Konstfacks bibliotek

*00006535nam a22004577a 4500
*00139811
*00520161119030834.6
*008141218s2016    gw a     bc   000 0 eng d
*020  $a978-3-7913-5446-0$q(English trade edition)
*020  $a3-7913-5446-9$q(English trade edition)
*035  $a(SE-LIBR)18022978
*035  $a(Ko)44933
*040  $aBTCTA$beng$erda$cBTCTA$dBDX$dOCLCQ$dNMWMA$dKo
*05014$aN72.F45$bF46 2016
*084  $aIb.55$2kssb/8
*24504$aThe feminist avant-garde :$bart of the 1970s : The Sammlung Verbund Collection, Vienna /$cEdited and curated by Gabriele Schor.
*260  $aMunich :$bPrestel,$c2016
*300  $a559 pages :$billustrations (some color) ;$c29 cm
*500  $aCatalog of a traveling exhibition of the same name held from 2010-2019.
*504  $aContains bibliographical references (pages 536-557).
*50500$tOn the Identity of the Sammlung Verbund Collection, Vienna /$rGabriele Schor --$tThe Feminist Avant-Garde : A Radical Revaluation of Values /$rGabriele Schor --$tThe Fourth Wall Turns pensive: Feminist Experiments with the Camera /$rMechtild Widrich --$tPresence and Absence: On the Legacy of 1970s Performance Art /$rMerle Radtke --$tVienna's Female Actionists: Feminist Positions in Austria /$rBrigitte Borchhardt-Birbaumer --$gWorks from the Sammlung Verbund Collection, Vienna.$tHelena Almeida: Inhabiting Art /$rTeresa Grandas --$tLetícia Parente: The Body and the Opus as a Witness of Times /$rMirtes Marins de Oliveria --$tEleanor Antin: Resisting Representation /$rAbigail Solomon-Godeau --$tLorraine O'Grady: Mlle Bourgeoise Noire /$rGabriele Schor --$tTeresa Burga: Diverse Worlds /$rBrigitte Kölle --$tMary Beth Edelson: "The Goddess Is Us" /$rNora Höglinger --$tMargot Pilz: Psychoanalytical-Performative Photography /$rEva Krauthaker --$tEsther Ferrer: Reduction as Resistance /$rLuisa Pauline Fink --$tKetty La Rocca: Reduction of Language /$rAngelandreina Rorro --$tNil Yalter: Performing "The Other" /$rMichelle Marie Roy --$tGina Pane: "A Glass of Hot Milk" /$rDaniela Hahn --$tCarolee Schneemann: Theater of Responsiveness /$rJenni Sorkin --$tAnneke Barger: The Possibilities of the Moment /$rAstrid Helen Windingstad --$tJudy Chicago: A Struggle for Equality /$rJulia Garimorth --$tLinda Christanell: Finger Fan and the Wings of Androgyny /$rBrigitte Borchhardt-Birbaumer --$tKarin Mack: In the Theater of Self-Events /$rMargit Zuckriegl --$tHannah Wilke: Superstar /$rBeate Söntgen --$tValie Export: Body Cinema /$rMechtild Widrich --$tLili Dujourie: Poetic Strategies /$rSophie Lauwers --$tMarcella Campagnano: The Invention of Feminity /$rDaniela Hahn --$tLynda Benglis: Notations of Self /$rCatherine J. Morris --$tLynn Hershman Leeson: Identity Circuit --$tKatalin Ladik: To Reclaim the Female Body /$rEmese Kürti --$tJudith Bernstein: Vertical /$rHeather Jones --$tUlrike Rosenbach: Feminist Incursion /$rTheresa Dann --$tMartha Rosler: The Home as a Battlefield /$rInka Graeve Ingelmann --$tRenate Bertlmann: Unmasks Society /$rJessica Morgan --$tKirsten Justesen: Performing Sculpture - Feministically /$rBirgitte Anderberg --$tLeslie Labowitz and Suzanne Lacy: In Mourning and in Rage /$rMerle Radtke --$tEwa Partum: The Significance of the Female Body /$rEva Badura-Triska --$tFriederike Pezold: The New Embodied Sign Language /$rGislind Nabakowski --$tSuzanne Santoro: Towards New Expression /$rGiovanna Zapperi --$tRita Myers: A Revision of the Well-Proportioned Human Being /$rMerle Radtke --$tSuzy Lake: On the Politics of Role-Play /$rGabriele Schor --$tMartha Wilson: Feminist and Political Performance Artist /$rHanne Beate Ueland --$tAlexis Hunter: Touching Points, Points of Touch /$rPatricia Allmer --$tAnnegret Soltau: Spinning, Enmeshing, Sewing - Emancipatory String-Games /$rLeena Crasemann --$tOrlan: Exposed Body, Body for Sale /$rCamille Morineau --$tPenny Slinger: Exorcism Exercises /$rAngela Stief --$tAna Mendieta: The State of "In-Between" /$rStephanie Rosenthal --$tRenate Eisenegger: "My Rage Was My Starting Point" /$rGabriele Schor --$tBirgit Jürgenssen: Body as Art Against the Semiotics of Capital /$rPeter Weibel --$tSanja Iveković: Woman as Political Subject /$rRoxana Marcoci --$tBrigitte Lang: Metal, Skin-Tight /$rBrigitte Borchhardt-Birbaumer --$tLydia Schouten: "How Does It Feel To Be A Sexobject" /$rMirjam Westen --$tFrancesca Woodman: Photographic Tableaux Vivants /$rElisabeth Bronfen --$tCindy Sherman: Subversive Metamorphoses /$rGabriele Schor ---$tArtists Biographies /$rTheresa Dann --$tTimeline 1968-1980 /$rDaniela Hahn --$tSelected Bibliography /$rTheresa Dahn.
