Amelia Jones is an American art historian, critic, and curator specializing in feminist art, body/performance art, and Dadaism. Her written works and approach to modern and contemporary art history are considered revolutionary, as she dismantles commonly held assumptions and delivers brilliantly conceived critiques of the art historical tradition and individual artists' positions within its often elitist sphere. Jones systematically revises and reevaluates the art historical canon, offering fresh perspectives on artworks and their contexts. Her scholarship is essential for understanding the evolution and critical examination of art.
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.
