Linda Nochlin

Catherine Grant

Linda Nochlins seminal essay on women artists is widely acknowledged as the first real attempt at a feminist history of art. Nochlin refused to handle the question of why there had been no great women artists on its own, corrupted, terms. Instead, she dismantled the very concept of greatness, unravelling the basic assumptions that had centred a male-coded genius in the study of art. With unparalleled insight and startling wit, Nochlin laid bare the acceptance of a white male viewpoint in art historical thought as not merely a moral failure, but an intellectual one. Freedom, as she sees it, requires women to risk entirely demolishing the art worlds institutions, and rebuilding them anew in other words, to leap into the unknown. In this stand-alone anniversary edition, Nochlins essay is published alongside its reappraisal, Thirty Years After. Written in an era of thriving feminist theory, as well as queer theory, race and postcolonial studies, Thirty Years After is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. Why Have There Been No Great Women Artists? has become a slogan and rallying cry that resonates across culture and society; Dior even adopted it in their 2018 collections. In the 2020s, at a time when certain patriarchal values are making a comeback, Nochlin's message could not be more urgent: as she herself put it in 2015, there is still a long way to go.

Why Have There Been No Great Women Artists?

Twas the fright before Christmas And all through the town Not a soul stirred No one dared make a sound... Welcome to Deathlehem, where... ...Krampus, not Santa, brings the holiday cheer... ...the lights on the tree, so festive and bright, skitter and crawl and possess a lethal bite... ...malicious little elves, not a jolly fat one, know if you've been naughty--or nice... and ...family gatherings and office parties often turn deadly. So enter...if you dare. A collection of 23 holiday horrors benefiting the Elizabeth Glaser Pediatric AIDS Foundation.

An Anthology of Holiday Horrors for Charity

O Little Town of Deathlehem

In A Time of One’s Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists’ engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.

Histories of Feminism in Contemporary Art

A Time of One's Own

Huib Schippers

The sustainability of music and other intangible expressions of culture has been high on the agenda of scholars, governments and NGOs in recent years. However, there is a striking lack of systematic research into what exactly affects sustainability across music cultures. By analyzing case studies of nine highly diverse music cultures against a single framework that identifies key factors in music sustainability, Sustainable Futures for Music Cultures offers an understanding of both the challenges and the dynamics of music sustainability in the contemporary global environment, and breathes new life into the previously discredited realm of comparative musicology, from an emphatically non-Eurocentric perspective. Situated within the expanding field of applied ethnomusicology, this book confirms some commonly held beliefs, challenges others, and reveals sometimes surprising insights into the dynamics of music cultures. By examining, comparing and contrasting highly diverse contexts from thriving to 'in urgent need of safeguarding,' Sustainable Futures for Music Cultures analyzes sustainability across five carefully defined domains. The book identifies pathways to strategies and tools that may empower communities to sustain and revitalize their music heritage on their terms. In this way, this book contributes to greater scholarly insight, new (sub)disciplinary approaches, and pathways to improved practical outcomes for the long-term sustainability of music cultures. As such it will be an essential resource for ethnomusicologists, as well as scholars and activists outside of music, with an interest in the preservation of intangible cultural heritage.

An Ecological Perspective

Sustainable Futures for Music Cultures

John Grant

Explains How to Design & Write Specific Application Programs on the Timex-Sinclair

The ZX Programmers' Companion

Annette Kuhn

This collection allows readers to cross-reference debates and essays that have ranged across many issues of 'Screen'. Themes addressed include: the problem of defining world cinema, issues of modernity and modernisation, and questions of national and transnational cinema.

A Screen Reader

Screening World Cinema

Kate Random Love

An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang

A Sourcebook for Artists and Writers

Fandom as Methodology

In response to increased focus on the protection of intangible cultural heritage across the world, Music Endangerment offers a new practical approach to assessing, advocating, and assisting the sustainability of musical genres. Drawing upon relevant ethnomusicological research on globalization and musical diversity, musical change, music revivals, and ecological models for sustainability, author Catherine Grant systematically critiques strategies that are currently employed to support endangered musics. She then constructs a comparative framework between language and music, adapting and applying the measures of language endangerment as developed by UNESCO, in order to identify ways in which language maintenance might (and might not) illuminate new pathways to keeping these musics strong. Grant's work presents the first in-depth, standardized, replicable tool for gauging the level of vitality of music genres, providing an invaluable resource for the creation and maintenance of international cultural policy. It will enable those working in the field to effectively demonstrate the degree to which outside intervention could be of tangible benefit to communities whose musical practices are under threat. Significant for both its insight and its utility, Music Endangerment is an important contribution to the growing field of applied ethnomusicology, and will help secure the continued diversity of our global musical traditions.Readership: Scholars and students of ethnomusicology, intangible cultural heritage, or cultural sustainability, as well as those interested in language maintenance or sociolinguistics

How Language Maintenance Can Help

Music Endangerment

Originally published as Volume 34, Issue 2 of Art history, 2012.

Creative Writing and Art History

Lori Waxman

Since the 1990s, women artists have led the contemporary art world in the creation of art depicting female adolescence, producing challenging, critically debated, and avidly collected artworks that are driving the current and momentous shift in the perception of women in art. Girls! Girls! Girls! presents essays from established and up-and-coming scholars who address a variety of themes, including narcissism, nostalgia, post-feminism, and fantasy with the goal of approaching the overarching question of why women artists are turning in such numbers to the subject of girls – and what these artistic explorations signify. Artists discussed include Anna Gaskell, Marlene McCarty, Sue de Beer, Miwa Yanagi, Eija-Liisa Ahtila, Collier Schorr, and more.

Catherine Grant

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