First dates: 16 May, 13 June, 18 July 2013

6.00-9.00 pm
£5 entry fee
Please register to attend (details below)
Location will be revealed in n.paradoxa’s reply email.

The salon is a networking and exchange event for women artists, writers, critics and curators who readily identify themselves with feminist art practices and would like to discuss feminist ideas, recent and/or future opportunities and art projects.
This event is a forum for professional women artists, curators and writers to meet.
The editor of n.paradoxa, Katy Deepwell, will be there as well as contributors to the journal.

The salon is an opportunity for each woman to share information about recent and future art projects with other women in a friendly and intimate setting.
Please bring well-prepared materials (i.e. new publications, printouts of project outlines, leaflets or flyers, photos, a project on a CD or flashdrive with images and brief videoclips). You can also bring a laptop/tablet to display material. Limited internet access is available.

N.B. This event is not a talk or seminar, nor is it a space for formal presentations.
This is not an event for (undergraduate) students, for “crits” or portfolio reviews.

Everyone attending will be encouraged to talk informally to as many people as possible during the event to find common interests, new and old acquaintances and future contacts.
If you are passing through London for business or pleasure on any of these dates or would like to attend just one event, please contact us. You would be most welcome.

Email ktpress@ktpress.co.uk to register (for specific dates or the series)
or use our online contact form to send your message
and we will email you with further details of where the salon will be held.

Please email which date you would like to attend and
just 2 lines (i.e. brief information) about who you are
(i.e.your name and whether you are an artist/critic/writer/curator/artworker/scholar/lecturer)
and what you want to present or discuss
(i.e. title of recent or future project/ book/catalogue/ new work/latest exhibition/event).

Invited panelists:  Sonia Boyce, artist (UK); Angèle Etoundi Essamba, photographer (Netherlands); Nancy Mteki, photographer (Zimbabwe); Katy Deepwell, art historian and n. paradoxa founder and editor (UK) and Giulia Lamoni, art historian (Portugal)
The panel discussion will be moderated by Christine Eyene, art historian and curator.

Copies of n. paradoxa 31 will be available during the event for purchase.

In her editorial, Bisi Silva (guest editor of volume 31) observes the exponential growth in the visibility of a new generation of women visual artists from Africa. She also highlights that many major artistic initiatives that have flourished on the continent, in the first decade of the new millennium, have all been started or headed by women curators and cultural producers. Yet, in spite of these positive developments, she writes that an in-depth study of individual practices of woman artists is still lacking in the field of African art historiography.

It is from this starting point, that the evening will focus on the breadth and complexity of themes and issues addressed by female practitioners, including the body, sexuality, history, culture, patriarchy and post-colonialism.

Angèle Etoundi Essamba and Giulia Lamoni are contributors to volume 31 of n.paradoxa!
Bisi Silva guest edited volume 31. She is an independent curator and Director of CCA, Lagos as well as a member of n.paradoxa‘s editorial board.

Art Connect at Tiwani Contemporary is supported by the A.G. Leventis Foundation. This event is presented in collaboration with Making Histories Visible, University of Central Lancashire (UCLan) and Deveron Arts.

Admission is free, but prior registration via EBRDevents@ebrd.com is essential. Please note that all guests are required to bring a picture  ID and may be subject to random bag searches. It’s in the auditorium and meeting places of a major BANK!

More details

Contents include:-
Giulia Lamoni  ‘African masks, family photographs and open suitcases: Rosana Paulino, Mónica de Miranda and Maimuna Adam’
Julie Crenn ‘Michèle Magéma – Without Echo, there is no Meeting’
Nontobeko Ntombela  ‘Silent Toyi-Toyis in the work of Donna Kukama and Reshma Chhiba’
Monique Kerman ‘Cut to the Chase: The Work of Mary Evans’
Rachida Triki  ‘Contemporary women artists in Tunisia’
Cheryl Thompson ‘Contesting the Aunt Jemima Trademark through Feminist Art:  Why is She Still Smiling?’
Solange Farkas ‘From “ferramentaria” to trance: Symbolism, concept and religiosity in the work of Eneida Sanches’
Peju Layiwola ‘From Footnote to Main Text: Re/Framing Women Artists from Nigeria’
Zehra Jumabhoy ‘Betwixt and In-Between: Reading Zarina Bhimji’
Artists’ Statements on their recent work from Taiye Idahor, Ato Malinda, Adwoa Admoah, Maimuna Adam and Mary Sibande
Artist’s Pages by Ayana V. Jackson; Pinar Yolacan and Angèle Etounde Essamba, Zanele Muholi

Individual articles available as PDFs for £4.50
Print copies of n.paradoxa cost £9 (posted to UK/Europe)
or £12.50 (posted to USA/Canada/RoW)
Individual print subscriptions cost £18 (2 vols, UK/Europe); or £25 (2 vols, USA/RoW)
Electronic subscription (access by username/password) £15 (2 vols, 12 months access)

Rina Arya
Chila Kumari Burman
shakti, sexuality and bindi girls

KT press, 2012 ISBN: 978-0-9536541-3-0
Available in epub format, c.155 pages, 133+ illus.

