Volume 38 (July 2016) n.paradoxa, Polemics/Contestations

Available now: Volume 38 n.paradoxa (July 2016) Polemic/Contestations
n. paradoxa: international feminist art journal is now 19 years in print.
96 pages, ISSN 1461-0434

This volume contains women writers from Portugal, Ukraine, Russia, Spain, UK, Germany, Italy, Australia and about women artists from all these countries and Afghanistan, Iran, Pakistan, Poland and Greece.


Márcia Oliveira and Maria Luísa Coelho  ‘On appropriation and craft: considering the feminist problem of de-politicization’ (considers the work of Joana Vasconcelos, Carla Cruz and Maria Nepomuceno)

Oksana Briukhovetska  ‘What in me is feminist?’ – a view of Ukrainan feminist initiatives in the visual arts and discussion of two exhibitions ‘What in me is feminine?‘ and ‘Motherhood

Srebrenka Kunek  ‘A Recipe for Hearing the Silences: An Installation Art Practice’ – a discussion of three major installation projects by this artist working in Australia: The Brides, Navigating the Victorian Food Trail, BHP Ribbons of Steel

Emanuela De Cecco ‘Maria Lai: nearby, up close, far away, in absentia’
reflects on the difficulties of writing about an artist where the artist’s words have been the predominant voice.

Pauline Barrie talks with Katy Deepwell   ‘Founding Feminism: Women’s Workshop, Artists Union and Women Artists Slide Library’ – an interview about organisation and feminist commitment.

Laura Leuzzi  ‘Early Women Artists’ Video Art in Italy: An overview’ discusses the work of Ketty La Rocca, Federica Marangoni, Anna Valeria Borsari and Maud Ceriotti

Marián López Fernandez Cao  ‘Mujeres en las Artes Visuales (MAV)/ Women in the Visual Arts: Seven Years of Work’ – a review of the work of this Spanish organisation, its biennale and its protests against the situation of women artists in the art system.

Paniz Musawi Natanzi  ‘The geopolitics of visual knowledge production: Afghan women artists in Afghanistan, Iran and Pakistan’ – an analysis of the geo-political and social situation of Afghan women artists across 3 countries.

Lourdes Méndez  ‘Exclusionary Genealogies’ – a critical analysis of Geneologias Feministas en el arte espanol, 1960-2010
Also available in Spanish (online) as ‘Genealogias Excluyentes’

Artist’s Pages: Laura Malacart  ‘THE LITTLE BOOK OF ANSWERS VOL.1’.
This documents the performance project, arising from Answers to the UK citizenship test, at Tate Modern Turbine Hall on 18 July 2015

Artist’s Pages: Victoria Lomasko
‘Bishkek – Yerevan – Dagestan – Tbilisi: Investigations With a Sketchbook’

Purchase now from http://www.ktpress.co.uk

n.paradoxa: international feminist art journal has been published annually (Jan/July) since 1998. In 19 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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Art Changes, We Change – Women Artists in the “New” Tate Modern

Under the banner “Art Changes, We Change”, the press conference of the “New” Tate Modern took place on 14 June 2016. It opens to the general public on Friday 17 June. Nick Serota, Director, was keen to emphasise how the new extension to Tate Modern, the Switch House building by Herzog and Meuron, above the Tanks, had enabled the Tate to show more contemporary art in installation, photography, performance and new media. He was “upstaged” by Sadiq Khan, London’s new Mayor, who pointed out that, with culture at the heart of his new agenda for London, he was pleased to see a significantly greater representation of women artists in the new building. This allowed Frances Morris, the new Director of Tate Modern, to open a conversation about the fact that 50% of works selected for the new building displays were by women artists and that 17% of the contemporary art collection has been produced by women artists. This comment about the representation of women artists would not have been possible without Sadiq Khan, given the emphasis within the official press release which studiously avoided mentioning this fact as any change of direction in Tate’s work. Nick Serota, who is well known for his statements about “quality” being the only issue in art and his lack of interest in any woman artist’s work, kept his silence on this point. This shift in Tate policy will most likely be met with silence by the UK and international media who are much more likely to comment on the brickwork and the light-filled spaces than the works contained in it and hope by not commenting that it will be an abherration, a one-off. This silence is why I decided to write this post!

