New MOOC on Feminist Art Manifestos

n.paradoxa: international feminist art journal launches new MOOC
(a Mass Open Online Course) on Feminist Art Manifestos!

Who is this MOOC for?

Students, educators, artists, art historians and curators or anyone wishing to extend their knowledge of debates in contemporary art and feminism, especially those in lockdown or working from home! Please pass on this information to anyone who you think might be interested, including your students!

This course aims to bridge the gap between interest in feminism shown at graduate and undergraduate levels from art, art history and cultural studies students in comparison to the paucity of teaching on this subject in higher education curricula.

Declaim! Declare! Deny! Embrace! Advocate! Think about feminist futures!

A new course online on Feminist Art Manifestos.
Update: Join at your own pace and finish the course at any time.

‘Feminist Art Manifestos’ offers 6 lessons on artists/authors of manifestos as a means to study feminism and contemporary art as a trans-national phenomenon.
The 50 manifestos discussed come from many countries around the world and cover the period 1965-2020.

This course is based upon 50 Feminist Art Manifestos, edited by Katy Deepwell, (KT press, 2022).  A free copy of this as an ebook is included in the course.

Anyone wishing to enrol is advised to undertake and complete the basic course of 10 free lessons first to understand the structure of the MOOC and the style of learning.

This new course is an extension of the existing MOOC’s free lessons on feminism and contemporary art. These 10 free lessons are still open and available on the site.
Tutorials with the author are also arranged.

Why you should join this course?
Increase your awareness of feminist politics in relation to contemporary art
Learn more about manifestos and feminism’s use of this form
Join a community exploring similar interests and share ideas with them
Experience a MOOC (Mass Online Open Course) in the form of a DOCC

n.paradoxa’s MOOC is built using the principles of FEMTECHNET’s model of a DOCC, Distributed Open Collaborative Course – a feminist retooling of the popular genre of networked learning called MOOCs. n.paradoxa’s MOOC does not follow the dominant models of many MOOCs with videos plus quizzes, nor does it link to wikipedia and ted talks.The MOOC uses many resources from the internet, among them, The Feminist Art Observatory website, at

To take this course, register for the free MOOC, then sign-up for this course inside the site. Access to full course and ebook is provided only after payment.
The fee of £150 is a one-off payment for access to the course materials of Feminist Art Manifestos, the free ebook Feminist Art Manifesto: An Anthology (KT press, 2014), and to join the forums and the weekly session with Katy Deepwell.
This fee is non-refundable and is payment for the teacher and her work.

Access to the course materials will continue after the course has ended.

These courses have been designed by Katy Deepwell, editor of n.paradoxa: international feminist art journal and they use the resources available at The Feminist Art Observatory on and the internet.

Take a look and recommend it to your students to try out.

The journal, n.paradoxa: international feminist art journal (1998-2017), is separate from this new MOOC and you can find open access versions of PDFs and abstracts of its articles at

The MOOC was written by Katy Deepwell, editor and founder of n.paradoxa. n.paradoxa’s MOOC is independently published by KT press.

With best wishes,

Katy Deepwell,  Founder and Editor of n.paradoxa

n.paradoxa, The Feminist Art Observatory and n.paradoxa’s MOOC are all published by: KT press, 38 Bellot St, London, SE10 0AQ, UK

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KT press launches new book: 50 Feminist Art Manifestos (2022)

ISBN: 9780992693466
50 Feminist Art Manifestos is an anthology of original texts, edited and introduced by Katy Deepwell
Available from Jan 2022 £14.99 (UK/Europe) £19.99 (USA/RoW).

This is a print book, available to order by mail. Postage included.

An epub of this book is also available: £4.50.

148 (h.) x 210 (w.) 168 pages in print

This anthology contains the original manifestos of 50 women artists/feminist groups/feminist protests. Introductory essay by Katy Deepwell, with notes on each manifesto.

