, it is critical to take a moment to investigate the collaborations that have occurred in the past, as they are rare. These collaborations allowed a space for women to work alongside other women, when it was not popular or often profitable to do so, and men, who dominated the hip hop music genre and often did not find value in collaborations. Therefore, this study intentionally seeks the elevation of women’s narratives and representations in hip hop culture and academic scholarship by focusing on collaborations and women’s voices within them. It works to add to women’s studies by investigating representations of women rappers in both their lyrics and music videos. The latter of which are ripe with visual message often ignored in scholarship that heavily focuses on lyrics. [ABSTRACT FROM AUTHOR]

In numerous cultures, men are predominantly responsible for the profession and industry of weaving and knitting, while women are primarily responsible for domestic sewing and weaving, provided that they are conducted within the confines of the home. However, cultural critics contend that these works did not merely demonstrate feminine taste or love for the home; rather, they delineated the expectations placed on females to remain silent, obedient, and compliant. The objective of this article is to examine the works of contemporary Iranian women artists. Feminine language is intended to convey the experiences of women and to facilitate the comprehension and reception of women, as identified by Luce Irigaray. This article addresses the issue of how female visual artists have transformed knitting and sewing into a means of exploring the language of female identity. In order to address this inquiry, five art exhibitions were examined and analyzed, including “Tajali Ehsas (Manifestation of feeling),” “sew+zan,” “Women Create,” “Nakhsh (Design),” and “Pressbook,” using the methodologies of “Trend analysis” and “Event Study.”The findings demonstrate the evolution of the experiences of contemporary Iranian women artists from the 1990s to the 2020s. Sewing and knitting have been depicted as symbols of desirable femininity in the works of certain Iranian female painters, particularly during the “Tajali Ehsas (Manifestation of feeling)” event in the 1990s. However, in the wake of socio-cultural shifts, female artists have employed sewing and knitting as a critical and linguistic action to reevaluate the identity of women in artistic events such as the exhibition “sew+zan,” “Women Create,” and “Pressbook.” [ABSTRACT FROM AUTHOR]

This document is an introduction to a special issue of the journal Arts, focusing on topical abstraction in contemporary sculpture. The essays in this issue explore how artists in the United States and Europe since the 1960s have used sculptural abstraction to address social issues without conforming to traditional figuration. The essays discuss the use of abstraction to challenge social configurations related to class, gender, and race, and highlight the political and social implications of sculptural abstraction. The document also mentions several museum exhibitions that have contributed to reevaluations of topical sculptural abstraction. The essays in this special issue aim to expand the understanding of the political, social, and cultural aspects of abstraction in sculpture by examining issues of materiality and process. The authors argue that contemporary sculptors have used materials and methods in inventive and experimental ways to engage with social, historical, environmental, and aesthetic contexts. The document also acknowledges that abstraction still faces biases and is often under-studied as a political vehicle. The essays included in this special issue examine the work of specific artists, such as Mel Edwards, Lynda Benglis, Beverly Buchanan, Senga Nengudi, Betye Saar, Barbara Chase-Riboud, Simone Leigh, and Veronica Ryan, and explore how their use of abstraction intersects with issues of race, gender, and temporality. The authors argue that these artists have leveraged the materiality of sculptural abstraction to challenge mainstream values and offer new possibilities for inhabiting the world. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Didacticae: Revista de Investigación en Didácticas Específicas is the property of Didacticae: Revista de Investigacion en Didacticas Especificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The book review of "Innovators" by David W. Galenson in the Journal of Cultural Economics explores the distinction between conceptual and experimental innovators in various fields of human creativity. Galenson's research, based on empirical evidence, reveals that innovators have significantly different approaches to their creative activity. The book provides detailed analyses of innovators across diverse domains, such as painters, poets, sculptors, novelists, architects, photographers, filmmakers, and entrepreneurs, highlighting the unique characteristics of each type. Additionally, the book encourages readers to reflect on their own innovation style and suggests that there may be a wider notion of being innovative that applies to normal human beings. [Extracted from the article]

"Making the Unknown Known: Women in Early Texas Art, 1860s–1960s" edited by Victoria Hennessey Cummins and Light Townsend Cummins is a comprehensive volume that sheds light on the depth and creativity of women artists in Texas. The book covers the contributions of artists such as Emma Richardson Cherry, Elisabet Ney, Grace Spaulding John, and Dorothy Hood, highlighting their role in the state's artistic development. Through well-researched chapters and biographical studies, the book showcases the underappreciated role women artists have played in shaping the cultural landscape of Texas, despite facing challenges and societal expectations. [Extracted from the article]

The period between 1880 and 1914 was a critical time for the redefinition of high fashion as a form of art, with couture garments displayed at international exhibitions and couturiers like Paul Poiret claiming the legal protection applied to artworks for his fashion designs. At the same time, a massive expansion in illustrated journals and catalogs selling mass-produced garments offered new possibilities for graphic artists, including women trained in the applied arts by public and private colleges. These trends intersected in the figure of the female "fashion artist," who conceived new designs or presented them to the public—but did not stitch them. In some cases, this person was a designer working for a dressmaking firm or sample house, while others were copyists of existing garments. This article will analyze surviving documents produced by British women fashion artists; examine the life cycle of fashion artists, as revealed in census data; analyze the pathways for training and career development; and consider the ways in which fashion artists were discussed in women's magazines, both as role models for employment and as fashion mediators. [ABSTRACT FROM AUTHOR]

