Amelia Jones is een Amerikaanse kunsthistorica, criticus en curator, gespecialiseerd in feministische kunst, body/performance art en dadaïsme. Haar geschreven werken en haar benadering van de moderne en hedendaagse kunstgeschiedenis worden als revolutionair beschouwd, omdat ze algemeen aangenomen opvattingen ontmantelt en briljant geconcipieerde kritieken levert op de kunsthistorische traditie en de posities van individuele kunstenaars binnen deze vaak elitaire sfeer. Jones herwerkt en herevalueert systematisch de kunsthistorische canon en biedt nieuwe perspectieven op kunstwerken en hun contexten. Haar werk is essentieel voor het begrijpen van de evolutie en kritische beschouwing van kunst.
Essayists Amada Cruz, Elizabeth A. T. Smith, and Amelia Jones offer keen insight and observations from several distinct vantage points, demonstrating that Sherman's work is a lens through which to view contemporary art and its ongoing concern with the profound issues of the structures of the self.
Challenging the notion of feminism as a unified discourse, this book assembles writings that address art, film, architecture, popular culture, new media, and other visual fields from a feminist perspective. The book combines classic texts with six newly commissioned pieces. Articles are grouped into thematic sections, each introduced by the editor. Providing a framework within which to understand the shifts in feminist thinking in visual studies, as well as an overview of major feminist theories of the visual, this reader also explores how issues of race, class, nationality, and sexuality enter into debates about feminism in the field of the visual. -- book cover.
Exploring the intertwined concepts of "queer" and "gender performance," this volume offers a comprehensive history and critical analysis of these ideas over recent decades. It challenges the foundational assumptions surrounding them, inviting readers to reconsider the implications of gender and sexuality in contemporary discourse.
Embracing a mix of methodologies and perspectives (including feminism, queer theory, philosophy, psychoanalysis, and literary theory), this examination of body art provides historical insight and context that rethinks the parameters of postmodern culture.
Eden Blake, an actress known for a cringe-worthy commercial, unexpectedly lands a lead role in a Broadway musical after the original star quits. Cast opposite the charming yet arrogant Brennon Thorne, Eden faces the challenge of performing alongside someone who initially dismisses her. As their on-stage chemistry grows, so does tension from Brennon's past and Eden's doubts about his trustworthiness. Through shared performances and personal challenges, they discover that not all rumors hold true, and their connection might transcend the stage.
"It has been argued, most notably in psychoanalytic and modernist art discourse, that the production of works of art is fundamentally driven by sexual desire. It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art. This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the "informe," or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm." -- Publisher's description
Tracing artists' increasing use of their bodies as subject and actual material of their artworks, this title charts the rise of new forms of expression such as Body Art, Happenings, Performance and Live Art.
