Deeply influenced by studies of female iconology, the medieval, the afterlife and hybrid bodies, Faith Wilding’s art is instantly recognizable and distinctive in style. In keeping with Wilding’s own artworks, the book is a bricollage: memoirs and watercolours sit alongside critical essays and family photographs to form an overall history of both Wilding’s life and works, as well as the wider feminist art movement of the Seventies and beyond.This collection spans 50 years of Wilding’s artistic production, feminist art pedagogy, participation in, and organizing of, feminist art collectives, such as the Feminist Art Program, Womanspace Gallery and the Woman’s Building.With contributions from scholars and artists, including Amelia Jones, the book is the first of its kind to celebrate the career of an artist who not only partook in the cornerstone movement, but helped shape the feminist art of today. Intimate, philosophical and insightful, Faith Wilding’s Fearful Symmetries is a beautiful book intended for the artist, scholar and broader audience.

Night Sweats: Cyberfeminist Practices intervenes in this moment of rapid biotechnological development and international political turmoil with thought-provoking, creative, and justice-oriented essays on art and life: opting out of the sludge and consent theatre presented by standard “terms and conditions”; creating plant-assisted reproductive technologies (pARTs) such as indecision trees; practicing compassionate inquiry; and becoming a cyborg-elder. Refusing the authoritarian turn and backlash against reproductive, LGBTQIA+, and racial justice movements, its authors and contributors—artists, writers, scholars, designers, activists, and educators—draw on the twenty-five years of cyberfeminist art work from the subRosa art collective, as well as Black, postcolonial, and environmental feminisms. The overall motto of the book is “we will save ourselves,” with examples taken from critical and revisionist histories of alchemy, the automation of writing systems, and reproductive mutual aid. In doing so, the authors develop new analyses of (cyber)feminist contributions to bioart, tactical media, gender, women’s, and sexuality studies, media studies and communication, technoscience studies and STS, durational art, and performance studies.

Deeply influenced by studies of female iconology, the medieval, the afterlife and hybrid bodies, Faith Wilding’s art is instantly recognizable and distinctive in style. In keeping with Wilding’s own artworks, the book is a bricollage: memoirs and watercolours sit alongside critical essays and family photographs to form an overall history of both Wilding’s life and works, as well as the wider feminist art movement of the Seventies and beyond.This collection spans 50 years of Wilding’s artistic production, feminist art pedagogy, participation in, and organizing of, feminist art collectives, such as the Feminist Art Program, Womanspace Gallery and the Woman’s Building.With contributions from scholars and artists, including Amelia Jones, the book is the first of its kind to celebrate the career of an artist who not only partook in the cornerstone movement, but helped shape the feminist art of today. Intimate, philosophical and insightful, Faith Wilding’s Fearful Symmetries is a beautiful book intended for the artist, scholar and broader audience.

Night Sweats: Cyberfeminist Practices intervenes in this moment of rapid biotechnological development and international political turmoil with thought-provoking, creative, and justice-oriented essays on art and life: opting out of the sludge and consent theatre presented by standard “terms and conditions”; creating plant-assisted reproductive technologies (pARTs) such as indecision trees; practicing compassionate inquiry; and becoming a cyborg-elder. Refusing the authoritarian turn and backlash against reproductive, LGBTQIA+, and racial justice movements, its authors and contributors—artists, writers, scholars, designers, activists, and educators—draw on the twenty-five years of cyberfeminist art work from the subRosa art collective, as well as Black, postcolonial, and environmental feminisms. The overall motto of the book is “we will save ourselves,” with examples taken from critical and revisionist histories of alchemy, the automation of writing systems, and reproductive mutual aid. In doing so, the authors develop new analyses of (cyber)feminist contributions to bioart, tactical media, gender, women’s, and sexuality studies, media studies and communication, technoscience studies and STS, durational art, and performance studies.