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Konst, kön och kunskap - om den konstnärliga praktiken
Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
1992 (Swedish)In: Kvinnovetenskaplig Tidskrift, ISSN 0348-8365, no 2, 42-53 ill. p.Article in journal (Refereed) Published
Abstract [en]

This article is based on interviews with five Swedish artists, Ann Edholm, Maya Eizin, Marianne Lindberg de Geer, Eva Löfdahl and Sophie Tottie. Since these artists show a consciousness of gender and of the production of meaning in the visual arts, we found it interesting to connect their experience with the production of knowledge, which is one of the concerns of feminist art historians. The interviewed were not feminists in any determined sense. They represent divrese career stages as well as diverse artistic expressions. In the interviews various topics were touched upon - such as what it means to be inscribed within the "feminine"; their relationship to the concept and identity of the artists, whether visual representations may carry an essential femininity, and being a woman artists in today's art world. None of them was willing to identify anything essentially feminine in art. Instead, aspects of gender differentiation were discussed regard to positionings and strategies in the context of education, recieveing grants, sharing studios, participating in all-women shows, stating opinions in conferences and debates, and so on. A common view was that art critics and other interpreters often have a narrow outlook and lack an independent attitude in relation to the dominant ways of description and valuation of art. We take this as an urgent appeal request from artists to the feminist art historian who do research within contemporary art today.

Place, publisher, year, edition, pages
1992. no 2, 42-53 ill. p.
URN: urn:nbn:se:uu:diva-22716OAI: oai:DiVA.org:uu-22716DiVA: diva2:50489
Available from: 2007-01-20 Created: 2007-01-20 Last updated: 2011-01-16

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