What is Curatorial Activism?
DOI:
https://doi.org/10.11606/issn.2178-0447.ars.2021.183763Keywords:
Curatorship, Curatorial-Activism, Feminism, Gender, PostcolonialismAbstract
Translation of the first chapter of the book Curatorial Activism: Towards an Ethics of Curating (Thames & Hudson, 2018) by Maura Reilly.
Downloads
References
AIKEN, Susan Hardy. Women and the Question of Canonicity, College English, Vol. 48, No. 3, março 1986.
ARTENET News, Who are the Top 100 Most Collectible Living Artists?, maio 26, 2016. Disponível em: news.artnet.com/market/top-100-collectible-livingartists-504059. Acesso em: 30 mar. 2021.
ARTSLANT. MoMA Plans Only Female Art for 2015, 1 abr. 2014. Disponível em: www.artslant.com/ny/articles/show/39142-bnews-moma-announces-2015-focus-on-women-artists-gagosian-to-open-yet-another-gallery-jemima-kirkequits-girls-and-putin-reveals-his-first-solo-exhibition. Acesso em: 30 mar. 2021.
AZIMI, Roxana. ‘Carambolages’, um melting-pot d’oeuvres d’art au Grand Palais, Le Monde, 7 mar. 2016.
BARTHES, Roland. A Morte do Autor. In BARTHES, Roland. O rumor da língua / Prefácio Leyla Perrone-Moisés; trad. Mario Laranjeira; revisão de tradução Andréa Stahel M. da Silva, 2ª edição. São Paulo: Editora Martins Fontes, 2004, pp. 57-64.
BATTERSBY, Matilda. Queer British Art at Tate Britain: Is it Wrong to Group Together LGBT Art?, The Independent, 6 abr. 2017.
DANIUS, Sara; JONSSON, Stefan. An Interview with Gayatri Chakravorty Spivak, Boundary 2, Vol. 20, No. 2, verão 1993, pp. 24-50.
HEGERT, Natalie. The Rounds of a Rumour, ArtSlant, 2015. Disponível em: www. artslant.com/ny/articles/show/39451-the-rounds-of-a-rumor-womenmoma2015. Acesso em: 30 mar. 2021.
LIPPARD, Lucy R. From the Center: Feminist Essays on Women’s Art. Nova York: E. P. Dutton & Co., 1976.
MARTIN, Jean-Hubert; SEVERI, Carlo Severi; BONHOMME, Julien. Jean-Hubert Martin et la pensée visuelle, Gradivha, Vol. 13, 2011, pp. 130-147. Disponível em:
gradhiva.revues.org/2120.
MILLETT, Kate. Sexual Politics. Nova York: Doubleday & Co., 1970.
MOHANTY, Chandra Talpade. Feminisms Without Borders. Carolina do Norte: Duke University Press, 2003.
MORIN, Dina. Carambolages, ou l’art en dérapage contrôlé!, Aleteia, 24 jun. 2016.
NOCHLIN, Linda. What befits a Woman?, Art in America, set. 2005.
NOCHLIN, Linda. Por que não houve grandes mulheres artistas? / trad. Juliana Vacaro; revisão técnica Juliana Vacaro e Júlia Ayerbe. São Paulo: Edições Aurora, 2016.
PARIS Diary by Laure: ‘Listen with your eyes: Jean-Hubert Martin’, 2016, n.p. Disponível em: parisdiarybylaure.com/listen-eyes-jean-hubert-martin/. Acesso em: 30 mar. 2021.
POLLOCK, Griselda. Differencing the Canon: Feminist Desire and The Writing of Art’s Histories. Londres, Nova York: Routledge, 1999.
REILLY, Maura. Taking the Measure of Sexism: Facts, Figures, and Fixes. ArtNews, 26 mai. 2015. Disponível em: www.artnews.com/2015/05/26/takingthe-measure-of-sexism-facts-figures-and-fixes/.
REILLY, Maura (ed.). Women Artists: The Linda Nochlin Reader. Nova York, Londres: Thames & Hudson, 2015.
RICH, Adrienne. On Lies, Secrets and Silence. Londres: W.W. Norton & Co, 1980.
SEARLE, Adrian. Queer British Art 1861-1967 Review – Strange, Sexy, Heartwrenching, The Guardian, 3 abr. 2017. Disponível em: https://www.theguardian.com/artanddesign/2017/apr/03/queer-british-art-review-tate-britain.
Acesso em: 30 mar. 2021.
SHOHAT, Ella. Area Studies, Transnationalism, and the Feminist Production of Knowledge, SIGNS, Vol. 26, No. 4, verão 2001, pp. 1269–72.
SHOWALTER, Elaine. Feminist Criticism in the Wilderness, Critical Inquiry, Vol. 8, No. 2, 1970, pp. 179-205.
SPIVAK, Gayatri. In Other Worlds: Essays in Cultural Politics. Nova York, Londres: Routledge, 1987.
STREET-PORTER, Janet. The Tate Galley is Wrong to Put on a “Queer” Art Exhibition, The Independent, 22 abr. 2016.
Downloads
Published
Issue
Section
License
Copyright (c) 2021 Maura Reilly; Ana Avelar, Marcella Imparato
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
The responsibility for obtaining written permission to use in the articles materials protected by copyright law lies entirely with the author(s). Ars is not responsible for copyright breaches made by its collaborators.
The authors have the copyrights and grant the journal the right of the first publication, with the article licensed under the Creative Commons BY-CC License.
Licensees have the right to copy, distribute, display, and carry out the work and make derivative works from it, including with commercial purposes, granted that they give the due credit to the author or licensor, as specified by them.
Licensees compromise to inform the appropriate credit, provide a link to the license, and indicate if changes were made.
Respected the terms of the license, the licensors/authors are not allowed to revoke the conditions above mentioned.
After the publication of the articles, the authors keep the copyrights and the rights to republish the text exclusively in unpublished books and collections.