What is a manifesto? A political programme, a declaration, a definitive statement of belief. Neither institutional mission statement, nor religious dogma; neither a poem, nor a book. As a form of literature, manifestos occupy a specific place in the history of public discourse as a means to communicate radical ideas. Distributed as often ephemeral documents, as leaflets or pamphlets in political campaigns or as announcements of the formation of new parties or new avant-gardes, manifestos above all declare what its authors are for and against, and ask people who read them to join them, to understand, to share these ideas. The feminist art manifestos in this anthology do all of these things as they explore the potential and possibilities of women’s cultural production as visual artists.

Manifestos by: Yvonne Rainer – Mierle Laderman Ukeles – Agnes Denes – Michele Wallace – Nancy Spero – Monica Sjoo and Anne Berg – Rita Mae Brown – VALIE EXPORT – Carolee Schneemann – Feminist Film and Video Organisations – Klonaris and Thomadaki – Kate Walker – Z.Budapest, U.Rosenbach, S.B.A.Coven – Ewa Partum – Women Artists of Pakistan – Chila Burman – Gisela Breitling – Riot Grrl – EVA and Co. – VNS MATRIX – Xu Hong – Violetta Liagatchev – OLD BOYS NETWORK – Lily Bea Moor – Dora Garcia – SubRosa – ORLAN – Rhani Lee Remedes – Factory of Found Clothes – Feminist Art Action Brigade – Mette Ingvartsen – ARCO – YES! Association/Föreningen JA! – Arahmaiani – Elke Krystufek – Guerrilla Girls – Julie Perini – Elizabeth M Stephens and Annie M. Sprinkle – Lucia Tkacova and Anetta Mona Chisa – Linda Mary Montano – Lenka Clayton – Silvia Ziranek – Alexandra Pirici and Raluca Voinea – Representatives of Prague Art Institutions – n i i c h e g o d e l a t – Gluklya (Natalia Pershina -Jakimanskaya) – Not Surprised – Permanent Assembly of Women Art Workers – Feminist Art and Architecture Collective – MANIFIESTO NO, NEIN, NIET !!!!!

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Online MOOCs on art and feminism

New article by Katy Deepwell on “Online MOOCs on art and feminism” AD magazine, National Society for Education in Art and Design (UK), Summer 2021, issue 31 pp.30-31 on the 2 MOOCs, she authored,

1) contemporary art and feminism and

2) on feminist art manifestos,

Both MOOC’s are still available to join at
Just create a login to access

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Winners of the Essay Competition: Feminist Art in an International Curriculum.

Feminist Art in an International Curriculum, an Advance HE Connect forum, ran an essay competition between Oct 2020-March 2021.

The three winners of the competition (with prize money) awarded in March 2021 are:-

Laura Leuzzi (University of Dundee, Scotland, UK) ‘”She became my teacher and mentor”. Uncovering the legacy of women video pioneers in Art Schools and Academies in Europe’.

Hadara Scheflan-Katzav (Kibbuzim College of Education Technology and the Arts, Israel)
‘The artistic narrative, the mirror, and the vagina: Teaching History of Art from a Feminist Perspective’


Marijke Appelman (artist, Rotterdam, The Netherlands)  ‘First Pillar: Voice in the feminist classroom‘ which discusses her project ‘A Pedagogy-in-Process: The Artist Teacher in the Feminist Classroom’

Their essays, as submitted, have been placed on the Advance HE Connect website for the Forum, in the resources section, for the Feminist Art in an International Curriculum forum.

Judges: Katy Deepwell (Middlesex University), Alexandra Kokoli (Middlesex University), Anne Swartz (Savannah College of Art and Design), Kathleen Wentrack (Queensborough, CUNY), Catherine Harrington (Tokyo University of the Arts).

Congratulations to the winners and thank you to everyone who participated.

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Essay Competition: Feminist Art in an International Art Curriculum

Deadline for submissions: 1 March 2021.

This essay competition will be awarding 4 prizes of £230 (to 4 individual authors).

Judges: Katy Deepwell (Middlesex University), Alexandra Kokoli (Middlesex University), Anne Swartz (Savannah College of Art and Design), Kathleen Wentrack (Queensborough, CUNY), Catherine Harrington (Tokyo University of the Arts).