A monograph on the artist, Chila Kumari Burman, which looks at her work in terms of her South Asian identity, her contribution to the black arts movement and Stuart Hall’s definitions of “new ethnicities” in contemporary Britain. Rina Arya examines a wide range of works made by the artist from the mid-1980s but focuses on her Ice-Cream series of works (2006-2008) and her Bindi Girls series.
Rina Arya is Reader in Visual Communication at Wolverhampton University.

This book is also available on Amazon Kindle from Amazon. You can also view the first few pages of this book on their website.

Fran Cottell
House
from Display to Back to Front

KT press, 2012 ISBN: 978-0-9536541-4-7
Available in epub format, c. 60 pages, 100+ illust., 4 videos.

An overview of a series of installations made in the artists’ home in Greenwich, 2001-2012, supported by Café Gallery Projects. Each section of the book documents a different project. Each section is introduced by the artist. An introductory essay by Katy Deepwell is included. This epub contains extensive photo-documentation of each of the projects and video clips.

Fran Cottell is a Senior Lecturer at Camberwell College, CCW, University of the Arts London.

The DOWNLOAD OF this .epub is 93MB as it contains video and images. It was designed for ipad but it can be viewed on Kindle and other ereaders including those on computers. However, it may not be possible to view all the video clips on all these e-readers. A second version (smaller file size) using external links to the videos will be available shortly.

Epub format for ipad, ibooks, Amazon Kindle. £4.50.
Available online at www.ktpress.co.uk/ebooks.asp now.
This project is supported by the Andy Warhol Foundation for Visual Arts, New York
KT press is the publisher of n.paradoxa: international feminist art journal.

Already published in the series:
Patricia Karetzky
Femininity in Asian Women Artists’ Work from China, Korea and USA: If the Shoe Fits
KT press, 2012 ISBN: 978-0-9536541-2-3 c. 46 pages, 40 + illus.

These ebooks are available as a DRM-free .epub (a download file).They work best on an i-pad but can be read on an iphone or other devices using ibooks. They can be downloaded onto a PC or MAC and read through different colour .epub readers, e.g. Mozilla Firefox’s free epub reader/Sony e-reader/Nook for PC. These epubs can be converted to a .mobi file (for Kindle or Kindle on PC) without problems using Kindle Fire and several can also be purchased and ‘previewed’ on Amazon’s Kindle shop.

]]> http://nparadoxa.wordpress.com/2012/12/14/two-new-ebooks-from-kt-press/feed/ 0 nparadoxa http://nparadoxa.wordpress.com/2012/12/05/nparadoxa-pop-up-shop/ http://nparadoxa.wordpress.com/2012/12/05/nparadoxa-pop-up-shop/#comments Wed, 05 Dec 2012 12:33:01 +0000 nparadoxa http://nparadoxa.wordpress.com/?p=109 Continue reading →]]> n.paradoxa will be part of the POP-UP festive fair on Thursday 6 Dec,  12-9pm
at 1 Rivington Place, London, EC2A 3BA.
Come and find us and buy a gift subscription for a friend! You can also do this online!
This event is a one-day pop-up shop for art books, zines, prints, works on paper, paintings and small 3d works from independent galleries – Christmas Gifts.
Festive food & mulled wine by Shutterbug Café. Evening DJ sets including Barby Asante and her South London Black Music Archive set and J.M. in the air.
Rivington Place | London EC2A 3BA, Telephone: +44 (0)20 7749 1240
info@rivingtonplace.org     http://www.rivingtonplace.org

It seems that any mention or attempt to monitor the art world in terms of statistics leads to outcries of horror, since talent is supposed to transcend any social grouping and quota systems are shunned in a sub-section of the culture industry which still relies on “originality” or worse “genius” as its only measure of individual worth.

I wanted to draw attention to a model for a pyramid of success which was devised to demonstrate the difficulty women still encounter in career progression and to ask the question has this been challenged or changed in recent years?

