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.
Available from 4 May-1 October 2020 at

‘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 30 manifestos discussed come from many countries around the world and cover the period 1969-2020.

This course is based upon Feminist-Art-Manifestos: an Anthology, edited by Katy Deepwell, (KT press, 2014).  A free copy of this ebook is included in the course.

Once a week, starting 20 May 2020 and continuing for 6 months only, Katy Deepwell will be running a live discussion forum (7-9pm GMT) for those registered on the course. Students can join any time during the course and progress at their own pace.

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.

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 £45 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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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


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.


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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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nparadoxa Volume 40 (July 2017) just published!

Volume 40 (July 2017) is on the theme of Ends and Beginnings.
This volume is a special bumper issue of 104 pages, which marks 20 years of n.paradoxa in print. Volume 40 is the last edition of this print journal. KT press’ website will be updated and kept current as it contains many useful resources on art and feminism. Back volumes are available for sale. nparadoxa’s MOOC (Mass Open Online Course) is available at:


Articles published in Volume 40
Katy Deepwell ‘On the Beginnings and End of n.paradoxa: international feminist art journal
Kirstin Ringelberg ‘Having It Both Ways: Neoliberal Feminism in the Contemporary Art World’
Kathy Rae Huffman, Ana Peraica, Ana Kuzmanic, Petar Jandric
‘Interview with Kathy Rae Huffman: Curating digital art with heart and mind’
Jude Adams ‘Beginnings, Endings and Returns The Women’s Show, 40 years on’ a prelude to the FRAN festival in August 2017 in Australia.
Laura Iamurri ‘On the Threshold. Carla Lonzi, the End of Art Criticism and the Beginnings of Feminism’
Why Feminist Stories Matter: Katy Deepwell interviews Clare Hemmings
Victoria Ferentinou and Konstantina Drakopoulou
‘Gaps in (Greek) Art History and Criticism: Feminist Possibilities in Contemporary Greek Art’
Sheila Gaffney ‘A Story Within a Story Within a Story Within a Story: British Art School Experience Retrieved Through Archive, Anecdote and Life Writing’
Penelope Smart ‘Leisure: a Canadian artist/curator collective’
Ros Bandt and Leah Barclay ‘Sonic Activism in the Antipodes’

Artists’ Pages: Lynn Hershman Leeson ‘Infinity Engine’

Photo features from ‘Learning from Athens’ Documenta 14 in Athens and Kassel and Venice Biennale, 2017


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Local/Global Dynamics in Feminism and Contemporary Art, conference

Following this conference in July 2017 : Laura Leuzzi and Katy Deepwell have set up a JISC email list: Local-Global Dynamics in Feminism and Contemporary Art.
There are several ways to join the email list and be able to post messages to it.

1) Please register at JISCmail and then opt to join this list.
2) Use this link:
Click on “Subscribe/Unsubscribe” on this webpage. All New subscribers can complete their details to receive emails to their inbox, or read online, or receive weekly digests.
3) Subscribers can also join this list by sending an email to
with the following additions to subject/message:

Subject: Subscribe

n.paradoxa is organising a conference 3 July, 2017, Middlesex University, London.
Full Details here: ‘Local and Global Dynamics in Feminism and Contemporary Art’

This event is open to students, artists, academics and curators interested in feminism and contemporary art. The small fee (£10/£5) is to cover the cost of catering for lunch and tea/coffee.
The conference celebrates 20 years of n.paradoxa: international feminist art journal and coincides with the publication of volume 40, Ends and Beginnings.


Katy Deepwell (founder and editor of n.paradoxa: international feminist art journal and Professor of Contemporary Art, Theory and Criticism, Middlesex University)

Giulia Lamoni (art historian, Investigadora FCT, Instituto de Historio de Arte, Lisbon)

Ebru Yetiskin (curator, Associate Professor in Sociology, Media Theory, Digital Humanities. Istanbul Technical University)

Emanuela de Cecco (art critic/art historian, University of Bozen-Bolzano, Italy)

Martina Pachmanova (art historian, Associate Professor, Katedra teorie a dějin umění, VŠUP/UMPRUM v Praze, Department of Art Theory and History, Academy of Arts, Architecture and Design in Prague)

The conference will be organised through speeches, panel discussions, breakout sessions on particular topics and a discussion of attendee’s posters (see the invitation to all attendees, below).

This is a Create/Feminisms event from the Department of Visual Arts, with the assistance of students from BA Fine Art, and staff in Fine Art/Visual Culture. This event is supported by ADRI research funds at Middlesex University and KT press, publishers of n.paradoxa: international feminist art journal. Organiser: Katy Deepwell or

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n.paradoxa launches a MOOC (mass open online course)

n.paradoxa’s MOOC (mass open online course) on contemporary art (post-1970) and feminism is now open

The new wordpress site is:-

n.paradoxa’s MOOC is free and users just have to register their email to join it. Users can join anytime and continue at their own pace.

