Erin Silver – författare

Otherwise: Imagining queer feminist art histories is the first book to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of ‘queer’ to feminism in other disciplines of the humanities and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by providing a range of chapters by key North American and European scholars, both emerging and established, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach.

Otherwise: Imagining queer feminist art histories is the first book to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of ‘queer’ to feminism in other disciplines of the humanities and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by providing a range of chapters by key North American and European scholars, both emerging and established, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach.

Through an international cohort of contributors, this book examines the rich and diverse strands of artistic and cultural production from the nineteenth century to the present day that contribute to elastic and ever-expanding histories of feminist art.The contributions facilitate an understanding of the complex histories of feminist art, material, and cultural production for both new and inveterate students and scholars, while complicating feminist art’s canonization by engaging questions and issues of history-writing itself. An implicit concern throughout the volume is how feminist art history has both addressed and, at times, been complicit in its own systems of exclusion. Foregrounding political and social movements and developments in related fields such as critical race studies, Indigenous studies, trans studies, disability studies, and critical ethnic studies in recent decades, this volume looks beyond the canonical lineage of feminist art history toward an expansive view of feminist art’s pasts, pitfalls, and potentials. The book also goes beyond the traditional visual arts to consider vernacular and material cultures in our increasingly visually oriented world (which encompasses the social media and citizen journalism accelerated in the COVID era).The book will be of interest to scholars and students working in art history and gender studies.

Through an international cohort of contributors, this book examines the rich and diverse strands of artistic and cultural production from the nineteenth century to the present day that contribute to elastic and ever-expanding histories of feminist art.The contributions facilitate an understanding of the complex histories of feminist art, material, and cultural production for both new and inveterate students and scholars, while complicating feminist art's canonization by engaging questions and issues of history-writing itself. An implicit concern throughout the volume is how feminist art history has both addressed and, at times, been complicit in its own systems of exclusion. Foregrounding political and social movements and developments in related fields such as critical race studies, Indigenous studies, trans studies, disability studies, and critical ethnic studies in recent decades, this volume looks beyond the canonical lineage of feminist art history toward an expansive view of feminist art's pasts, pitfalls, and potentials. The book also goes beyond the traditional visual arts to consider vernacular and material cultures in our increasingly visually oriented world (which encompasses the social media and citizen journalism accelerated in the COVID era).The book will be of interest to scholars and students working in art history and gender studies.

Through an international cohort of contributors, this book examines the rich and diverse strands of artistic and cultural production from the nineteenth century to the present day that contribute to elastic and ever-expanding histories of feminist art.The contributions facilitate an understanding of the complex histories of feminist art, material, and cultural production for both new and inveterate students and scholars, while complicating feminist art's canonization by engaging questions and issues of history-writing itself. An implicit concern throughout the volume is how feminist art history has both addressed and, at times, been complicit in its own systems of exclusion. Foregrounding political and social movements and developments in related fields such as critical race studies, Indigenous studies, trans studies, disability studies, and critical ethnic studies in recent decades, this volume looks beyond the canonical lineage of feminist art history toward an expansive view of feminist art's pasts, pitfalls, and potentials. The book also goes beyond the traditional visual arts to consider vernacular and material cultures in our increasingly visually oriented world (which encompasses the social media and citizen journalism accelerated in the COVID era).The book will be of interest to scholars and students working in art history and gender studies.

Taking place examines feminist and queer alternative art spaces across Canada and the United States from the late-1960s to the present. It looks at how queer and feminist artists working in the present day engage with, respond to and challenge the institutions they have inherited. Through a series of regional case studies, the book interrogates different understandings of ‘alternative’ space and the possibilities the term affords for queer and feminist artistic imaginaries.

Taking place examines feminist and queer alternative art spaces across Canada and the United States from the late-1960s to the present. It looks at how queer and feminist artists working in the present day engage with, respond to and challenge the institutions they have inherited. Through a series of regional case studies, the book interrogates different understandings of ‘alternative’ space and the possibilities the term affords for queer and feminist artistic imaginaries.