Race Sex And Gender In Contemporary Art

One of the most significant developments in the art world of the 1970s, 1980s, and 1990s has been the rise to prominence of art made by minority cultures. Race, Sex, and Gender examines the controversial challenges these groups present to today's artists and critics. Works by African-Americans, feminists, homosexuals, and Latino-Hispanics - once considered marginal - have come to transform contemporary art. As this so-called minority art has moved into a more dominant position, museums - once official symbols of culture - have formed a more secure alliance with the avant-garde. The result is that "minority" art has become, in effect, our most major concern. In this provocative volume, art historian Edward Lucie-Smith seeks to determine how these different groups came to acclaim, and how they have revolutionized the kind of art shown in museums and galleries. Cindy Sherman, Robert Mapplethorpe, Jean-Michel Basquiat, Nancy Spero, Hannah Wilke, Larry Fuente, Cheri Samba, and Martin Puryear are among those artists whose work is pictured and discussed as Lucie-Smith probes issues of racial identity, sexual orientation, and gender politics. Statements from the artists as well as from theoreticians and critics are given, offering additional commentaries on these crucial new topics. Organized by profusely illustrated chapters devoted to specific minority groups, Race, Sex, and Gender is a timely introduction to the issues that are shaping contemporary art.

One of the most significant developments in the art world of the 1980s and 1990s has been the rise to prominence of minority cultures. In this provocative volume, an art historian looks at how the different minority groups came to prominence, and how they revolutionized the kinds of art currently featured in museums and galleries. 115 illustrations, including 100 in full color.

With Other Eyes demonstrates how feminist, postcolonial, and antiracist concerns can successfully be incorporated into the study of art.

Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art

Focusing on dramatic works by contemporary British and American playwrights, in conjunction with feminist political and theoretical texts, this book discusses feminist constructions of the category "Woman".

This in-depth analysis of Adrian Pipers art locates her groundbreaking work at the nexus of Conceptual and feminist art of the late 1960s and 1970s.

First published in 1985, the Handbook for Achieving Gender Equity Through Education quickly established itself as the essential reference work concerning gender equity in education. This new, expanded edition provides a 20-year retrospective of the field, one that has the great advantage of documenting U.S. national data on the gains and losses in the efforts to advance gender equality through policies such as Title IX, the landmark federal law prohibiting sex discrimination in education, equity programs and research. Key features include: Expertise – Like its predecessor, over 200 expert authors and reviewers provide accurate, consensus, research-based information on the nature of gender equity challenges and what is needed to meet them at all levels of education. Content Area Focus – The analysis of gender equity within specific curriculum areas has been expanded from 6 to 10 chapters including mathematics, science, and engineering. Global/Diversity Focus – Global gender equity is addressed in a separate chapter as well as in numerous other chapters. The expanded section on gender equity strategies for diverse populations contains seven chapters on African Americans, Latina/os, Asian and Pacific Island Americans, American Indians, gifted students, students with disabilities, and lesbian, gay, bisexual, and transgender students. Action Oriented – All chapters contain practical recommendations for making education activities and outcomes more gender equitable. A final chapter consolidates individual chapter recommendations for educators, policymakers, and researchers to achieve gender equity in and through education. New Material – Expanded from 25 to 31 chapters, this new edition includes: *more emphasis on male gender equity and on sexuality issues; *special within population gender equity challenges (race, ability and disability, etc); *coeducation and single sex education; *increased use of rigorous research strategies such as meta-analysis showing more sex similarities and fewer sex differences and of evaluations of implementation programs; *technology and gender equity is now treated in three chapters; *women’s and gender studies; *communication skills relating to English, bilingual, and foreign language learning; and *history and implementation of Title IX and other federal and state policies. Since there is so much misleading information about gender equity and education, this Handbook will be essential for anyone who wants accurate, research-based information on controversial gender equity issues—journalists, policy makers, teachers, Title IX coordinators, equity trainers, women’s and gender study faculty, students, and parents.

Despite the common belief that art galleries will naturally become more gender equitable over time, the fact is that many art institutions in Canada have become even less so over the last decade, with female artists making up less than 25 per cent of the contemporary exhibitions of several major galleries. In the first large-scale overview of gender diversity in Canadian art exhibitions, Anne Dymond makes a persuasive plea for more consciously equitable curating. Drawing on data from nearly one hundred institutions, Diversity Counts reveals that while some galleries are relatively equitable, many continue to marginalize female and racialized artists. The book pursues an interdisciplinary approach, considering the art world's resistance to numeric data, discourses on representation and identity, changing conceptualizations of institutional responsibility over time, and different ways particular institutions manage inclusion and exclusion. A thoughtful examination of the duty of public galleries to represent underserved communities, Dymond's study bravely navigates the unspoken criteria for acceptance in the curatorial world. Demonstrating how important hard data is for inclusivity, Diversity Counts is a timely analysis that brings the art world up to date on progressive movements for social transformation.