The Tate does not have a proud record with regard to showing women artists under Nick Serota’s Directorship. In total, 7% of the collection is by women artists – a mixture of historical neglect and persistent marginalisation under many directors. Until the 1980s, only a handful of retrospectives of women artists had been mounted in its history. Nick Serota did nothing to change this, nor has he ever agreed to any feminist programming of a group show of woman artists. The rare event of a woman artist-only shortlist for the Turner prize has been his only concession. While we are seeing significant changes in policy in the last two years with solo shows of Marlene Dumas, Mona Hatoum and Georgia O’Keefe, the Tate overall has a long way to go to rectify the balance – in historical programming of the main exhibitions displays where women artists have barely increased in visibility from old norms of 1 in 50 to 1 in 10 and only in “contemporary art” approaching 1 in 5 of artworks shown. Issue-based work and political protest remains marginal at best in the Tate’s agenda.

Perhaps the Tate is finally responding to significant shifts in programming and display of women artists internationally by other Museums of modern and contemporary art over the last 10 years: e.g. Moderna Museet’s programme ‘Museum of our Wishes’; Elles@Centres Pompidou whose rehang led to new acquisitions of women artists and increased the percentage of women in the collection to 20%; and MoMA’s shift in programming and display of women artists. These are belated but important responses to the considerable scholarship on women artists produced in the last 50 years by feminist art historians, critics and curators. It is significant that it is only with more exhibition space that the Tate can rethink its neglect of women artists and it does so in order to maintain its international reputation and “modernise” it.

So, what is in the new Tate Modern – a room dedicated to Louise Bourgeois; a room displaying Suzanne Lacy’s Crystal Quilt (formerly badly sited in the Tanks); a room for Mary Kelly, Kay Hunt and Margaret Harrison’s Women and Work; Marina Abramovic’s Rhythm O, and a room dedicated to Ana Lupas. The largest first floor room dedicated to abstract sculpture now situates Gego near Mary Martin and Rasheed Araeen; Cristina Iglesias next to Tony Cragg and Eva Hesse; Lynda Benglis next to Bruce Nauman. Work by Barbara Hepworth from the 1950s is notably absent, in spite of their collection of her work. This recovery of mainstream European and American women artists may be significant as a new departure for Tate Modern but it is still very calculated and conservative. Although the new Tate Modern boasts artists from 50 countries, very few women from outside the Euro-American mainstream are ever on display, even in its revision of Latin American Art. Ruth Noack’s curation of documenta 12 in 2007 had much earlier made the same achievement with a much broader cross-section of artists. Maybe it would be more accurate to describe the shift that has taken place as a displacement from the Waddington/D’Offay/Lisson Gallery system, so favoured by Serota, in which women were only ever 1 in 10, towards Hauser and Wirth/Elisabeth Sackler schools of thought today and this has to be because of their direct financial support alongside the many collectors who invested in the new building.

There is a strange “historicism” which this rehang demonstrates because it is a “historical” reviewing of the past largely from the 1970s, 1980s with a jump to the 2010s. It is not a reflection how how “Art” has changed, this was the art produced and shown “at the time”, but also marginalised “at that time”. It is only  the Tate’s projected “interpretation of Art” which has shifted, if its thematic approaches to display are about to incorporate any notion of gender balance. Let me be clear: there is no revisiting of feminist legacies here, just the reinstatement of “great women artists” and “significant works”, that it is no longer possible to overlook because to do so would be to persist in pure ignorance of international changes. The Tate still has a long way to go to establish a fuller recognition of women artists in its “global vision” of contemporary art: as well as contributing to a substantial historical revisionism of the 20th and 21st centuries with regard to any form of gender parity. Welcome as this shift is, there is still much more feminist work to do!