This essay competition is open to anyone working, or recently working (i.e. last two years), in Higher Education, whether or not they are members of Advance HE Connect. This is an international competition, inviting contributions from anywhere in the world. This essay competition is open to lecturers in art and design practices (studio teaching), as well as art theory and art history.

Essays should consider how feminist art is currently taught in art and design, art history, curating/arts admin curricula in Higher Education institutions, including art schools and academies, offering degrees in these subjects.

The content of definitions of “feminist art” or “feminist pedagogies” should be explored in the essay with a view to what kinds of feminism(s) and feminist methodologies are taught, both implicitly and explicitly. Whether the definition of feminist art or feminism is related to gender theory or the practices of women artists should be explored. The definition of what kinds of feminisms should be specified and argued: including the feminist content of approaches taken to multi-culturalism(s), trans-nationalisms, critiques of nationalisms, de-colonizing strategies, queer studies, post-colonial studies, black, indigenous, anti-racist and anti-sexist approaches.

There is no limitation on the subjects taught in the curricula discussed, except that the curricula was taught to art or design students, curating/arts administration or art history students. This may include multi-disciplinary/ inter-disciplinary courses on psychoanalysis, trauma studies, body image, sexuality and representation, sexual, class and racial politics, questions about embodiment, any aesthetics/philosophy or critical social theory, ecological issues, social protest, projects on social issues including against violence against women or participative social projects, or classes in any media including film, video, digital arts, or feminist literatures.

The focus of the essay should be on new or revised curricula for short optional courses or interventions made to improve the presence of feminist art as a subject in mainstream curricula. The content of individual classes, courses, and approaches should be discussed.

Priority will be given to essays where:-

    1) the writer’s own experience of teaching is discussed and student’s reactions
    2) the essay offers a case study of innovative approaches to teaching ‘Feminist Art in an International Art Curriculum’ 
    3) or critical assessments of how “Feminist Art” (however defined in content) is taught in their own institution or by national/international comparisons.

Essays must be submitted in English and be of no more than 6,000 words.

They should be sent to : by the deadline.

The judges’ decision is final and no appeals will be considered.

All the prize-winning essays will be published on the Advance HE Connect platform as part of the resource section of the network.
Submitting the essay for the competition means that the author has given permission for the essay to be published on this platform:

Feminist Art in an International Art Curriculum

The network, Feminist Art in an International Art Curriculum, started in 2018 with a small grant from the Advance HE Connect online platform, for people working in the HE sector:

The network aims to examine:

teaching and learning strategies in art history and art practice for feminism(s)
    disseminate models of good practice and case studies
    discuss and reflect upon strategies for implementing change at curriculum and course levels from BA-MA-PhD

During 2019-2020, several online Zoom meetings of members and participants to this teaching network on feminist art have been held to discuss how feminist art is taught in their respective institutions and graduate and post-graduate courses in art, art theory and art history. Initially members and participants have come from Japan, USA, South Africa, Sweden and UK.

This competition aims to stimulate discussion on this topic and to recognise the work that lecturers are doing to introduce feminism into art curricula.

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Feminist Art Activisms and Artivisms book!

Published by Valiz in 2020, book from the Feminist Art Activisms conference, July 2018.

Order at:

or: Anagram Books

or: Idea Books

Watch the video:


2020, Valiz, supported by Prins Bernhard Cultuurfonds and Middlesex University London| paperback | 448 pp. | 24 x 16,8 cm (h x w) | spring 2020 | Engish | ISBN 978-94-92095-72-5

‘Feminisms’ (as a plural) is widely used today to draw attention to inequalities and to critique the status quo in limiting women’s roles/positions/lives/ potential. Art can offer a vision of future worlds, manifesting a desire for projecting change, playing with existing realities and conventions. Feminist Art Activism and Artivism, two sides of the same coin, arise where art approaches, develops or transforms into activism and vice versa, where activisms become artivisms. In both, art emerges in differing forms of political intervention, at both an individual, shared or collective level, apparent in actions, events, identifications and practices. This volume wants to reveal the diversity of these practices and realities. Representing a range of critical insights, perspectives and practices from artists, activists, curators, academics and writers, it explores and reflects on the enormous variety of feminist interventions in the field of contemporary art, social processes, the public sphere and politics. In doing so, Feminist Art Activisms and Artivisms touches upon broader questions of cultural difference, history, class, economic position, ecology, politics, sexual orientation, and the ways in which these intersect.