Madeleine Lemaire (1845–1928) might appear to be a typical "woman artist" of the Belle Époque, a painter of images of fashionable women, equally popular for her watercolor flowers and her skills as a salon hostess, with biographical sketches of her then and now assuming that if she had sex or romance, it was with men. However, a closer look has also revealed Lemaire to be potentially atypical. Unlike her women colleagues, she exhibited salacious nudes; her work was once described as having "a bit of the mustache"; and she generally dodged discussions of either her gender or her sexuality, even though her social group included those who openly flaunted their own non-conformities. Using archival materials, artworks, and contemporary theory to unpack the possibilities presented by Lemaire's case, I also explore the gains for art history in reconsidering previously female-identified and straight-seeming artists in more fluid gender and sexual terms. What might we discover if we recognize ourselves as the constructors of a cisheteronormative past, reading into the archives the assumptions that our current culture's binary norms enforce? [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to reveal the phenomenon of modern Ukrainian art from the perspective of identifying the role and weight of the female artist in the exhibition projects of the Venice Biennale from 2001 to 2024. The research methodology relies on a gender approach to analyse sex-disaggregated statistics and assess gender parity. The research methods are: comparative method - to identify differences in the representation of female and male exponents; historical method - to demonstrate the evolution of society's attitude towards a woman artist; biographical method - to find out the main stages of the work of female artists; art analysis - to study the features of the exhibited works; generalisation method - for summarising the results of the research. The scientific novelty. For the first time, an analysis of the exhibition projects of the Venice Biennale was carried out for the purpose of exhibiting the works of Ukrainian women artists there, the specifics of the presentation of the works of women artists were determined, and an assessment of gender parity in the analysed projects was carried out. Conclusions. The creativity of women artists in the exhibition projects of the Venice Biennale is an important component of the presentation of modern Ukrainian art at the international level. Since 2011, the share of women among the exhibitors of the Biennale has remained stable and amounts to an average of 40%. Gender parity was observed only once - in 2007. The peak value of the participation of female artists from Ukraine is fixed in 2022 (75%), which generally corresponds to the trend caused by the main curatorial project aimed at the rehabilitation of women's art. In the course of the research, the most represented Ukrainian artist in Venice was discovered - the works of Zhanna Kadyrova were exhibited at the Biennale in 2013, 2015, 2017, 2019, 2022, and 2024. [ABSTRACT FROM AUTHOR]

This audio‐visual essay invites readers to enter a new intermedial archive of documentary paintings and stories by a celebrated and prolific multilingual Central Australian Aboriginal woman artist. Addressing our written text to intimate family and audiences from elsewhere, in multiple voices and modes of address, we offer an opportunity to consider the dynamics of creating, keeping and caring for memory through the affordances of digital co‐creativity. These include what we term 'painting remix animation', a form of what co‐author Rosalyn Boko calls mixamilani ('mixing together' of different elements). Guided by the artist's vibrant palette and life‐expressive practice, visitors to the article can move and rest amongst a variety of standpoints through which to attune to questions of history, memory, pictorial storytelling, love, friendship and joy. We hope that in this way, everyone can sense the world‐making powers and poetics of colour and understand how our style of slow research towards digital mixamilani creates a new kind of archive for holding paintings carefully, outside of the art commodity market. [ABSTRACT FROM AUTHOR]

This article discusses the role of collaboration, gender, and sentimentality as an act of intervention against institutional expectations. Traditionally, women have been underrepresented within institutional spaces. As Topaz et al. note, although representation for diverse identities has increased, marginalized people still fight for consideration within these spaces. We investigate the pressure to fit within these tight institutional spaces as women artists. Women are often labeled as "sentimental," focusing on their emotional capacity rather than intellectual capacity. Therefore, sentimental artists risk being read as less intellectual. As artists labeled sentimental, we push against this limiting notion. We propose that sentimentalism can be used as intervention to create shared empathy with an audience and bring conversations of collaboration, community, and care to the forefront of higher education. To contextualize this, we review two projects: Wack's home movies series and our collaborative series American Girl Gothic. [ABSTRACT FROM AUTHOR]

Chris Kraus is often read as a chronicler of women artists' experience: their frustrated desires, stifled creativity and stolen labour. But while these are the struggles that her protagonists face, the novel sets such struggles within the pressing context of American Empire's expansion and reorganisation in the post-Vietnam era. The juxtaposition between these levels is what generates the drama of Kraus' work. Foregrounding these juxtapositions, this article situates Kraus' novels within a longer tradition of feminist conceptual artists like Martha Rosler who took the labour and domination of predominantly white middle-class housewives as a standpoint from which to attempt to understand the expansion of US-backed global capitalism. Specifically, the article draws on the concept of 'countertopographies' developed by feminist geographer Cindi Katz to argue that Rosler and Kraus' work offers a form of 'countertopographic aesthetics'. That is, they both turn to the sphere of the reproductive as a site from which to map the uneven effects of global capitalism, while also foregrounding their own uneasy relationship with the imperialist project of mapping itself, by drawing attention to the ideological practices and limits of their very mappings. To illustrate this claim, the article concludes by turning to a partially buried event in Kraus' Summer of Hate (2012): the 1983 Clifton-Morenci Copper Strike, a crucial but often overlooked flashpoint in the roll-out of neoliberalism. This eighteen-month strike was fought by a largely Mexican-American workforce, and the Women's Auxiliary, who joined a long history of working-class housewives like the Housewives' Committee of Siglo X in Bolivia in becoming strike leaders. I argue that the strike is both crucial to the conjecture that Kraus' narrative traces, and also illuminating of the limit point of the protagonists' politics and the form of mapping that is possible from such a perspective. [ABSTRACT FROM AUTHOR]