*520  $a"With greater energy than any artistic movement before, the feminist avant-garde of the 1970s deconstructed society's image of womanhood, dismantling centuries' worth of projections, stereotypes, and male hegemony. For the first time in the history of art, women, in an act of collective consciousness-raising, took the representation of their sex in visual art into their own hands and unfolded a wide spectrum of sel-determined female identies: provocative and radical, poetic and ironic. Gabriele Schor, director of the SAMMLUNG VERBUND Collection, coined the term the Feminist Avant-Garde in order to highlight the pioneering achievemetns of these artists. This book presents over six hundred works in the SAMMLUNG VERBUND Collection created by forty-eight women artists. Established in Vienna in 2004 by VERBUND AG, Austria's leading electricity provider and one of the largest producers of hydropower in Europe, the collection has two main foci: "Perceptions of Spaces and Places" and the "Feminist Avant-Garde of the 1970s".$cPublisher
*61020$aSammlung Verbund$vExhibitions.
*650 7$aKvinnliga konstnärer$2sao$0https://id.kb.se/term/sao/Kvinnliga%20konstn%C3%A4rer
*650 7$aFeminism och konst$2sao
*650 0$aFeminism in art$vExhibitions.
*650 0$aWomen artists$vExhibitions.
*650 0$aWomen$xIdentity$xIn art$vExhibitions.
*650 0$aAvant-garde (Aesthetics)$xWomen$vExhibitions.
*650 0$aWomen artists
*650 0$aFeminism and art
*7001 $aSchor, Gabriele$4edt
*852  $5Ko$bKo$cKONST -$hIb.55$lFEM
*950  $aKonstnärer$wg$uKvinnliga konstnärer
*950  $aKvinnliga grafiker$wh$uKvinnliga konstnärer
*950  $aKvinnliga keramiker$wh$uKvinnliga konstnärer
*950  $aKvinnliga tecknare$wh$uKvinnliga konstnärer
*950  $aKonst och feminism$uFeminism och konst
*950  $aKonst$wg$uFeminism och konst
^

Featuring a wide variety of work from artists both well-known and under the radar, this dynamic book reveals how women artists reclaimed control of the feminine image in photography, video, and performance art. This book documents a tectonic change in the way women portray themselves in art. Historically, women were depicted as a projection of male fantasies, prejudices, and relationships. However in the 1970s, for the first time, female artists began collectively to investigate visual representations of their own selves. They studied their own bodies and created the prospect of determined feminine identities. Editor Gabriele Schor explores the Feminist Avant-Garde to emphasize the role that these artists played for the last four decades. The works are provocative, radical, poetic, ironic, angry, cynical and heartfelt. The artists shared a collective consciousness that reassessed, and even rejected, what came before, turning to new ways of expression in the fields of photography, performance, film, and video. The collection SAMMLUNG VERBUND founded in 2004 in Vienna focuses on the feminist art movement of the 1970s as one of the main areas and is with 500 works the largest collection with this emphasis. Included are works by Eleanor Antin, Cindy Sherman, Ana Mendieta, Nil Yalter, Ketty La Rocca, Birgit Jürgenssen, Renate Bertlmann, Francesca Woodman and others. This important book emphasizes the accomplishments of women artists who have made a name for themselves while encouraging the young generation.