@article{ART001615183},
author={Sonal Khullar},
title={Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2011},
number={30},
pages={253-282},
doi={10.17057/kahoma.2011..30.009}
TY - JOUR
AU - Sonal Khullar
TI - Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist
JO - Journal of History of Modern Art
PY - 2011
VL - null
IS - 30
PB - 현대미술사학회
SP - 253
EP - 282
SN - 1598-7728
AB - This paper examines the institutionalization of feminist art in the West, and specifically, the inclusion of feminist art and artists from nonwestern centers in exhibitions such as Global Feminisms (2007, Brooklyn Museum of Art) and WACK! Art and the Feminist Revolution (2007, Museum of Contemporary Art, Los Angeles). Both exhibitions invoked the figure of the postcolonial woman artist even as their curators subsumed multiple histories of feminism within a single overarching narrative centered in the West. Nonetheless, through the tensions they produced, these exhibitions pointed to the difficulties of simultaneously establishing a unified project of feminism in which artists and artworks participate and allowing for multiple narratives and historical contingencies through which they come into being. This paper considers the problem of locating contemporary Indian artists in ‘purely’ national contexts even as it analyzes the imperfect translations from the national to the global that Global Feminisms and WACK! entailed. It also discusses an exhibition I conceived and developed in 2007-08, with curator Vidya Shivadas, “Fluid Structures:Gender and Abstraction in India, 1973-2008”, at Vadehra Art Gallery in New Delhi. The exhibition, which identified and theorized links between two generations of women artists in India, was in part a response to feminist art history and criticism in the United States.
KW - Feminism;Postcolonial;Woman artist;Abstraction;Nonwestern art;and Global feminisms
DO - 10.17057/kahoma.2011..30.009
ER -
Sonal Khullar. (2011). Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist. Journal of History of Modern Art, 30, 253-282.
Sonal Khullar. 2011, "Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist", Journal of History of Modern Art, no.30, pp.253-282. Available from: doi:10.17057/kahoma.2011..30.009
Sonal Khullar "Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist" Journal of History of Modern Art 30 pp.253-282 (2011) : 253.
Sonal Khullar. Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist. 2011; 30 : 253-282. Available from: doi:10.17057/kahoma.2011..30.009
Sonal Khullar. "Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist" Journal of History of Modern Art no.30(2011) : 253-282.doi: 10.17057/kahoma.2011..30.009
Sonal Khullar. Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist. Journal of History of Modern Art, 30, 253-282. doi: 10.17057/kahoma.2011..30.009
Sonal Khullar. Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist. Journal of History of Modern Art. 2011; 30 253-282. doi: 10.17057/kahoma.2011..30.009
Sonal Khullar. Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist. 2011; 30 : 253-282. Available from: doi:10.17057/kahoma.2011..30.009
Sonal Khullar. "Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist" Journal of History of Modern Art no.30(2011) : 253-282.doi: 10.17057/kahoma.2011..30.009
