Feminist Activist Art: Losing the Edge?

E. Lauter
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Abstract

Not only does the phrase "feminist activist art" not appear in these three books about the visual and performing arts at the turn of the twenty-first century, but, except for a handful of essays in Goodman and de Gay and a scattering of images from the 1960s through the 1990s in McQuiston, feminist thought is not prominent and feminist artworks are not reproduced. While not overtly feminist, most, though not all, of the texts collected in these volumes, do show signs of having been influenced by feminist theory and feminist achievements in the arts but, in general, the feminist movement in art of the past 30 years is a ghostly presence. Although this lack of emphasis in books purporting to address art and social change is troubling, there are aspects of each book that could be useful to teachers and students of Women's Studies who want to consider activism in conjunction with both feminism and the practice of art. Lizbeth Goodman and Jane de Gay's The Routledge Reader in Politics and Performance is intended to complement Goodman's earlier anthology, Reader in Gender and Performance (1998), which directly and extensively addressed feminist approaches to performance. Billed as the first comprehensive collection of selected texts that range across politics, ideology, and performance, the reader begins with the writings of early twentiethcentury theater giants such as Artaud, Grotoski, Stanislavski, and Brecht. The book then traces seven currents in theater, performance art, cultural studies, postcolonial studies, sexuality, and gender studies through the mid-1990s (the book went to press in 1999). Goodman, Director of the Institute for New Media Performance Studies at the University of Surrey and author of Contemporary Feminist Theatres (1993), invited eight practitioner-scholars to edit and introduce the texts within thematic sections
女权主义活动家艺术:失去优势?
不仅在这三本关于二十一世纪之交的视觉和表演艺术的书中没有出现“女权主义活动家艺术”这个词,而且,除了古德曼和德盖伊的几篇文章和McQuiston从20世纪60年代到90年代的零星图像外,女权主义思想并不突出,女权主义艺术作品也没有被复制。虽然不是公开的女权主义,但这些卷中收集的大多数(尽管不是全部)文本确实显示出受到女权主义理论和女权主义艺术成就影响的迹象,但总的来说,过去30年艺术领域的女权主义运动是一种幽灵般的存在。尽管这些书中缺乏对艺术和社会变革的强调令人不安,但对于那些想要将激进主义与女权主义和艺术实践结合起来考虑的女性研究的教师和学生来说,每本书的某些方面都是有用的。利兹贝斯·古德曼和简·德·盖伊合著的《劳特利奇政治与表演中的读者》是对古德曼早先的选集《性别与表演中的读者》(1998)的补充,后者直接而广泛地讨论了女权主义的表演方法。作为第一本涵盖政治、意识形态和表演的精选文本的综合作品集,读者从20世纪早期戏剧巨头的作品开始,如亚陶、格罗托斯基、斯坦尼斯拉夫斯基和布莱希特。然后,这本书追溯了20世纪90年代中期戏剧、表演艺术、文化研究、后殖民研究、性研究和性别研究的七大潮流(该书于1999年出版)。古德曼是萨里大学新媒体表演研究所所长,也是《当代女权主义戏剧》(1993)一书的作者,她邀请了八位实践学者编辑并介绍了主题部分的文本
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