Description

The first sustained analysis of the relationship between women's contemporary painting and feminism. This international collection of specially commissioned pieces brings together writing both by theorists engaged with the process and practice of painting and practitioners engaged in theory, to bring into question what has been a neglected area within feminist literature on visual culture._x000D__x000D_Looking at gender, subjectivity, spectatorship, the gendered audience and maternal subjectivity and painting, Unframed encourages reflexivity about the practice and includes in its scope a range of processes including drawing, printing, collage and installation. The process of painting and the materiality of paint, haptic vision and the contemporary sublime are all discussed. Lavishly illustrated in black and white, Unframed will be of interest to practitioners and students of fine art, art history and women's studies.

Auteur

Rosemary Betterton is Reader in Women's Studies, Lancaster University. Her books include 'Intimate Distance: Women, Artists and the Body'.

Women's painting is undergoing a vibrant revival, yet has been little explored in writing or modern visual culture. "Unframed" is an examination of women's contemporary painting. It presents writing with practitioners who engage with theory and critical theorists who deal directly with contemporary practice. All contributors reflect on their own practice and that of other women painters and theorists, whose common aim is to develop innovative ways of thinking about, and through, painting by women. The book focuses on current debates on gender, subjectivity, spectatorship and painting, and moves them forward into the second millennium. It should appeal to a range of readers, including scholars, students, artists and gallery visitors.

List of figures Notes on contributors Acknowledgements Introduction Unframing women's painting Rosemary Betterton Chapter 1 'Before her time?' Lily Briscoe and painting now Alison Rowley Chapter 2 Painting is not a representational practice Barb Bolt Chapter 3 Walking with Judy Watson: Painting, politics and intercorporeality Marsh Meskimmon Chapter 4 Susan Hiller's painted work: Bodies aesthetics and feminism Rosemary Betterton Chapter 5 The self portrait and the I/eye Partou Chapter 6 Threads: Dialogues with Jo Bruton, Beth Harland, Nicky May and Katie Pratt Rosa Lee Chapter 7 Seeing and feeling Rebecca Fortnum Chapter 8 Restretching the canvas Pam Skelton Chapter 9 Inside the visible: Painting histories Lubaina Himid Chapter 10 Revisiting Ann Harbuz: Inside community, outside convention John Borsa Bibliography Index

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