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New – Summer School

The Editor of n.paradoxa has initiated a one week intensive Summer School course in Feminism and Contemporary Art at Middlesex University (July 6-12 2016).
This course will discuss how feminist theory has developed in relation to contemporary art practices in recent decades. The emphasis will be on trans-national and trans-generational discourses in feminist theory in relation to concepts of a ‘global contemporary’, like n.paradoxa. The course will look back at developments in art during the last 50 years and look forward to new models of research in the field. The aim is for those attending, through discussion, to develop a plan for future work or a proposal for a PhD or MA research project.


This course is for graduates or mature artists considering post-graduate study.
It is not a general course open to any level and is focused on those in higher education aiming to tackle a postgraduate research degree at MA or PhD level with feminist subjects or methods.

Want to know more?

Download a full course description
The course will be taught by Katy Deepwell with guest lectures from other staff at Middlesex University and elsewhere.


Hendon campus Middlesex University, London, UK.
The Hendon Campus is 15 mins walk from Hendon Central tube station (Northern Line) and well-served by North London buses.

Time and dates

Five days, 6 July to 12 July 2016
10am to 4.30pm
Wednesday to Tuesday

Cost: £450

Accommodation is available through the Middlesex University Summer School programme at additional cost.

Registration open now at:-


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

In relation to this course, check out n.paradoxa’s 1000+ list of MAs and PhDs in feminist art subjects (1970-2015) from 35 countries.

Posted in asian women artists, contemporary women artists, Feminism and Art, feminism and art education, feminist aesthetics, Feminist Art, Feminist Art Seminars, Feminist Art Theory, feminist artists, http://www.ktpress.co.uk, n.paradoxa: international feminist art journal, Women Artists | Leave a comment

nparadoxa vol 37 (Jan 2016) Sound?Noise!Voice!

n.paradoxa: international feminist art journal (Jan 2016) volume 37 is on the subject of sound in visual artworks by contemporary women artists.

Essays include:
Marie Thompson on ‘Creaking, Growling: feminine noisiness and vocal fry in the music of Joan La Barbara and Runhild Gammelsæter’
Sylvia Lacerte on ‘The soundscapes in Vera Frenkel’s itinerary’
Annie Goh
‘GenDyTrouble: Cyber*Feminist Computer Music’
Suzanne Herrera Li Puma
‘Not Spelling it Out: Mira Schendel’s Humor’
Vanessa Gravenor ‘Monika Weiss’ Two Laments
Irene Noy ‘A Sound Walk into Susan Hiller’s Monument (1980-81)’

Interviews by
Sarah Frost ‘Symphony, Encounter, Memory: An Interview with Gisela Weimann’
Sally Deskins ‘Multimedia collaborations: An interview with Elise Kermani and Evelin Stermitz’

9 women artists were specially invited to discuss a recent work where sound is a strong element of the work:
‘Maia Urstad on her work: Nullmeridianens tilbakekomst/ Return of the zero meridian
Tansy Spinks on Leeds! Leeds! Leeds! and
Luz María Sánchez on Vis (un)necessary force.[V. (u)NF_**]
Pamela Z on Memory Trace
Ros Bandt on Finding MEDEA
Camille Norment on ‘Lull’
Jodi Rose on her Sound Art and the Devil’s Bridge
Kaffe Matthews on ‘The moving street is an algorithm’
Katrinem on SchuhzuGehör_path of awareness‘  pp.72-77

Artist’s Pages by
Jill Scott on ‘AURALROOTS’
Annea Lockwood Jitterbug : the score’

Purchase at www.ktpress.co.uk
£9 (Uk/Europe) or £12.50 (USA/RoW).
96 pp. of content and 40+ images.

Posted in art journals, contemporary women artists, Feminism and Art, feminist aesthetics, Feminist Art, Feminist Art Theory, feminist artists, http://www.ktpress.co.uk, n.paradoxa: international feminist art journal, Women Artists | Tagged , , , , , | Leave a comment

Feminist Art Topics project launched on www.ktpress.co.uk

A list of 900+ artworks by women artists organised in 30 topics relevant to feminism and contemporary art. This project by Katy Deepwell is intended as a beginner’s guide to feminist questions, for students and lecturers, who are currently unfamiliar with the range of subjects, works and ideas in feminist artworks, exhibitions, books and key debates. The information about the artworks are arranged simply as a chronological list, most were produced in the last 40 years. Like n.paradoxa, this project is transnational. The artworks are linked to artists’ websites, to museum collections, to resources online, including some of n.paradoxa’s 500+ articles. Take a look!