The model of a pyramid of success is from: Annette Brinkmann, Andreas Joh. Weisand Frauen im Kultur- und Medienbetrieb III: Fakten zu Berufssituation und Qualifizierung / Women in the Arts and Media: Qualification and Professional Outlook (Germany: Zentrums Fur Kulturforschung, 2001). It is also reproduced on p.116 of Danielle Cliche, Ritva Mitchell, Andreas Joh. Weisand Pyramid or Pillars: Unveiling the Status of Women in Arts and Media Professions in Europe (Germany: ARCult Media/ERICarts/ZfKf, 2001).

The model (based on figures in Germany in the 1990s) shows how women artists still have a long way to make progress:

The pinnacle of the pyramid is their presence as:

13.5% of works by women in Federal Art Collections

18% of female professors at Art Universities

22% of female directors, Art museums

27% average female percentage at exhibitions in art museums

32% of main and honorary prizes in the visual arts won by women

42% of all freelance employees in the visual arts are women

55% of students in the visual arts are women.

(This represents the bottom of the pyramid!)

They included the figure of 22% of female artists at Documenta X but this has shifted from the time of the report in the late 1990s: to 29% in documenta XI, 46% in documenta XII, and back to 38% in documenta XIII.

Have things changed? Or does this pattern of success still hold true over a decade later?

Katy Deepwell, Editor of n.paradoxa

Afterall, there are only 40 or more years of feminist debates in art publications to draw on (see n.paradoxa’s extensive database of books/catalogues/journals on these topics going back to 1971) . Has feminism’s accommodation within the art academy meant its limitation to the occasional lecture or seminar, or a separate seminar series on gender issues?  Has the “mainstreaming” or steady “incorporation” of feminism in the visual arts meant it has now evaporated into occasional mentions in gender theory classes, the question of representation of the body, feminism by proxy through the occasional example of a woman artist or its reduction to the occasional variant of a research method? These “progressive” and “innovative” teaching approaches appear to be the norm through which feminist debates can be tolerated in relation to contemporary art.

It seems to me this is how the art academy typically reproduces the same handful of women students in every year choosing to write about a number of contemporary women artists (their role models) and their ambivalence towards feminism in the art world; or art and motherhood (is it possible to combine a career with motherhood?) ; or one or two women artists who seem to combine feminism with the “hot” issues in contemporary politics: war, or poverty, or migration?

Is it any wonder that art students repeatedly say “art has no gender, and the sex of the artist doesn’t matter”, “feminist art is all about the body, isn’t it?”, “politics (defined as Marxist, queer or anti-racist or anti-globalisation or environmental) is what matters, not feminism” (forgetting of course, that the subject of feminism IS politics), “feminism is just white, or just an Angl0-American phenomenon or over because it was in the 1970s, isn’t it?” (just some typical mis-representations of feminism in relation to contemporary art!).

Maybe this situation in the curricula will be enough to alienate a few women students and encourage them into self-education and forming women’s groups, sending themselves to the library to read widely in feminist theory?

I’m sure some readers of this post who are lecturers regularly ask yourselves these kinds of questions, but does the faculty in which you work as a whole share any kind of debate on these issues?

If you are an art student, I wrote the ‘Guide to Feminist Art’ – just in case, self-education is the only answer. Read widely and don’t take what is on offer in your curriculum as the only available knowledge in the world!

But especially take a look at n.paradoxa: international feminist art journal where you can find more than 400 articles on contemporary women artists and authors from more than 80 countries in the world and all discussed in feminist terms.

Katy Deepwell, Editor of n.paradoxa

Patricia Karetzky epub

KT press has started to publish a new series of ebooks.

The first in the series is by Patricia Karetzky Femininity in Asian Women Artists’ Work from China, Korea and USA: If the Shoe Fits
£4.50 .epub format only, c. 46 pages with illustrations
ISBN: 978-0-9536541-2-3

Patricia Karetzky discusses the metaphor of the shoe and how it is present in different women artists’ work in China, Korea and USA.
The artists discussed are: Peng Wei, Nina Kuo, Yin Xuizhen, Cai Jin, Xin Song, Il Sun Hong, Betty YaQin Chou and Mimi Kim.

Patricia Karetzky is Oskar Munsterberg Chair of Asian Art at Bard College

This ebook is available as an .epub only. It is compatible with Apple ibooks and can be read on many different colour e-readers.

More books in the series will be published over the coming months.
Read the description of the series and the call for papers

This KT press project is supported by the Andy Warhol Foundation for the Visual Arts, New York