This book explores the critical significance of the visual arts to transnational feminist thought and activism.
This first volume in Marsha Meskimmon’s powerful and timely Trilogy focuses on some of the central political challenges of our era, including war, migration, ecological destruction, sexual violence and the return of neo-nationalisms. It argues that transnational feminisms and the arts can play a pivotal role in forging the solidarities and epistemic communities needed to create social, economic and ecological justice on a world scale. Transnational feminisms and the arts provide a vital space for knowing, imagining and inhabiting – earth-wide and otherwise. The chapters in this book each take their lead from a current matter of political significance that is central to transnational feminist activist organizing and has been explored through the arts in ways that permit dialogues across geopolitical borders to take place.
Including examples of artwork in full colour, this is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, political theory and cultural geography.
The Transnational Feminisms and the Arts Trilogy
Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections
Transnational Feminisms and Art’s Horizontal Histories: Ecologies and Genealogies
Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing
Table of Contents
Knowing, Imagining and Inhabiting: Earth-wide and Otherwise
Post-Truth, Compelling Fiction
Citizens, Migrants and Worldmaking Denizens
Critical Ecofeminism and Ecological Thinking
Sexual Violence, Structural Silence and Transversal Solidarity
Imagining Peace: Art, Politics and Irenic Attention
Marsha Meskimmon is Professor of Art History and Theory, and Director of the Institute of Advanced Studies at Loughborough University. She is the author of a number of books on feminisms and the arts, including Contemporary Art and the Cosmopolitan Imagination (2010) and Women Making Art: History, Subjectivity, Aesthetics (2003).