Editor: Katy Deepwell

Contributors: Linda Aloysius, Marissa Begonia, Sreyashi Tinni Bhattacharyya, Marisa Carnesky, Paula Chambers, Amy Charlesworth, Emma Curd, Katy Deepwell, Tal Dekel, Emma Dick, Lior Elefant, Christine Eyene, Abbe Leigh Fletcher, GraceGraceGrace, Alana Jelinek, Sonja van Kerkhoff, Alexandra Kokoli, Elke Krasny, Loraine Leeson, Laura Malacart, Rosy Martin, Alice Maude-Roxby, Kathleen Mullaniff, Louise O’Hare, Tanja Ostojić, Martina Pachmanová, Gill Park, Pune Parsafar, Roxane Permar, Anne Robinson, Stefanie Seibold, Pam Skelton, Mare Tralla, Christina Vasileiou, Camille Melissa Waring, Michelle Williams Gamaker, Virginia Yiqing Yang

Design: Lotte Lara Schröder
Series: PLURAL

The PLURAL series focuses on how the intersections between identity, power, representation and emancipation play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in the arts and to address the history and present and future meaning of these positions and their interrelations. PLURAL brings together new and critical insights from cultural and social researchers, theorists, artists, arts professionals and activists. Feminist Art Activisms and Artivisms is the first book in the PLURAL series.

See review: Isabel Garnelo Díez Women in the visual arts” [MAV] from Spain.
Longer version, issue 42 of the Boletín de Arte magazine, from the art
department of the University of Malaga

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n.paradoxa articles now available online to download

KT press have released all available articles of the 40 volumes of n.paradoxa online as open access at Readers can now browse and download these PDFs for free. Abstracts are also available.
n.paradoxa: international feminist art journal published 500+ articles on contemporary women artists and feminist readings of their work, Jan 1998-July 2017.
Print volumes of n.paradoxa remain available for sale.
KT press is continuing to develop different projects, including its MOOC at


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Conference CFP: Feminist Art Activisms and Artivisms, 2 July 2018

Create/Feminisms event – 2 July 2018, Middlesex University

This one-day conference on 2 July 2018 at the Grove Building, Middlesex University aims to reflect on feminist activism and artivism in/through the many different kinds of contemporary art practices, campaigns and art projects and to explore the rich history of feminism’s innovative and diverse approaches and contributions to both art and politics.

Keynote speakers (confirmed):
Tanja Ostojic (artist, Berlin) On the Development of interdisciplinary feminist methodologies and perspectives within my own artistic practice
Ewa Alicja Majewska (feminist philosopher and activist, University of Warsaw, Poland) Weak Resistance and Feminist Artivism
Christine Eyene (curator, University of Central Lancashire) Curating from a black female perspective.

How do the practices of feminist art workers and activists identify, comment, reflect, address and question issues related to changes in civil and political rights over their bodies; campaigns around health and social care and violence against women; in anti-nuclear and anti-militarist campaigns for the end of conflicts or for peace; in protests about women’s rights as workers, citizens, refugees or migrants; for LGBTQI rights; for disability rights?

Activism is now strongly associated with participatory art practices and art’s capacity to engage with particular communities or groups of people to realise a politically or socially-informed project, but there is a long history of art activism in inventing symbols or identifying political identities related to different struggles. This history includes women’s struggles and protests internationally who have developed their own imagery, murals, icons, posters and logos. Another dominant role for art is its use as a tool of “therapy” by political activists and charities in conflict zones. If artivism now means art+activism, how do feminist art practices today develop progressive agendas for social transformation or radical forms of democracy? Or has artivism become a catchword for any woman’s empowerment through the arts/using art? Is art privileged in its ability to address some realities better than others, some types of campaigns over others? And what are the effects of feminist art practices and interventions amongst different audiences and how are these visible in social media or in culture as a whole?