There are 10 lessons. In addition to the lessons, there are open forums for people to respond to the lessons and post their own ideas for discussion.

The model for the MOOC is connectivist. femtechnet describe this model of learning as a DOCC (rather than a MOOC) because the documents link to many resources online and the lessons are designed to be read anytime at the user’s own pace. (A DOCC= Distributed Open Collaborative Course – a feminist retooling of the popular genre of networked learning called MOOCs).

The MOOC uses many resources from the internet, among them those gathered for n.paradoxa: international feminist art journal‘s website at

The MOOC was written by the Katy Deepwell, editor of n.paradoxa: international feminist art journal. It is published independently by KT press and was supported by a grant from Innovate UK.

The print journal, n.paradoxa, is separate from this new MOOC.
Vol. 39 (Jan 2017) on Organising/Organisations is the latest edition.

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Volume 39 (January 2017) n.paradoxa Organising/Organisations

Available now: Volume 39 Organising / Organisations
n. paradoxa: international feminist art journal is now 20 years in print.
96 pages, ISSN 1461-0434

This volume looks at many types of organisation and many kinds of organising with/for women artists around the world in Japan, Singapore, New Zealand, UK, Italy, Germany, Canada, USA and Poland.


Articles and Interviews include:

Eliza Tan ‘Revisiting Art, Feminism and Memory in Singapore and Japan since the 1990s: Amanda Heng and Yoshiko Shimada’ (the artists review their roles and involvement in feminist art networks and approaches to art-making)

Kirsty Baker ‘The Women’s Gallery in Wellington: an ‘Educational, Supportive and Exploratory’ space’ (a short history of the gallery 1980-1984 and those involved with it)

Maria Antonietta Trasforini ‘The Long Durée: The Making of Biennale Donna in Italy’ (an in depth history and analysis of one of the few international biennales dedicated to women artists since 1984)

Pauline Barrie ‘A Third Viewing: Women Artists’ Slide Library exhibitions 1982-1987’ (this feature is an insight into the politics of women artists’ organising in the early-mid-1980s)

Stef. Engel, Kate Henderson, ‘*durbahn bildwechsel – umbrella organisation for women/art/media’ (insight into the work of bildwechsel and its own politics of organisation as an archive)

Women artists in the Yinchuan Biennale (China) ‘For an Image, Faster than Light’ (images of women artists’ works at the first Yinchuan Biennale, 2016)

Katrin Hassler ‘On Gender Statistics in the Art Field and Leading Positions in the International Sphere’ (Hassler contrasts the position of women curators/museum directors/gallerists with the situation of women artists in several key surveys of the art market/art world and makes a strong distinction between academic and activist analyses of statistics)

Hannah Martin-Merchant ‘Engaging Publics with Arts Institutions: The Frameworks of a Feminist Pedagogy’ (this article looks at how a democratic and participatory programme could be organised within an art institution and looks critically at the notion of curating as an ‘expanded educational praxis’)

Robin Alex McDonald ‘‘There’s the Problem’: On Love’s Role in Feminist, Lesbian and Queer Arts Organizing’ (this article explores the interventions of the Lesbian Art Collective (1975) and the strategies adopted around making/sending Valentine’s cards in the workshop-based activities of Love Positive Women (2015))

Carron Little ‘Spare Rib Revisited: An Artist’s Diary on Residency in Lucerne’ (this outlines her practice in performance and two of her projects are discussed)

Claire Dykhuis with Solmaz Asheri ‘Nova Scotia College of Art and Design University’s Feminist Collective’ (a narrative of the history of the collective over several generations since the late 1970s and the changing face of feminist politics in Canada today)

Yueqi Chen ‘A PLACE OF HER OWN: Interview with Cynthia Tom’ (this interview examines Tom’s motivations behind her project which organises workshops and exhibitions for women as well as her own life-story and art practice)

Katarzyna Kosmala ‘Becoming Imperceptible M/Other: Negotiating Porous Multiple Selves’ (discusses works from ‘Exporting Zagreb’ at the National Museum of Gdansk in 2016)

Purchase now from

n.paradoxa: international feminist art journal has been published annually (Jan/July) since 1998. In 20 years, 550+ articles from over 400+ writers/artists living and working in more than 80+ countries around the world have been published.

Single copies: Individuals (in UK/Europe) £9, (in USA/RoW) £12.50 including postage.
Libraries/Institutions (in UK/Europe) £16, (in USA/RoW) £20 including postage.

Subscriptions: Individuals (in UK/Europe) £18, (in USA/RoW) £25.00, including postage.
Libraries/Institutions (in UK/Europe) £32, (in USA/RoW) £39, including postage.

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