Posted in asian women artists, contemporary women artists, Feminism and Art, feminism and art education, Feminist Art, Feminist Art Theory, feminist artists, http://www.ktpress.co.uk, n.paradoxa: international feminist art journal, Women Artists | Tagged , , , , , , , | Leave a comment

Volume 36 (July 2015) of n.paradoxa: international feminist art journal

Feminist humour in the visual arts.  Available to purchase at http://www.ktpress.co.uk/nparadoxa-volume-details.asp?volumeid=36

– Jacki Willson  ‘“Piss-Takes”, Tongue-in-Cheek Humor and Contemporary
Feminist Performance Art: Sarah Maple, Oriana Fox and Ursula Martinez’
– Rosa Nogues ‘Laughing Their Way to the Limelight: Ines Doujak’s Dirty Old Women’
– Laura Castagnini ‘Performing Feminism ‘Badly’: Hotham Street Ladies and Brown Council’
– Mare Tralla: Self-Irony, Parody and the Absurd: Iliyana Nedkova in conversation with Mare Tralla
– Rachel Epp Buller Birthing the American Absurd: Maternal Humour in Contemporary Art: Marni Kotak, Gail Rebhan, Jill Miller
– Jane Chin Davidson  ‘Performative Laughter Camp and the “Cat Lady” of Kristina Wong’
– Sofia Gotti ‘Eroticism, humour and Graves: A conversation with Teresinha Soares’
– Lenore Metrick-Chen ‘Art as an Invitation to Agency: Challenging State Patriarchy at the Site of the Body: Gao Ling and NvAi; ManYee Lam; He Chengyao’
– Lusia Petukhova ‘Terera Art Group’s Aphrodite’s Girdle
– Elina Suoyrjö and Heather Phillipson ‘The Mess of Getting into It’

Artist’s Pages:
Anna Daucíková   Three Scenes and other works
Guerrilla Girls 30th Birthday: Not Ready to Make Nice And Still Counting
Women artists at Venice Biennale: All The World’s Futures 


Posted in art journals, asian women artists, contemporary women artists, Feminism and Art, feminism and art education, Feminist Art, feminist artists, http://www.ktpress.co.uk, n.paradoxa: international feminist art journal, Uncategorized, Women Artists | Tagged , , , , , , , , , , , , | Leave a comment

Find 1171+ MA/PhD theses on feminist art since 1974

n.paradoxa has a new searchable list of 1171 MA and PhD theses on feminist art/contemporary women artists in 35 countries (1974-present). The list contains links to information pages with abstracts in Open Access Repositories, and full text PDFs.  Go to : www.ktpress.co.uk/feminist-art-theses.asp

Given the growing number of MAs and PhDs available in electronic form, we wanted to provide an accessible route to this research on contemporary women artists and feminist art. Careful searching of this project also highlights many trends and tendencies in feminist research across different countries.

This project does not captures “all” theses written on this subject, but is the result of wide searching online. Information about some of the publications which have resulted from this research is also available.

If your thesis, or your students’ thesis, is not listed: please add using the form on our website.

We are aware that there are many art schools or Universities in the world where students may have conducted research into feminist art, but the institutions have not joined any electronic thesis collection or database system. We were also limited by the languages we speak and would welcome more in other languages from around the world.

This project was created by Frances Hatherley and Katy Deepwell at Middlesex University between Jan-May 2015.

Posted in asian women artists, contemporary women artists, Feminism and Art, feminism and art education, Feminist Art, Feminist Art Theory, feminist artists, http://www.ktpress.co.uk, n.paradoxa: international feminist art journal, Women Artists | Tagged , , , , | Leave a comment