The authors, most of whom are early career academics and emergent practising artists, explore the gaps and omissions of established methodologies and prevalent art historical narratives, while also recovering valuable tools and insights that may be redeployed in contemporary contexts and put to new uses. The essays in this volume, all previously unpublished, engage with the interpretative and conceptual models fashioned by feminist art history and visual cultural criticism from both historical and theoretical perspectives. Side-stepping facile, vague and/or ideologically suspect formulations like “postfeminism”, this collection targets the relationships between past and present as well as among different strands of thought it aims to offer a complex re-evaluation of different strands in feminist thought and practice around art and visual culture since the 1970s, highlighting continuities as well as points of disjunction. Although the impact of such fruitful transformations is indisputable, their exact contribution to contemporary scholarship and their changing function within the academy remains a matter for debate, not least because feminism itself has changed significantly since the Women’s Liberation Movement.

Over the past thirty years, the critical interventions of feminist art historians in the academy, the press and the art world have not only politicised and transformed the themes, methods and conceptual tools of art history, but have also contributed to the emergence of new interdisciplinary areas of investigation, including notably that of visual culture. KOKOLIįeminism Reframed: Reflections on Art and Difference addresses the ongoing dialogue between feminism, art history and visual culture from contemporary scholarly perspectives. INTRODUCTION LOOKING ON, BOUNCING BACK ALEXANDRA M. 281 The Feminist Art Project Anne Swartz Contributors. 248 What is it that Feminist Interventions Do? Feminism and Difference in Retrospect and Prospect Griselda Pollock Epilogue. 227 In the Words of Susan Hiller and Annette Messager: Conceptualism and Feminism in Dialogue Beth Anne Lauritis Chapter Eleven. 206 Fetishism and the Stories of Feminist Art Alexandra M. 177 “Forward via a Female Past”: Pauline Boty and the Historiographic Promise of the Woman Pop Artist Sue Tate Section IV: Between History and Theory Chapter Nine. 159 The Uncertain Spectator: Theories of Female Spectatorship and the Work of Anna Gaskell Catherine Grant Chapter Eight. 138 Queen Seduces Mistress: The Portraiture of Marie Leszczinska and Madame de Pompadour Jennifer G. Section III: Reviews/Revisions Chapter Six. 86 Rethinking Absence: Feminist Legacies, Critical Possibilities Karen Roulstone Chapter Five. 61 “Draws Like a Girl”: The Necessity of Old-School Feminist Interventions in the World of Comics and Graphic Novels Alisia Grace Chase Section II: Between Absence and Performance: Rethinking the Subject Chapter Four. 41 Why Have There Been No Great Women Dadaists? Ruth Hemus Chapter Three.

20 Women Artists, Feminism and the Museum: Beyond the Blockbuster Retrospective Joanne Heath Chapter Two. Kokoli Section I: On Exhibition(s): Institutions, Curatorship, Representation Chapter One. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. Kokoli and contributors All rights for this book reserved. Kokoli This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Alexandra M. Feminism Reframed, Edited by Alexandra M.

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