2018 marks 100 years since women in the UK over 30 and with a property qualification obtained the vote. Beyond the fact of SOME women’s enfranchisement as citizens, many questions about women’s legal and political rights across the world remain, even though the UN has declared development goals and women’s rights as human rights a key goal for more than 40 years. How has feminism transformed in the last 50 years our understandings of art and activism in relation to struggles for women’s rights as human rights?

2018 also marks 50 years since the student occupation of Hornsey College of Art, which joined Middlesex University. Students involved in the conference will present a slide show from the Special Collections Archive at Middlesex’ University Library on Hornsey.

There will be 8 panels at the conference:
Confirmed Speakers include: Emma Dick and Kathleen Mulaniff; Loraine Leeson; Roxanne Permar; Pune Parsafar; Alice Maude-Roxby; Rosy Martin; Alexandra Kokoli; Pam Skelton; Michelle Williams Gamaker; Marisa Carnesky ; Linda Aloysius; Lior Elefant; Abbe Leigh Fletcher; Christina Vasileiou; Paula Chambers; Anne Robinson; Mare Tralla;Virginia Yiqing Yang; Emma Curd; Gill Park; Alana Jelenik ;Tamsin Hong ;Louise O’Hare ;Elke Krasny ; Grace, Grace, Grace; Amy Charlesworth / Marissa Begonia ; Diana McCarty ; Martina Pachmanova; Sonja Von Kerkhoff; Camille Waring; Laura Malacart; Sreyashi Tinni Bhattacharyya

Ticket link:
There is no charge for this event. Please register to attend.
Conference registration at 10 am. Event finishes at 6.30 pm.

Every member of the audience/participant at this event is invited to bring a poster to present in the lunch time session which can outline a campaign, a research project, their current work or a proposal for future work, whether or not their paper is accepted.

This is a feminist research event aiming to bring together artists, writers, curators and self-defined artivists and activists, academics and non-academics, theorists and practitioners. It is organised by the Create/Feminisms Cluster in the Arts and Creative Industries Faculty at Middlesex University.

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n.paradoxa: international feminist art journal – SALE

5 Feb – 31 March 2018, 30% discount available on any volumes of n.paradoxa in print purchased online from

Offer is only available via this website and using online payment.

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n.paradoxa’s website at is being updated for 2018!
Central to this is a new Feminist Art Observatory

F.A.O. is well known as the abbreviation of “For the Attention Of…”
This site is for the attention of anyone interested in researching feminism in relation to contemporary art.

The site contains over 5,000 items.
There are lists of books, exhibition catalogues, magazines, anthologies and websites.
The list includes links to women’s art organisations and archives, museums, online databases. These resources have been compiled and developed over the last 20 years!

There are several research projects online as well available through the Feminist Art Observatory:-

The 1000+ feminist art theses lists MA and PhD theses from 36 countries since 1974.
Users are invited also to post their own – if they are not present on the searchable list.
As the theses are linked to the University repositories, it is possible – within 3 clicks – to read the text of most entries in this database.

The Feminist Art Topics Project was designed to present 30 common topics in feminist research linked to 16-35 artworks in each case. The artworks listed under each topic are presented as a chronological list. Like n.paradoxa, it is an international inter-generational list. While there are lots of useful links to artist and museum sites, the project does not provide a commentary on the works – this is for researchers to invent, develop or discover. There are also no pictures, because each artwork could be searched for in the net, given that the internet remains primarily an image database.

It is still possible to purchase any of the 40 volumes in print of n.paradoxa from the website and review the abstracts of the 500 articles that were published between 1998-2017. While individual articles are still available to purchase, the electronic subscriptions of individuals and institutions are being slowly withdrawn in 2018.

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